Ro Danishei – End of the Rainbow

September 2, 2011 at 12:00 am | Posted in Ro Danishei | Leave a comment
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  1. Bend the Light
  2. Drunk txt
  3. Never Been Kissed
  4. Blackout
  5. I’m Okay
  6. Unlove Pill
  7. Michelle (feat. Simon Curtis)
  8. Ur Fucking Crazy
  9. Baby Doll
  10. End of the Rainbow
  11. Prey to the Beat
  12. Wicked Baby (feat. Simon Curtis)
  13. Put Em Up
  14. My Song

I stumbled upon Ro Danishei when I was looking up Simon Curtis and discovered that the two of them are very good friends. She was involved in Simon’s 8Bit Heart album for the song Brainwash which she co-wrote. Ro was formerly in a girl group called Candy Coated Chaos but she’s left that behind to pursue a solo career. Following in the steps of her friend Simon, she released her debut album for free on her website earlier this year. This month, End of the Rainbow was put on iTunes with new tracks as a gift for her fans while she prepares her second album which is due out in the next few months.

Bend the Light introduces the album with a marching drum beat that is joined by dark synths. Ro makes her appearance on what sounds like a speaker and gives some hints of what the album holds, “boys and girls/no you are not at home anymore/welcome to the beginning of the rainbow/where blue birds don’t fly/the sun doesn’t shine/just a disco ball spins high in the sky.” It’s a bit unsettling but it’s a great invite into Ro’s disco ball dominated world. Drunk txt sets up a club atmosphere with faded beats that are interrupted by the sound of texting. This leads to a relaxed verse with occasional high synth beats and Ro’s voice is shrouded in vocoder effects. It picks up in the pre-chorus where she is accompanied by backing vocals. It has a modern club flair to it and she sings about one of today’s biggest obsessions, “after the bar I say BRB/hope my girls don’t follow me/I just wanna be left alone/with your texto and my phone.” The chorus erupts into a bright synth filled melody and the vocoder effects are enhanced to create one of the most addicting hooks on the album, “I’m drunk drunk drunk dru drunk dru drunk textin’/you at the club instead of dancin’ oh.” The repetition makes it more enticing and it just works its way into your head. She does a good job with the pseudo-rapping in the bridge and it’s quite entertaining, “got you on my brain/don’t care about the DJ/don’t want some dude grindin’ up on my dress/I want you up my dress.” Ro moves away from the club for the dreamy and innocent Never Been Kissed. This time she performs in deliciously sweet vocals while the arrangement is made up of a heavy but cheerful drumline that is paired up with similar synth beats, “sky above glows just for you and me/don’t know why but I know that it’s real/I can fly, with you I feel so free.” Moving to the pre-chorus, her vocals take on a hollow-like sound before entering the mellifluous chorus. It is synth heaven and it’s absolutely infectious. Ro easily captures the wonderful emotions that are associated with a kiss in this sweet, cute and bubbly tune that will put a smile on your face, “you make me feel like I’ve/never been kissed, never been kissed/never been kissed before.” The second verse maintains the happy, upbeat arrangement from the pre-chorus and it sounds much better. The slow chorus after the bridge is phenomenal and it makes the song even sweeter. Overall, it’s a very uplifting and feel-good song.

I fell in love with Blackout the moment I heard it and I love how she pays homage to her Russian heritage in the intro because it sounds very sexy. The song then shifts into the verse where Ro sings in a droning manner which suits the drunken theme and the dark sound of the melody. The song unravels in the pre-chorus where Ro picks up her singing and the synths start to take over. The added backing vocals are divine but the song really comes to life in the chorus. With a contagious synth-based melody and a mind-blowing, fun vocal performance from Ro, this is the catchiest hook on the album, “hush, hush, you’re saying too much/just shut up, shut up, and love me up/hush, hush, there’s no need to rush/I just wanna touch one last time before you go.” The chorus is repeated several times at the end and it gets better each time. Her ad-libs are spot-on and the post-chorus is out of this world, “and I blackout/and I blackout, and I blackout/and I blackout.” It’s simple but her vocals make it beyond amazing. I’m Okay is a declaration of independence. Rather than taking an aggressive vocal approach, Ro uses a sexy and seductive delivery. Backed by a gritty and dirty beat, Ro is a complete tease, “tell it to my face/and what you want me to say/I gotta think about it/do I really wanna be your baby?” She even throws in a reference to Single Ladies (Put A Ring On It), “don’t wanna ring on it/just put a thing on it.” The pre-chorus has her singing in a high, airy tone and the arrangement is a lot more upbeat. Stuttering and vocoder effects are utilized for the chorus where a determined Ro proclaims “no, I’m okay kay kay kay kay/I’m gonna be okay kay kay kay kay/don’t need to be be be be be/nobody’s baby bay bay baby/no thank you, I’m okay.” More female singers should have messages like this because there are too many songs out there that stress how important it is to be with someone.

