A track-by-track album review of Big Gigantic’s ‘Brighter Future’
Live-electronic duo Big Gigantic continue to build on their exceptional year with the release of their new album, Brighter Future –– their sixth studio album to date. Though nearly half of the tracks on the album were released as singles prior to this point, the remaining few have proven well-worth the wait.
On Brighter Future, Big Gigantic dispel complacency. As is always the case with artists that have been around for as long as Big G, the balance between pushing the limits of one’s style to grow one’s art and alienating long-time fans is a fine line that requires a delicate approach to traverse successfully.
Whether Dominic Lalli and Jeremy Salken’s latest effort wavers favorably to either side of this spectrum is completely up to the listener. However, there’s no denying the positive message that they aimed to impart with the album. As Dom put it, “We need to come together and work towards a Brighter Future for us, for our children and for the human race as a whole.”
“Odyssey Pt. 1” — the album opener — sets the scene for what’s to come. Never fully resolving into a drop, it leaves the listener at the very top of the buildup, waiting for a presumed Pt. 2.
“The Little Things,” released back in March as the first single off of the album, serves as the sonic embodiment of the positive message behind the record. As with many tracks on the album, it features stylish female vocals that fit flawlessly into Big Gigantic’s signature future funk, albeit with a slight trap twist.
“Miss Primetime” and “All Of Me” showcase the duo’s R&B and rap side. In a similar vein, “Highly Possible” features Waka Flocka Flame and a funky bassline accented by a “California Love” style vocoder in the hook.
GRiZ lends a helping hand in “C’Mon,” bringing the energy (and funk) up to the next level, and building upon the pair’s previous collaboration, “Good Times Roll.”
“Got The Love,” is one of the more straight-forward future bass tracks on the album. The slightly big band feeling brought on by the horns combines with substantive bass to bring about plenty of zest.
“I’ve Gotta Know,” which brings on another talented female vocalist, Jennifer Hartswick, is a blend of the old and new Big Gigantic. This track introduces the new percussive, bubbly bass that’s heard in many of the following tracks.
“No Apologies” is the first of the four-on-the-floor pieces, bringing in the first taste of moombahton, which is continued in the next track, “Bring The Funk Back.” The song sports a half-time section that breaks down the arrangement in grand fashion, bringing about an almost complete turnaround that somehow seems perfectly sensible.
Speeding things up into house territory, “Wide Open” features the iconic vocals of Cherub. The track has an interesting mix of garage and bass house, with a little future house mixed in for good measure.
The title track of the album, featuring female vocalist Naaz, is another venture into future bass territory, and serves as a great transition into the final track, “Long Time Coming,” a saxophone duet that ends the journey to a Brighter Future on a soft, positive note.