The songs collected in "Infamy," Denae’s first full-length album, vary in styles, tempos and degrees of complexity.
Where some tunes are muscular with design and scope like the reggae-inspired “Regardless”
others like “What’s Left to Say” offer direct singer-songwriter interpretations.  

Like many debut albums, first collections have a tendency to fluctuate in creative direction. Denae’s body of work
is informed through a variety of R&B strains, and "Infamy" offers hybrid sounds with multiple points of familiarity.
Denae’s agile voice has neo-soul inflections that gingerly lead his melodies; what it lacks in low-end warmth,
Denae makes up in self-assured delivery. Rather than singing above the groove, his vocals involve themselves
deeply inside the music to create a peculiar blend of country/folk candor with cosmopolitan savvy.  

Perhaps there are hints of a Stevie Wonder/Al Green coalition walking through a staccato cadence—a style popularized
among the ashes of pop ska that evolved into the beach-stoner platitudes of Jack Johnson and his range-less sort. Left unchecked you have Jason Mraz.
Under Denae’s direction, a backlog of rhythm & blues and soul appears—sticks and jabs—with a compendium of raw and unrepentant experiences carefully spun to music. 

Denae didn’t skimp in the studio. Recorded at Frogville Recording Studio, singer-songwriter John Courage produced and played on the record,
while Bill Palmer engineered. Players include his Rhythm and 53rd band mate Case Tanner; horns courtesy of Russell Sharf and
Manual Ramirez Ruiz from the salsa band Nosotros; Kevin Zoernig on keys and the inimitable Joel Fadness on drums.
This particular lot of musicians represents a serious mob of musical talent, which also may explain the broad sequencing of styles. 

For its various strengths, "Infamy" left me longing for more of the vibe created by the tune “Only a Man.” It is a love-lost appeal that expresses
the considerable possibilities in Denae’s career as a musician. The song validates the direct line created by the artist between untethered inspiration
and constructing something meaningful to share. Because the album covers so much musical ground, the song’s intimate tenor and others of similar
style such as “Angela” and “Someone’s Agenda” compete against the tongue and cheek playfulness of tunes like “Brokeass Birthday.” 
Although they both co-exist in "Infamy," a picture of the musician behind the tunes is difficult to gauge. 

Whether it is our task to understand the artist’s life as much as the work produced by the artist is another conversation.
Ultimately, it is within the quieter moments of the album that make the deepest and most memorable connections.   

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