Unlove Pill is unlike anything else on the album and its uniqueness is what makes it so endearing. It’s one of those songs that sound like a ballad but can’t be defined as one. Gone are the club beats that invade the rest of the album and in their place is a beeping synth line. It’s hauntingly beautiful and it dominates the majority of the song. What accompanies this dark melody is a vulnerable and emotional vocal performance by Ro, “feels like a dream/I guess it’s been a little while/seems just yesterday/we were watchin’ the sky/sayin’ anything’s possible/sayin’ were gonna fly.” The chorus incorporates stuttering again and I like how she relates love to a sickness that needs to be cured with medicine, “I need to un wa-a-a-a-a-a-a-a-ant you/but I-I-I-I-I-I can’t undo/what you did to me/and I don’t have the will/I need an unlove pill.” It’s an interesting concept that hasn’t been used in music lately. In the second chorus, a music box melody joins the synths and at the end of the song the tempo changes to a brighter, child-like version of the melody. It’s not the greatest outro but it’s interesting nonetheless. Ro teams up with Simon Curtis for Michelle (feat. Simon Curtis) and it’s a beast. The dark, mysterious synth line at the beginning is exquisite but quickly turns into a massive barrage of synth and percussion beats. It’s the only track to feature rock elements and it’s very aggressive. Ro takes care of the first verse with powerful, angry vocals, “I gave you nothing but/the purest of my love/you led me into your house of mirrors/just to fuck me up” while Simon takes the song to the next level with his verse, “I don’t think you see/oh, the damage you’ve done to me/you left my heart covered in lacerations/didn’t you see me bleed?” They both fit perfectly on this track and their voices go together very well. The chorus is where they both let out their anger and bash the hell out of Michelle, “Michelle/you need some serious help/Miche-e-e-e-elle/you know you put me through hell/Michelle/don’t care for anyone but yourself.” The hook is addicting and it’s not a surprise that this is a fan favourite. This is a great collaboration and it’s one of the best tracks.

Ur Fucking Crazy is a humorous, tongue-in-cheek tune. With quirky beats and a sassy attitude, Ro sing-talks her way through the playful and cleverly written verses, “flirt with my friends, such a whore/use the window, not the door/I would say ‘I’ll see you later’/if you hadn’t tattooed your name on my derriere.” It’s ridiculously fun and she really gets into character. The chorus gets even crazier especially the second one, due to the buzzing mechanical-like synth line. However, the highlight comes during the bridge where Ro talks in a hilarious tone and confesses her dilemma, “you’re fuckin crazy/I wouldn’t date you if you paid me/oh wait, I am, d-dating you.” It’s a breath of fresh air to have such a witty song on the album. Ro lets her hair down for the magnificent Baby Doll. This is pop at its best and it’s the biggest dance anthem on the album. It may not seem like it is at first but it slowly unwraps itself into a delicious and addicting song. The verses contain hard-hitting instruments and Ro carries that heaviness into her digitized vocals, “you got me/dolled up, minty fresh/always look my best/you got me/high up on a shelf/hidden from the rest.” I love the pre-chorus because of its great usage of vocoder and the increase in tempo makes for a fantastic lead-up into the chorus. In an instant, the song erupts into a slutty and sexually appetizing hook that can command a dance floor, “I wanna get dirty/wanna get messy/wanna get to the dance floor/play with the boys/and tear up my dress/I just wanna be a real girl/use my lips to flirt and kiss/that’s what I got a mouth for/don’t wanna be your baby doll/no more, no more.” Ro owns it with her quick, lush vocals which seamlessly blend into the electronic beat. Even the bridge is a killer, filled with robotic and high vocals that are layered together to perfection. It’s insane how catchy this song is and Ro does sexy in a fun, flirty and mature way.

