First, a word about the auto-tuning. I will say that I am generally averse to electric manipulation of the voice. The difference here is that Fun. uses auto-tuning, not to compensate for the soloist's inability to sing (as a disturbingly increasing number of popular artists do these days -- as we have seen in his live performances Nate Ruess can really belt one out). Fun. uses auto-tune as a completely valid musical instrument; it's done tastefully and appropriately, not to compensate for some vocal shortcoming. Sans auto-tune, Nate Ruess is a strong high tenor who sings without vibrato, making his high notes in "We Are Young" sound pretty effortless.
The record is one where you don't find yourself skipping over tracks. Each is packed with a catchy melody. There is not one weak link in the record, with the exception being "It Gets Better" (track 5), but even this is not a bad song at all.
For many, "We Are Young," with its massive, anthemic chorus used in a...Read more
First, a word about the auto-tuning. I will say that I am generally averse to electric manipulation of the voice. The difference here is that Fun. uses auto-tuning, not to compensate for the soloist's inability to sing (as a disturbingly increasing number of popular artists do these days -- as we have seen in his live performances Nate Ruess can really belt one out). Fun. uses auto-tune as a completely valid musical instrument; it's done tastefully and appropriately, not to compensate for some vocal shortcoming. Sans auto-tune, Nate Ruess is a strong high tenor who sings without vibrato, making his high notes in "We Are Young" sound pretty effortless.The record is one where you don't find yourself skipping over tracks. Each is packed with a catchy melody. There is not one weak link in the record, with the exception being "It Gets Better" (track 5), but even this is not a bad song at all.For many, "We Are Young," with its massive, anthemic chorus used in a...Read more