Spotlight: Blood Orange — Negro Swan

For an artist today, staying relevant is more of a concern than ever, but Devonté Hynes has always had his finger on the pulse. Though you mightn’t be familiar with the name, Hynes has been a staple in the popular music industry for more than ten years.

Beginning at age eighteen in London, he was part of dance-punk group Test Icicles; he went on to write and produce for The Chemical Brothers, Solange, Sky Ferreira and Kylie Minogue; and, he scored Gia Coppola’s directorial debut, 2013 coming-of-age drama film Palo Alto. His real triumph, however, is in his most recent studio album Negro Swan — his sixth solo album, and the fourth released under his Blood Orange moniker.

Although Hynes is no stranger to using his music as a commentary for social issues, Negro Swan speaks on a more personal level than his earlier albums. Before the release, it was described as a “reach back into childhood and modern traumas”, and you only need to go as far as the opening track to experience this. “My first kiss was the floor,” coos Hynes on ‘Orlando’, his words a harsh contrast to the warm and gentle instrumentation.

Parts of Negro Swan feel more rooted in R&B than Hynes’ earlier solo work, but he still blends elements from other genres to create something atmospheric; placing hip-hop beats over 80’s melodies; layering synthesizers, electric guitar, flutes, and saxophones; and, on ‘Holy Will’, even gospel harmonies. While Hynes is a multi-instrumentalist, he is also a frequent and diverse collaborator, and called on Steve Lacy, Puff Daddy and Tei Shi — among others — to take part. There is narration throughout by Janet Mock, a transgender woman of colour, known for her work as a writer and an activist.

The album is, in its entirety, an autobiographical account of the marginalization suffered by a queer artist of colour. A powerful and emotional work; one that speaks of identity and oppression, Negro Swan is the standout of Hynes career.