Some place where there isn’t any trouble/do you suppose there is such a place, Toto?” End of the Rainbow encapsulates everything that the album stands for. Beginning with an audio clip of Dorothy from The Wizard of Oz, the whole concept behind the album is revealed and the cover, where Ro rocks a pair of ruby red stilettos, now makes sense. The magical, serene music that plays with the clip fades to Dorothy repeating “trouble” while an ominous drumline appears. This is the track where Ro lets her vocals shine as she performs in a strong and emotional tone. Occasionally throughout the composition, there is a blast of creepy synths that add a sinister atmosphere to the track. Moving to the pre-chorus, she brightens things up by singing in a stunning tone and it’s so catchy, “on your way down/don’t think it’ll be easy/it’s a showdown/you’re a gladiator/animalistic behaviour/just an entertainer.” The tempo increases in the chorus which is dominated by synths and it takes on a very positive feeling. However, the actual lyrics speak to the fact that you don’t always get recognition or success for working hard, “there’s no pot of gold/at the end of the rainbow/no, don’t believe what you’re told/just cuz they say so.” This links back to the introduction of the album and being an unsigned artist, Ro has definitely experienced this. In the bridge, Ro gives it her all and delivers her best vocal performance. Ending the album is the dark and gloomy but dance floor-friendly Prey to the Beat. The beat is so damn sick with its hot synth line, heavy bass and pounding percussion. The track ends up having a creepy, cult-like vibe due to the dark instrumentation and it’s enhanced by Ro’s commanding voice, “forget the church, the mosque, the temple/come together, make it simple/mothers, fathers, brothers, sisters/see your ass out at the disco.” Her voice gets vocoder treatment in the pre-chorus and she sing-talks in the chorus. While it’s not the most upbeat and catchiest hook, there’s something about it that is undeniably intriguing, “if you can’t beat em join em/get stupid on your feet/see your ass out at the disco/pray with me to the beat.” The break between the chorus and second verse is orgasmic and it’s a shame it wasn’t used more. All in all, the beat makes this song a standout and even though it doesn’t have a massive hook, it’s still one of the most unique tracks on the album.

Ro joins forces with Simon again for Wicked Baby (feat. Simon Curtis) and it’s another smashing song. This time the duo ventures into a 90s influenced beat and its fire. The electric synth and percussion beat leads into little shout-outs provided by both artists. The verses alternate between the two stars, starting with Simon. The melody is so hot and his voice melts into it sexually, “sometimes my heart tells my head/things it don’t wanna hear.” Both of them have an aggressive tone to their voice and Ro provides a very feminine sexuality with her parts. There’s a catchy bounce to their voices in first half of the verses that’s amazing and in the second half their singing becomes much more fluid. The chorus is an incredible clash of synths and their vocals unite for the most infectious part of the song, “my wicked, wicked baby/feel the devil on your lips/you’ve got me where you want me/with no way to resist.” Their voices marry wonderfully and they sound brilliant together. The other highlight is the bridge where the electronic elements are intensified and they get a sexy dose of vocoder. The vocal break is one of hottest breakdowns ever and the beats get more dramatic as it progresses, “oh no sick, sick, sick, sick/this is so sick, sick, sick, sick/why you wanna be so sick, sick sick?” It’s a complete eargasm and the final chorus is topped off with some great backing vocals.

Put Em Up is led by a parade of synths, beeps and malfunctioning beats as Ro delivers with a rebel mentality, “if you just wanna dance/put your hands up/if you don’t stand a chance/put your hands up/if you don’t need a man/put your hands up.” Her in-your-face vocals turn this into an infectious youth anthem and it’s got a great fist-pumping beat. The instrumental is kicked up a notch for the chorus where she exclaims “you’re a bad girl/don’t you forget it/put your hands up/come on put em up.” This is another declaration of independence and her tough girl attitude makes this a hit. There’s great energy and a mesmerizing assertiveness to it that works wonders. The bridge becomes an authoritative call as her vocoded vocals take over with a mechanical synth line. Her stuttering and chopped vocals are amazing with all the electronic effects going on. I love the excitement and the constant assault of synths is a joy. The album is closed with My Song and it’s a surprise because it’s so bright and carefree, unlike the other tracks. Low ambient synths fade in while she vocalizes until they burst into a bright melody. A mix of clapping and percussion beats takes the forefront of the verses and it’s great to hear her perform in a sweet, vibrant tone because she hasn’t used it since Never Been Kissed, “my heart beats like a drum to the words that you speak/you’re a melody/I can never resist.” This is a special track because it’s so unique to the album, a true individual. Her joyous vocals in the chorus proclaim “I wanna dance with you/sing to you/fall asleep to you/‘cause you’re my song” with the synths bursting into an uplifting melody. She even throws in some superb ad-libs that will worm their way into your head. It’s such a far cry from her dark dance anthems but it’s such a welcome addition, seeing as there’s just one other song like it. It’s nice that the album closes on such an optimistic tone and this song is massively addicting.

Conclusion: End of the Rainbow is a non-stop disco, dance party that contains cleverly written, mature and sexy songs. I can’t get over the fact that Ro is an unsigned artist because her album is one of the best that has come out this year and her unique tone sets her apart from other electropop acts. Her music is chock-full of catchy beats and hooks that will embed themselves into your brain. Ro is an immensely talented singer and writer. I hope she finds success because it’ll be a shame if she doesn’t get the recognition she deserves.

Recommended Tracks: Blackout, Wicked Baby (feat. Simon Curtis), Michelle (feat. Simon Curtis), Baby Doll, Put Em Up, Drunk txt, Never Been Kissed and End of the Rainbow



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