Matthew West Into The Light 2012 FLAC
On November 24, 2008, "Say You Will" was included as the first track on West's fourth studio album 808s & Heartbreak. The song was met with generally positive reviews from music critics, mostly being identified by them as an album highlight. While naming the song as one of the album's tracks to be downloaded, The Washington Post's Chris Richards noted it contains "equally rich sonic detail" to "Street Lights". He analyzed, characterizing the song as sounding like slow riffing from "Kraftwerk and a choir of Gregorian monkbots" on the Beatles' "Eleanor Rigby" (1966) and observing how West "allows the beat to plink and plonk off into infinity" after his auto-tuned performance. Richards wrote that the "three gorgeous, wordless minutes" provide clarity of West "no longer clamoring for our undivided attention", instead "giving us enough space to step back and watch him take a brilliant left turn". Reviewing the album for The Independent, Andy Gill recommended it as one of the songs to download. Steve Jones from USA Today made the same recommendation in his review. Writing for RapReviews, Jesal 'Jay Soul' Padania named "the opening strands of the haunting 'Hey-hey-hey-hey'" on the song among the moments of 808s & Heartbreak that will remained in one's mind "for a good while". At the Chicago Sun-Times, Jim DeRogatis selected the song as one of the notable times on the album where West's formula of auto-tune usage "is touching and very effective". Scott Plagenhoef from Pitchfork opined that the song has one of the "biggest vocal lines" on the album, before ultimately reaching "a three-minute, table-setting outro-- a patient, defeated-sounding collection of choral vocals and drum machines".
Matthew West Into The Light 2012 FLAC
West performed the song for the sixth number of his February 2009 VH1 show, which was later released as his second live album VH1 Storytellers in January 2010. Spooky keyboards backed West for the performance, while he also told the story behind the song. During his headlining set for the 2009 Wireless Festival at Hyde Park in London, West followed declaring the song his favorite on 808s & Heartbreak by performing a highly emotional version of it. While performing, he wore his customary aviator shades and black suit jacket while. Kanye delivered a performance of the song for his headlining set at the 2011 Coachella Festival, which saw him declare the set his "most important" show since his mother Donda West's death. Kanye West also said during the song's performance that as he wrote "Power" (2009), he had envisioned performing it on the stage of Coachella. On February 22, 2012, West freestyled over the song for seven minutes during a concert in Melbourne, Australia. The freestyle included West recounting having contacted an ex-lover late at night; he requested her to come over and was led into believing she would take up his offer, but he was ultimately denied.
For a January 2013 concert in Abu Dhabi on The Yeezus Tour, West began to perform "Say You Will", before transitioning into both freestyling and ranting. During the concert, West wore a straitjacket. At the 2013 Governors Ball, West performed the song. For West's two night concert of 808s & Heartbreak in its entirety at the 2015 Hollywood Bowl in September, he performed the song as the first track, beginning at 9:19 p.m. West wore loose garments in white and off-white shades as he performed, while desert-trek boots served as his footwear. He was supported by a small band, a medium-sized orchestra, and backing singers. The lights went out as soon as the performance started, which was accompanied by fireworks. West sang to American actress Zoë Kravitz throughout, who was covered in gold paint and sulked in the center of the stage. He faced the direction of the orchestra and singers, rarely looking towards the crowd. Around one minute into the performance, West requested his band to restart the song. During the outro, he had a standoff of sorts with Kravitz. On November 24, 2019, West served as the offstage narrator for his debut opera Nebuchadnezzar while the song was performed by a team of singers, who sang the orchestral coda as a recurring motif.
A remix of "Say You Will", featuring violinist Caroline Shaw, was uploaded by West to his SoundCloud on October 19, 2015, alongside a remix of the Weeknd's "Tell Your Friends" under the title of "When I See It". The cover art for both is a photo of flowers, which had been used for merchandise at West's 808s & Heartbreak concert. Photographer Nick Knight released a body of large still-life images alongside his "Flora" exhibition of flowers in 2012, with the artwork being one of the images from the body. Manipulation by heat and water was used for the image's development process, creating the visual effect of melting flowers. According to Shaw, West first approached her backstage at a 2014 performance and requested her phone number. Shaw remembered starting off not overly enthusiastic about a collaboration, saying that one of West's producers "asked me if I'd be interested on working on songs for a live show with an orchestra", leading to her getting "the sense that maybe he wanted to ask me to be a composer and orchestrate something, and that wasn't something that was really interesting" due to the role being fulfilled by many people. She further recalled not doing anything "for a week or two", before taking "a deep dive into [the West album] 808s and Heartbreak", and admitted: "Say You Will is the song that hit me most." Shaw explained that the song "does something with music that I love: the last two minutes [of it], nothing happens. Absolutely nothing". The remix was recorded in the lead up to the album concert.
Acoustic signals, voice, sound, articulation, music and spatial networking are dispositifs of radiophonic transmission. They have brought forth a great number of artistic practices. Up to and into the digital present radio has been - and still is - employed and explored as an apparatus-based structure as well as an (alternative) model for performance and perception. This volume investigates a broad range of aesthetic experiments with the broadcasting technology of radio. It also sheds light on the use of radio as a means of disseminating artistic concepts, and on questions of mediation of this art form.