Hi, everyone. Dry Coughtano here, the Internet's busiest music nerd. It's time for a review of this new GENA project, The Pleasure Is Yours.

Here we have the debut album from a new crossover, a new duo, GENA, with a title that really lives up to its title, its name. GENA was co-founded recently by two musicians I have been aware of for a minute. First off, producer and drummer, Karriem Riggins, an underrated talent, really, a Detroit native whose artistry is definitely in the lineage of great beatsmiths from that region like Dilla.

So yes, with Riggins in the mix, we have veteran experience that is essentially coming together with the talents of a newcomer, relatively speaking, vocalist, producer, rapper, songwriter, Hailey Olivia Williams, or Liv.e, who has dropped a few albums under that name since 2020. And admittedly, while I had not really been a massive fan of her super spacy abstract and psychedelic spins on soul and RnB, GENA is offering something quite a bit different.

Now, going into this project, though, I wouldn't say you have to be super deeply familiar with the works, respectively, of Riggins or Williams for you to be able to get into this. The Pleasure Is Yours can definitely be appreciated for what it brings on the surface, which is this winding tapestry of many tracks, some pretty brief, but they all add up into this very entrancing, vibrant tracklist, bringing together elements of lofi hip hop, soul, jazz rap, and some trippy takes on RnB, too. The whole thing has the progression of a chaotic little beat tape, except it features the lead vocals and lyrisism of a lead artist. Think what would happen if Erykah Badu had to do an entire project based on a bunch of random J Dilla odds and ends.

So as a result of that, truth be told, a majority of the tracks on this thing aren't necessarily formally structured out like a proper clear-cut segmented songs. But still, somehow each track here manages to eke out a special moment or sound, like the opening track with its earworm refrains of "Who's Got a Problem With GENA, Who's Got a Problem With GENA", fit over these really crispy drum loops that no doubt were played by Riggins. You also have "Readymade", which is not only a really well-sung track from Liv.e, but it also features this funny break where she stops to ask if she is performing in the right key. Of course, she is, and the song just keeps rolling from there.

There's also "Left the Club", which features standout lyrics such as, "I'm thinking about giving you the blues right now / I'm thinking about giving you a bruise right now". Not to mention the sexual energy that is just exploding out of "Unspokerrn" or "TGD", which is like intergalactic elevator music, and I mean that in the best way possible. Or I don't know, for a cuter reference, maybe this is like what you would get doing a futuristic soul version of something from the Earthbound soundtrack. I don't know.

Never mind 1999, the track "This Is So Crazy", sounds like a Prince song from 2999. Then the jazzy layers of instrumentation all over "Douwannabwithastar!?" are absolutely luxurious and feature some of Liv.e's best vocals on the entire record, too. "Found out that you flow, found out that you flow", if you've heard that part, you know how freaking good it is. And "DoobieDooWew" also sounds like a bit of an exercise of sorts with Liv.e singing over what sounds like these stretched, skipped groups of a broken record or something.

Look, the list of memorable moments across this tracklist goes on. It really does feel like each song, while culminating into a pretty cohesive vibe, they each have their own specific character or angle to them that makes each track special, which prevents this album from blending together into this super bland, forgettable, one-dimensional experience. And yet still, this record manages to pull off a consistently chill vibe. It's really difficult these days to come across an album that does genuinely come across in a way that is relaxing and really subtle, but simultaneously has actually interesting details hidden in its little pockets and is genuinely engaging. It's not just merely trying to be wallpaper.

And also it sounds like Liv.e and Karriem had an an immensely fun time pulling these tracks together. In a way, you could even frame this album as an example of music as play. Having heard his stuff since around 2012 or so, I will say Riggins' production is as great as it ever has been. He's only gotten better over the last 10 years when it comes to playing with synths and space.

It's also worth noting that there are no samples on this album. All original music and instrumentation. And Liv.e over these much clearer and punchier mixes and instrumentals is in a bit of a sink or swim situation to my ears. But she passes with flying colors across this entire album due to her vocal range, her unending charisma and sense of humor. But yeah, as much praise as I have for this album, there are maybe a few tracks that are less memorable than others. B

ut GENA is still a very solid project overall. Who has a problem with GENA? Not me. I'll say that, which is why I'm feeling a light to decent 8 on this record.

Anthony Fantano, GENA. Forever.