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  • George McSherry

Review: "SLUMT" - ORI

ORI's new track called upon my facemask's secondary function of hiding my facial expressions from unsuspecting members of the public who would have at least been curious about what was playing through my headphones. The looseness of the lyricism is refreshing, especially for something produced to this high standard. It feels odd to not be pregaming with tequila shots when this song plays, and yet I get weird looks when I pour Jose Cuervo in my Cheerios in lieu of milk. What? It's not my fault that ORI gets me feeling a certain way. Let the link to this fine balance of ethereal prurience show you what I mean.

The track runs just shy of two minutes, but SLUMT packs plenty of punches. Trancelike, warped vocals against the backdrop of warbling synths and clean drum loops extend to you an invitation to the unique scene of an intimate yet lawlessly lewd house party. The rotating vocal distortion paints the varying emotions and degrees of sobriety that you cycle through alongside ORI's hypnotic pop-flow. Much like it would during an intoxicant-driven evening, the party that the song creates seems to flash by in a blur, winding down with a lullaby of 808s that usher you toward the door.

ORI finds the unexpectedly natural intersection of a curated, smooth vibe and a vibrant, tongue-in-cheek, lascivious playfulness and she wields this unique sound seamlessly. The Queens-based artist makes imaginative use of an array of production techniques, pulling from a variety of genres to foster her sexy, synth-driven alt-pop sound which champions liberated sexuality while poking fun at the unwavering dominance of the male gaze in the music industry.

Written By George McSherry



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