The 12 tracks on Yes! are steeped in beats as smooth as ever. Putting aside much of the political commentary found on his previous albums, k-os lends his honeyed voice to contemplations on the fame that comes with two platinum-selling albums, as well as the more typical theme of male/female relations. On "The Aviator" he wonders "...how did crafting these songs in my bedroom end up being sung back to me by 10,000 people in a stadium the size of the Molson Amphitheatre again?" "Burning Bridges" is a standout track, not ...
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The 12 tracks on Yes! are steeped in beats as smooth as ever. Putting aside much of the political commentary found on his previous albums, k-os lends his honeyed voice to contemplations on the fame that comes with two platinum-selling albums, as well as the more typical theme of male/female relations. On "The Aviator" he wonders "...how did crafting these songs in my bedroom end up being sung back to me by 10,000 people in a stadium the size of the Molson Amphitheatre again?" "Burning Bridges" is a standout track, not surprising in its theme, but with beautifully crafted lyrics aimed at his critics. "4 3 2 1" was written as a rap response to the megahit "1234" by Feist, an artist for whom k-os has done several remixes. He turns things uptempo a notch with "Whip C.R.E.A.M.," which has a melody as upbeat as a Sunday morning drive to the beach. While k-os still doesn't fit into any standard musical genre, he seems to be defining one of his very own. On this 2009 album, as with Atlantis: Hymns for Disco, Joyful Rebellion, and Exit, k-os harmonizes, raps, transforms, and grows but he doesn't waver in his style. The music is always recognizably his own. His albums are one continual exploration of k-os. ~ Celeste Rhoads, Rovi
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![Exit [Original]](https://www4.alibris-static.com/exit-original/cover/f55199l6sv4.jpg)
