Welcome to yet another Loosies Of The Week, a wrap-up of this weeks singles, throwaways, leaks, and any other loose tracks I find. A wide range of genres this week, with a well-rounded level of quality. There's sure to be something you enjoy.
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Last week, DJ Muggs of Cypress Hill and Soul Assassins fame announced an EP with Hip-Hop's greatest villain MF DOOM. The lead single 'Death Wish' sneered and scowled with the viciousness of early 2000's Underground Hip-Hop a la El-P and his Definitive Jux era. With Freddie Gibbs onboard, the single found a newfound home for DOOM whose been lost amidst Boom Bap that played up the tomfool aspects of his charade, ignoring the sinister undertones. With 'Assassination Day' confirming the overbearing aesthetic, Muggs has proven already to be the perfect conduit to a fresh DOOM style that bears closest resemblance to his Viktor Vaughn character. With lurching percussion in tow - something almost entirely absent in the cold but calculated 'Death Wish' - 'Assassination Day' feeds off the underbelly of DOOM as wild beast. The slow-churner forces DOOM to annunciate, allowing him bated breaths where his wicked ways truly show. Unfortunately, half the track's devoted to Kool G Rap who doesn't offer much in the way of originality, zooming back to the early era of 90's Gangsta Rap. Still, this Muggs and DOOM collaboration is shaping up to be fantastic.
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To my dismay, Trevor Powers' reemergence after dissolving Youth Lagoon has been anticlimactic at best. Prior to 'XTQ Idol' and 'Dicegame,' three singles of glitch-minded Art Pop have dropped in preparation for Mulberry Violence. Each has tiptoed that line between sharp and random, shifting between the recent Progressive Electronic maelstrom brought on by Son Lux's minimalism and Oneohtrix Point Never's mechanical fritz. Much of the same descriptors can be applied to 'XTQ Idol' and 'Dicegame,' potentially even more so as the former regularly engages in shrill detours departing from the Classical origin, whereas the latter culminates in a surging wreck of Noise. Both are more interesting than the previous singles - 'Playwright,' 'Ache,' and 'Plaster Saint' - however they don't retract the growing apprehension that, while likely a cohesive and thematic ensemble of Art Pop, Mulberry Violence has arrived half a decade too late. The blasé response towards OPN's latest parlay into vocals Age Of can be seen as a solid comparison. Powers' incongruity and over-reliance on unnatural elements may prove fatal.
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In terms of advanced Electronic music, few push the boundaries greater than Iglooghost. His psychotic brand of Wonky, which leans heavily towards Deconstructed Club anthems too schizophrenic to allow for a singular identity, ramp up the abrasion of Drum N Bass with zonked out chipmunk vocals and a synthetic swarm of bass. Many who use glitchy hyperactivity do so through an artistic, Neo-Classical lens like Oneohtrix Point Never or Arca, but Iglooghost's work, especially his latest 'Niteracer,' incites a more temperamental, lowbrow reaction. The first single off Steel Mogu, one of two EP's set to be released by the Brit in 2018, powers through a sugar rush that's both ceaseless and obtrusive. However 'Niteracer,' like Iglooghost's last LP Neo Wax Bloom, implores the structureless ideologies of Progressive Electronic, in that there's no predominant groove, melody, or motif guiding the track. Substance galore, but identity-stricken.
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Since the success of Flower Boy - which we're nearing the one-year anniversary of - Tyler The Creator's self-confidence in relation to his music has been through the roof. Unlike Cherry Bomb, which endured an era post-release that the artist and fans would like to forget, Tyler's Flower Boy era is in full bloom. Finally able to connect the dots and provide an identifiable aesthetic, the rapper has been dropping bite-sized loosies at a constant clip. The two most recent of which, 'Gelato' and 'Peach Fuzz,' act as re-skinned products to please his R&B and Soul crowd respectively. The former, originally Jacquees' 'No Validation,' soothes with a Bounce-esque vibe that Tyler effortlessly glides atop of. 'Peach Fuzz' on the other hand, which is remixed over Prophet's 'I Wanna Be Your Man,' finds Tyler playing the role of hopeless romantic, losing focus as we all do from time to time midway through. His self-awareness saves the track, as the desultory nature of most songwriters is what sets their demise. They're each pleasant snippets, with 'Gelato' taking the edge, even if they don't amount to much.
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With 'Geyser,' the lead single to Be The Cowboy, Mitski intrigued me enough to warrant a listen to her breakout Puberty 2. What I found was a crafty, quick, delectable Indie Pop record that checks off all the boxes. However, upon consideration, despite the catchiness of songs like 'Dan The Dancer' or 'A Loving Feeling,' no moment lingered in the recesses of my brain for long. The same could be said for 'Geyser,' the same could be said for 'Nobody.' That statement becomes more damning for the latter considering its chorus is specifically designed to be an ear worm, looping the title with various frequencies instead of effecting a more complex, rewarding treat. As per usual, Mitski's greatest asset is her ability to stir something out of nothing, twisting minimal percussion and a simple piano melody into a rousing New Wave track. 'Nobody's' undoubtedly a foot-tapper, but in terms of lasting memory it struggles to create one, especially in an Alternative Dance era ripe with overindulgence.
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Three of the four names involved in 'See You Shine' I've never heard of before. That's rapper Little Pain and producers Nedarb and Suicideyear. However, if famed alt-rapper Lil Ugly Mane lends his voice to give his blessings, then the track must be worthwhile right? Unfortunately, no. According to various sources, Little Pain was slated to lead the charge of America's Sad Rap phase, around the time of Yung Lean's come-up. Much of that low energy, teenage romance can be seen on 'See You Shine,' a track that embraces positive reinforcement similar to Lil B. Of course, the two-minute Soundcloud rip doesn't offer greatness underneath the muddy bass and drooping synths, and the question really should be asked: Why's Lil Ugly Mane here? Capable of so much more - whether it's Third Side Of Tape, Oblivion Access, or Flick Your Tongue - the daring rapper/producer fumbles around methodical romance tropes in the most awkward ways possible. Hopefully this was a lingering loosie from Little Pain's vault and not a sign of things to come for Travis Miller as we, especially me, eagerly await Raging Bull.
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