I don’t know that I’ve listened to anything quite like what I’ve heard of E.N Young’s new album, “Live Love Stay Up.” The sample I received consisted of one song in three different iterations: the original song, “Eye of the Storm,” an acoustic revamp and a dub version. 

“Live Love Stay Up,” Young’s sophomore album, similarly comprises three genres: reggae, acoustic and dub. This decision is unique, brash and smart. 

Though the album features only a few songs, it is able to gain three times the mileage out of the showcased material. Still, this doesn’t come off as frugal or tired; it serves as a demonstration of Young’s flexibility as an artist and talent as a producer. 

The featured track of the album, “Eye of the Storm,” is a reflection of classic reggae. Some of the pop-inspired, pseudo-reggae stuff seems rather frivolous in comparison to Young’s expression of sorrow in the modern age—take Magic!’s “Rude,” for example. To this extent, Young takes obvious inspiration from reggae’s roots, including its usual riffs and frank discussion of social issues.

“Eye of the Storm” examines the prospect of finding solace in times of difficulty—the calm center of the hurricane, so to speak. The topic is maybe too typical. It’s relatable and relevant, but the topic doesn’t breach anything resembling a new idea. The idea of finding peace amidst troubling times is one that reggae, as a genre, is all too familiar with.

The dub version of “Eye of the Storm” initially seems too similar, too derivative of the original song. However, as it progresses, the vocals all but disappear and the instrumentals become alien and bass-heavy. The focus alters to feature Young’s prowess in musical production and arrangement, rather than further demonstrating his vocals or lyricism, which he previously exhibited.

This is where Young wisely draws the line between simple recycling and clever innovation. Though at heart the tracks share lyrics and melody, he carefully retools them to highlight different aspects of the genres he demonstrates and, in addition, the various aspects in which he, himself, excels. 

Both the original and dub forms of the track emphasize Young’s dedication to the reggae genre. He expresses the importance of true-to-form reggae melodies and instrumentals as well as the importance of reggae in developing genres, like dub. While “Eye of the Storm” in its original iteration echoes back to a reggae golden age, its addition to the dub genre reflects the graduation of dub-step from its reggae precursor. 

Perhaps the iteration that best expresses Young’s variability as a performer and musician is the acoustic version of “Eye of the Storm.” Though this rendering strips the original track of its reggae elements, it succeeds in spite of this. The prominent bass, characteristic of the reggae genre, is substituted for staccato piano—and it works. 

At times, Young’s devotion to the message of “Eye of the Storm” comes through at the expense of lyricism. The discussion can come off as clunky and pandering at worst, as heard in lines such as “It was like bills and money / My girl don’t think it’s funny / Trying to find a way to survive.” The lyrics of “Eye of the Storm” lack the specificity and subtlety to be great. 

Although the sample’s arrangements are clever, the same cannot be said about Young’s lyricism—at least in this small portion of the album. This aspect may be lacking here, but the rest of the album may succeed in this regard upon its release. Despite this, because of the variety present in the album, one is certain to find something that appeals to them personally upon listening.