Tuesday, July 16th, 2013

Isaac Carree ft. R. Kelly – Clean This House (Remix)

The push for a Kells gospel album starts (and possibly ends) here!


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Crystal Leww: R. Kelly has always had a voice that’s been suited to a whole range of styles, even if he’s probably most commonly associated with the sexy stuff. His work on “Clean This House” is more along the lines of “I Believe I Can Fly” instead of “Bump n’ Grind”, but the whole thing is a whole lot sadder. Isaac Carree was right to bring him in; Kellz brings in a recognizable name to a great track with a great hook (for a gospel track!), and the two do some truly amazing harmonizing in the outro.
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Alfred Soto: The remix as reboot, as redress, as renewal. A good conceit, but in Kelly and Carree’s hands a fraught one because while their melismas torture every other syllable I’m looking for the jokes.
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Patrick St. Michel: About as good as a “Trapped In The Closet” biting song for the Christian music set can get. Extra point for roping in R. Kelly to appear, even if he isn’t on his A-game here.
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Iain Mew: They take their slow and sincere time to get going, to the extent that “Clean This House” feels a bit of a chore at first. The eventual concept of remix as rebirth is brilliant though, and deserves the respect they treat it with and the time they spend on it. The sparkling results make the process worthwhile.
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Scott Mildenhall: An overblown, structurally awkward ballad with R. Kelly on? Exciting, were it not that there seem to actually be about five different ones ready to go at once, all believing they can fly, collectively ensuring that each other remain trapped in the closet. In fact in parts it feels a lot like a chapter from Trapped In The Closet — certainly, “clean this house” must have been used in it literally as a cliffhanger line at some point. Asking God for a “remix” really is quite something, but then Kanye has already got Him on a featuring credit; these two are going to have up their game.
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Brad Shoup: Two men flagellating each other with velvet sashes, rolling in the drama and enlisting Jehovah as both character witness and co-pilot for Ronnie Jackson. (I know God’s a DJ, but is he on Soundcloud?) Fame as a shield and Jesus as cloak: I hesitate to rate this highly, due to my people’s propensity to engage Kells on obnoxious terms. But unlike with Trapped in the Closet, I could sign up for a few more rounds of this divinely rococo dialogue.
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Anthony Easton: Remix has been thought of as a kind of Halberstomesque body, constantly renewing and profoundly unstable. Its instability is a virtue (think of Daft Punk’s “Technologic”). So this gorgeous, sacred ballad, done by two men caught in sexual scandal, makes the notion of remix as a kind of permanent change, a spiritual miracle, and update on the idea of God’s cleansing will. The theology of the permanence of remix or remix as soul medicine is new and fascinating. 
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Reader average: [6] (2 votes)

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