Throughout his impressive third album Wildheart, Miguel Jontel Pimentel’s ideas are dynamic and ever-present. He offers us two songs about death as Eros in “A Beautiful Exit” and “…Goingtohell.” He muses on growing up biracial, the son of a Mexican-American father and a black mother, as he sings on “What’s Normal Anyway.” He presents sex as a thug’s imperative on “NWA,” and love as “Flesh” and burning lust. He doesn’t lapse into the kind of anonymous lovemaking that typified his earlier work, particularly his retail debut All I Want Is You. Although the cover artwork for Wildheart depicts Miguel as a libertine dream, a naked woman kneeling submissively to him, he reveals himself as a man of flesh and blood.
It’s a necessary growth for an artist who shined brilliantly on 2012’s Kaleidoscope Dream, but still seemed like an enigmatic personality, despite his evolution from an LA singer for underground hip-hoppers like Blu & Exile to a rising mainstream star. It’s a common plight for R&B men who operate in an urban environment of masculine cool and customary hardness, and are subsequently penalized for their sensitivity with pernicious rumors about their sexuality. As Miguel discovered, it didn’t matter how many hot and freaky pictorials he shot with his model girlfriend Nazanin Mandi. The same idiotic gossip vultures hovered around him, too.
Perhaps he’s learned that the best way to combat the haters is to make his art more distinct, add more depth, and to hell with the consequences. To be sure, there’s nothing on Wildheart as strong as Kaleidoscope Dream’s “Adorn,” and it remains to be seen if R&B traditionalists will embrace the new album’s “Hollywood Dreams” flashy pop and funk rock as much as the critics have praised it. For the former, there’s “Coffee,” as sumptuous a babymaker call as there has been this year. For the rest of us, there’s Miguel the innovator, pushing forward.
(Rhapsody – June 30, 2015)