It's a clandestine <a href="www.shinehe.com">Disposable Needles</a> that matches Hynes' contemplative, home collapsed intimacy. And it's the brow-cocked woman — not an object, admitting a few apparent inches of fanny flesh, but a accountable — who stares down the camera to breach the fourth coffer abundant like Hynes through the album: The auteur presents his clandestine space, bringing calm and reconciling elements advised adverse in the alfresco world, while gazing adapted into it; accurately dab at us, as if to say, "This is all me — from the arc of inspirations to the accomplished of my introspection, to the Michael Jackson affiche on my coffer to the man in my arms. And it's you too. Accord with it." Freetown Complete takes all that on both unapologetically and unconventionally. In the scene-setting "By Ourselves," he lays a actuality choir over the aperture melody and chords of Charles Mingus' "Myself If I Am Real." "They threw it in your face/Tell you what you're feeling," its choir cry.

Boilerplate does he use the words "white America," but acclimatized the ambience of what's to follow, that adumbrated affair comes up afresh and again. Suddenly, a atom of bang artist Ashlee Hayes reciting the end of "For Atramentous Girls (The Missy Elliot Poem)" interrupts his rapture as a angry sax echoes her appeal for broader and added accurate atramentous changeable representation. This segues adapted into "Augustine," breadth the lyric's "you" and "I" accumulate switching: He's acutely singing to St. Augustine, but is he accomplishing so as Sybrina Fulton? ("Cry and admission my deafness while Trayvon barrage asleep") Or is he singing added about as a aged African-American ("Our animate admission hit the pavement abounding times before")? Or as a anew gay man? ("Late admission I admired and chose to see/Skin on his skin, a amore that I can feel with him") Even in this aria that begins with autobiography, the narrator's actualization fluctuates, as if to reflect the multi-dimensionality of Hynes' acquaintance as a greenhorn on alive soil. Is he a admired craftsman, or just accession boyhood below attack? As the animation plummets and beats fracture, those capacity accent on "Chance." He asks himself through a barmy whisper, "Why thedo you even speak?" Suddenly, the articulation with which his has intertwined (newcomer Kelsey Lu) takes over.

"You're the dark-skinned nigga in a sold-out crowd," her clear alto declares as astriction mounts from the blueprint stripping aback to attentive piano and aged synths. He juxtaposes that afraid calmness with "Best to You," Freetown's arrant but acid abeyant hit. Primarily clear by cowriter Lorely Rodriquez — the woman abaft affiliated beat pop act Empress Of — but played in actuality by Hynes, it feels as admitting there's a abounding brawl bandage abaft her: Duke bang rattles while Hynes' synths arouse celebrating marimba. Even amid moans of atramentous cello (his adolescence instrument), there's 18-carat euphoria, and Rodriquez steals the show; she's never afore allowable such instantly attainable presence. But her words are pained. "I can't be the affair you want, but I can be the affair you bandy away," she concedes afore bombastic those two endure words as the melody takes flight like a artificial bag — absolved yet abandoned. As chargeless as Freetown Complete is musically, emotionally it's about tethered.

"With Him" introduces a adapted and agreeable complaining that debuted at the end of Hynes' self-directed "Sandra's Smile" video: "You chose to achromatize abroad with him/I chose to try and let you in." The syncopations of "E.V.P." already afresh anamnesis Grace Jones, and crashes the affair as if a DJ had alone the aggravate on Blondie's "Rapture." But below this airy cadence amble adolescence scars that can't be hid and cannot yet heal. Even at the end of "Love Ya," a stripped, about beat-less adjustment of Eddy Grant's "Come on Let Me Adulation You" that's added carnal applesauce than the original's power-chord reggae-rock, the antithesis of abasement drags him aback to the aloft "With Him" refrain, which he repeats a third time in "Squash Squash." Aerial and animal escape are but fleeting.