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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For many, Tim Hecker's music leaves them feeling empty inside. On albums like Virgins and Love Streams I was left with that same feeling, but it wasn't necessarily a good thing. Without kick, structure, or variety it's hard to see his moving monoliths as anything but elaborate soundtracks for films not yet produced. Predictably so, nothing changes for 'This Life,' the lead single to Konoyo. Hecker lumbers around ominous landscapes rife with the scourge, incorporating scaling and receding Noise - with added Classical Japanese spices - that presents a hellish atmosphere one would not find joy walking through. Perhaps it's my Ambient taste evolving, but unlike Love Streams (sans 'Black Phase') or anything on the Glitch-centric Virgins, 'This Life' actually feels deliberate, meaningful, and artistically-rich. Whilst listening, especially in the first half when eastern strings play a vital role, I'm wisped away to feudal Japan in the aftermath of a scorched earth travesty. Quite the atmospheric imagery to conjure using modern Electronic equipment.
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Thus far, with three singles under And Nothing Hurt's belt, one thing's become clear; J Spaceman lives a content life. This, a reassuring assessment following his 2005 scare with life-threatening pneumonia, but also a reaffirmation of Spiritualized's long-running patent for uplifting Symphonic Rock. 'Here It Comes (The Road) Let's Go' is no different, finding Spaceman returning, musically, to the simple things in life; a contagious melody and earnest lyrics preaching positivity. The light harmonizing, acoustic foundation, and sweeping horn arrangement all feel inspired by Spiritualized's beaconing work Ladies & Gentlemen We Are Floating In Space, namely 'Stay With Me' and 'Cool Waves.' Of course, that style's a bit outdated come 2018, but Pierce's enthusiasm insists that this Britpop shindig's necessary. With 'A Perfect Miracle' and 'I'm Your Man' already in tow, And Nothing's Hurt style has almost certainly been solidified, and the signs are promising.
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Talking from inexperience, Interpol's 'Number 10' is quite good. I say that because since 2004's Antics, fans haven't been too keen on their direction, but I wouldn't know as Marauder's lead single 'Rover' was the first Interpol song I've heard. Each features that refined Post-Punk Revival mixed with the solid sophisticated of an Indie band aging gracefully, akin to The National or Grizzly Bear. The crescendoing guitar riffs that kick off 'Number 10' provide atmospherics with the hint of something greater to come. The instrumental opener, however, is the best aspect of 'Number 10,' as the bulk of the single returns to a formal Alternative Rock setting. That's not to say the rambunctious attitude doesn't work, it's just perhaps too standard and conventional. Paul Banks' vocals heighten the basic guitar/drum combo, especially in the verses where his passion excites rather than withdraws. I see some relation overall to Preoccupations, especially the more restless cuts on their recent New Material.
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There was a brief time when Chester Watson's name neared that of his closest competitor; Earl Sweatshirt. Unfortunately, as the Hip-Hop community deemed, there was only room for one woozy abstract lyricist twisting tongues in the same vein as tastemaker MF DOOM. It's the same reason up-and-comer MIKE has likely already plateaued, despite his clear-cut talents. 'Chessmaster,' the first single off Project 0, finds Watson suffering in a state of limbo, incapable of branching out despite showing the urge. Alongside Kent Loon, Watson continues to slur through various one-liners concerning his wellbeing. Aka the entirety of 2016's Past Cloaks. The beat, a claustrophobic and fractured Cloud Rap with subtle ad-libs and constant diversions. It suits Watson's personality well, although it fails to standout against his vast sub-two-minute collection. Where 'Chessmaster' suffers the greatest lies in the lyrics, and namely the disparity between verse and chorus. During the hook, and occasionally in the verses, Watson comments on his necessary introversion, a topic that suits his moody atmospherics well. However, he distracts himself with Hip-Hop semantics with lines like "got these chicks kissing like they was dykes" and "told em they can go and show they boobies to my entourage." Unnecessary given the tone he's crafting.
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There's always something special about diving into a new, intriguing artist without doing your research preemptively. It's also a textbook example of how cover art and band name influence decisions, as those two ingredients alone were the sole reason I decided to check out 'Gatherings,' the first single from Kikagaku Moyo's upcoming LP Masana Temples. What lies within, however, isn't as forward-thinking as once assumed. Tokyo has a rich history in Psychedelic and Progressive Rock, and that's exactly where we find Kikagaku Moyo here. The attention to structuring, layers, and instrumentation (there's slight elements of Electronic, which help) is appealing, but ultimately unoriginal. The sluggish guitar work during the verses pale in comparison to the scorching, King Crimson-inspired riffs in the hook. Thankfully there's an uptake in pace towards the end of 'Gatherings,' diversifying the track despite still falling within the classical Prog Rock vein (think Yes or Can's more conventional ideas).
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Since Vic Mensa incorrectly spelled his 2016 EP There's Alot Going On (a typo that, considering auto-correction, is more difficult than spelling it right) nothing he's released has been worth the Hip-Hop community's time. While last year's Autobiography was his best project since INNANETAPE, it remained a far cry from the one thing Mensa needs; an identity not overrun with cliches. Unfortunately, 'Metaphysical' now exists and his uninspired conventionality has become laughable. Earlier this year, Mensa attempted a shoddy Trap imitation on 'Dim Sum,' and now he's gone to impersonating Drake in one of the more blatant stylistic rip-offs I've seen in quite some time. His murmuring vocals nearly indecipherable from the Scorpion singer, as is 'Metaphysical's' overall content (bedroom connections, what else?) and the Dancehall-flavored production behind him. There's even scratching vocal samples akin to 'Nice For What' and 'In My Feelings,' using the Bounce influence Drake reinvigorated on those two tracks. Nothing worse than an artist who can't make his own art.
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