God Said No (Album)

His second album, “God Said No,” delves into a breakup with all its complications, transformed into pensive alt-R&B.A failing romance can spark enduring breakup songs. Consider Taylor Swift, Shakira, Bob Dylan, Beck, Joni Mitchell, Björk, Fleetwood Mac and, now, Omar Apollo, with his second full-length album, “God Said No.”Apollo, 27, was born and grew up in Indiana, the son of immigrant parents — his given last name is Velasco — who shared their Mexican traditions with him. He emerged on SoundCloud in the late 2010s as an alt-R&B songwriter with echoes of Prince, hip-hop and indie-rock, singing largely in English and occasionally in Spanish. Apollo’s full-length debut album in 2022, “Ivory,” gave him a TikTok-powered, platinum-certified hit: “Evergreen (You Didn’t Deserve Me at All),” a self-questioning ballad with echoes of the 1950s and electronic overtones.“God Said No” plunges more deeply into the raw, unsettled, often contradictory emotions of a crumbling relationship. Apollo sings about sorrow, regret, doubt and disbelief, along with bitterness, anger and lingering desire. It’s not a clean break with one side to blame; it’s far more complicated.Teo Halm, one of Apollo’s co-producers on “Evergreen,” is an executive producer (with Apollo) on “God Said No,” which retains and expands that song’s pensive mood. Most of the new album sounds deliberately modest, verging on low-fi. Its tone suggests troubled thoughts and uncomfortable conversations, small-scale and introspective — seemingly private, not overtly theatrical.One model for “God Said No” is probably Frank Ocean’s 2016 “Blonde,” another heartbreak album awash in vulnerability; Apollo’s reedy tenor often resembles Ocean’s voice. On “God Said No,” the guitars and keyboards are tamped down and reticent; drumbeats are present but not pushy. Even when the production deploys strings, horns or Apollo’s own backup vocal harmonies, they’re subdued and distant, more like apparitions than reinforcements.The partial exception is “Less of You,” a metronomic synth-pop track that harks back to Giorgio Moroder (along with some Daft Punk-style filtered and harmonized vocals), with Apollo wondering, “Was last night the end of me and you?” Even with a blippy hook and a chorus that shifts into a major key, Apollo sounds increasingly alone and forlorn.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More