The Internet’s lead singer and ex Odd Future member, Syd Bennett put her rhythmic vocals and greatly progressive and smooth, songwriting skills to the test on her debut album, “Fin.” The 24-year-old Alternative R&B and neo-soul singer’s debut shows her talent to mix the two concepts of Hip-Hop & R&B with a mixture of slow ballads and upbeat car-ride tunes, showcasing cocky bangers to sensual, sweet jams.
Although the album carries a smooth get-up throughout the twelve-track LP, some of the rhythms are similar to one another carrying a repetitive tone of the music. Syd’s range, which improves but sticks to a content flow only proves so much on the album as far as vocability goes. It’s her songwriting skills and Floetry’s, ‘Say Yes,’ or Janet Jackson’s ‘Anytime, Any Place,’ feel from most of the songs that carry the album and puts her at a semi-good start on her solo music career.
The album starts off with ‘Shake Em Off,’ which gives listeners a carefree feel, with the ‘IDGAF’ mood Bennett sings in, to prove the point of the content space she’s in within her life and how others shouldn’t be worried about it. The lyrics ‘There’s nothing you can tell me, I’m grown,” isn’t much of a message of Syd not wanting to hear what anyone has to say about her or her choices, but more of the purpose of her experiences or the growth she rather encounter and has been, on her own. The transition into ‘Know’ is that of late 90s R&B and almost similar to the same vibe of Aaliyah’s ‘Are You That Somebody,’ with its smooth beat and light but evenly ranged out vocals. The beat and adlibs are what really carries the song, Syd’s ability to carry the tempo of the beat within her notes and lyrics makes the song worth vibing too. Once the listeners get to the breakdown of the beat and Syd’s vocals on the bridge, it’s guaranteed that this song can be added to the playlist of ‘Hot New R&B.’
The first interlude, ‘No Complaints,’ is also the first to give the hip-hop portion of the album. It’s the perfect song to use the best of its ability within your car speakers or at-home stereo. Syd takes on a mix of cocky but confident side with this track, as her rhymes explains the credit she deserves with her position she is at currently with her music and how her team is on the same wave. She makes a statement that she’s most definitely on the come up and there’s no doubt in mind about it. This was a filler for the album and cut to the chase, hence the length but if anything, I wouldn’t have a problem with it being longer. Another on the rise track, “Nothin to Somethin,” where Syd’s proving her talents with not only the pen, but genre mixing. The hook is the most catchy part of the song, where it’s a repetitive motion of Syd’s vocals and a deeper engineered voice. The chorus makes you feel like summertime, driving through your neighborhood with your day ones as you recite: ‘Sippin’ on somethin’ that’s bubblin/They all hatin’ we love it it’s just a beacon/ And of it you know?/This for my youngest my cousins/I turned nothin’ to somethin’ so I’ma collect this money fo sho/.”
‘All About Me,’ one of the two singles released from the singer’s debut is one of the best off of the album. It’s the summary of the album as whole, as it highlights Syd’s biggest aspirations to her smallest hobbies and current mindset and accomplishments. This is another track for the summertime for sure, but also year-round for a bit of self motivation and something to repeatedly jam too.
The romanticized slow jam, ‘Smile More,’ centers around the comfort ability and feelings arose for that significant other. Syd opens up her sexy side as she serenades listeners and their lovers into a night of possible passion, singing “Turn these lights low/On second thought, leave ‘em on.” But it’s beyond the physical aspect of being in love but finding a safe haven in the one you love and not wanting to lose that. This track alone is the anthem for those out there who are as spiritually connected as physical with their partner. Pure bliss. ‘Drown In It,’ seemed to carry on from ‘Smile More,’ almost like the part two to the sensual ballad. It’s easy to gather Syd’s intention with this number, as if the title didn’t tell you enough, the lyrics definitely will. “Body” follows directly behind ‘Drown In It,”as another night of passion ensures through the lyrics. Syd isn’t afraid to let out her sexy side with this being the third song based off of a sexual encounter on the album. The chorus is the epitome of 90s slow jams, similar to Usher’s 97’ hit ‘Nice and Slow,’ reciting: ‘Baby we can take it slow/Say my name, don’t let go/ I can hear your body when I pull your hair/ What’s my name?/ Girl I swear, I can hear your body babe/.
‘Got Her Own,’ calls to, all the ladies, independent, vibe to this. Syd calls out the female ability to have her own and hold her confidence. Syd makes it clear that male attention isn’t needed to have it all together and any woman is capable of stacking her money and making a way without the fake impressions and being bought by someone else. A more upbeat transition from the previous ballads. ‘Dollar Bills,’ serves as a joint for the club or a house party. This song paints the picture of sitting in the back of the strip club, faded and just flat out having a good time.
‘Over,’ feat. 6Lack, the second to last song on the album takes a turn on the previous dedications to love, displaying the break-up song of the project. Syd expresses the uselessness of waiting around for someone unwilling to put in the effort for an ‘exclusive,’ relationship. But 6Lack, brings on the extremes of forgiving and forgetting with love as it’s not simple, but eventually you gotta move on in unhealthy situations. Insecurities is the closer of the album, centering around accepting one’s insecurities and being thankful for growing out of them and them being able to make you into who you are. This last track can be in regards to insecurities with any situation, but Syd’s lyrics signify the insecurities of letting love go, like the previous track, ‘Over.’ What this album did a lot of times was tell a story through a sequence of songs, rather they ran behind each other or not. It can be concluded that Syd has found her tone and theme but still has work to do within her voice and finding ways to make that theme sound different.
The album is the perfect mood playlist for a late night or lover’s squirrel but also comes with the satisfaction of being able to listening to it regardless of the purpose.