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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As the singles for Take Me Apart dropped one by one it became clear, based on the positive response from the Pop crowd and the Indie chart-eyers, that Kelela was going to become the R&B equivalent of Carly Rae Jepsen. Beloved by all for making genre-abiding music that's both catchy and clever. Both of these singles, 'Waitin' and 'Blue Light,' fail to push any boundaries, something I perhaps wrongly hoped for after seeing her work with the likes of Danny Brown (Atrocity Exhibition) and Gorillaz (Humanz). That's not to say the quality of these two singles suffer because of their basic tendencies, they may in fact be heightened by them. While 'Waitin' tantalizes with a classic Contemporary R&B sound that's mildly inspired by Dam-Funk's Synth Funk, 'Blue Light' uses harsher instrumentation that recalls her work with Clams Casino on one of 32 Levels' standouts 'A Breath Away.' There's nothing particularly wrong with either of these songs, which is exactly why they're being praised; they're good, and can be appreciated by all. However, Kelela's vocals still struggle to make a name for themselves, and her lyrics achieve nothing more than mediocre.
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There's two or so handfuls of musicians where, no matter what they do, if I see their name on a project I will listen. Dan Deacon is one of those magical artists, an Electronic savant capable of creating the most outrageous instrumentation imaginable. His process for creation often times as insane as the music itself, as seen on Pitchfork's mini-documentary for Bromst. However, there's another side to Dan Deacon, and typically it's one found underneath his multi-multi-multi layered production. That's his classical background, something he associates to the modern age quite often, doing so with advanced levels of artistry. Rat Film, an upcoming film for which Dan Deacon has created the soundtrack for, finds the formula inverting. So much so that, on 'Redlining,' there's no hint of Deacon's Electronic prowess. It's entirely classical Ambient, guided by a piano and some minor synths towards the end. 'Redlining' is incredibly sparse and, by nature of the beast, quite limited, failing to show Deacon's talents whatsoever. It reminds me of Brian Eno's minimal Ambient like Discreet Music. I didn't like that album, so you can usher a guess as to how I feel about 'Redlining.'
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Beyond the fact that King Krule is three for three on The OOZ singles, what with 'Czech One's' seclusive defenses and 'Dum Surfer's' zombified genre-busting, the more impressive aspect is that of diversity. They're all coming from the same demented mind, you can tell, but at the same time King Krule's taste-making conviction allows him to step into nearly undocumented territory. While 'Half Man Half Shark' doesn't escape as much as the two lead singles, it does, somehow, entertain and intertwine the sounds of both. What begins with a vicious, tongue-in-cheek call to arms of the title, something that'll return at the track's ultimate apex, morphs into a collusion of Post-Punk and Psychobilly. The percussion pants like a train filled with coal as its conductor shakes and quivers his vocals, recalling a nightmarish tale of a 'Half Man Half Shark.' However, following that aforementioned apex, King Krule descends from the preacher's stool and unveils a more personal tone. The concept's are all over the place and will certainly take ages to decipher.
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Now this is more like it. After 'Confetti' marked the return of Big K.R.I.T. with yet another track distinctly about K.R.I.T. returning, the hope for his next project seemed to be no higher than any of his previous ones. However, 'Keep The Devil Off,' alongside the announcement of a double LP entitled 4eva Is A Mighty Long Time, introduces a new layer to the fold. Yes, this return will likely be nothing more than K.R.I.T. once again doing everything he can to cement his Southern legacy (the album even opens with a track entitled 'Big K.R.I.T.'), but if we're to find semi-unique patches of musicianship dotted throughout like 'Keep The Devil Off,' then I'm hopeful. Equally inspired by 70's Soul, Outkast's Idlewild era, and Chance The Rapper's re-envisioned Gospel Rap, 'Keep The Devil Off' preaches faith and condemns the vices that surround us all. K.R.I.T.'s charisma here matches that of a spirited evangelist accompanied by a lively choir and even the standard church organ. Only issue I see is that of its length, eclipsing five minutes even though the bulk of the track finishes up in half. A conscious decision mind you, as K.R.I.T. and crew shake, rattle, and swing the demons away for the remainder of 'Keep The Devil Off.'
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After a lengthy promotional tour that began back in May with 'Think About Me,' Morning After is now right around the corner. Along with the gorgeous cover art, finding that sensual blend between dvsn's bedroom bedrock and their relational hues, the tracklist also got released. One thing immediately catches the eye; that being the four singles back-to-back-to-back-to-back. 'P.O.V.' rounds out this tetralogy, and is also Morning After's latest single, simultaneously working as its best. Expectations were high following Sept. 5th's monumental mashup of Alternative R&B and Gospel, but thus far that second half's been sorely absent. 'P.O.V.' doesn't alter that, seeping itself further into the Contemporary R&B of the 90's and early 2000's, down to the Timbaland-esque sample usage. Along with the punitive drums that assert their dominance urgently, the combination of said percussion and those aforementioned vocal samples craft an experience on 'P.O.V.' that's both seductive and tantalizing. As a mid-album grower, 'P.O.V.' succeeds. But only if those gorgeous Gospel epics surround it.
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D.R.A.M. - Ill Nana
I don't know who Trippie Redd is, but after hearing 'Ill Nana' I'm not exactly inclined to find out. D.R.A.M. however has become quite the force in Trap by essentially crafting his own lane that's only preoccupied by the far less talented, more combustible Lil Yachty. Unfortunately, 'Ill Nana' doesn't really showcase his value, diluting itself to the core elements of Trap without a curiosity indebted within. The bass is booming, the hi-hats nimbly tapping away, Redd's nasally vocals finding an irritating balance between Post Malone and Travis Scott. Identity is nowhere to be found, apart from D.R.A.M.'s Social Experiment-like slang. For some unusual reason, 'Ill Nana' comes off as a Trippie Redd track featured by D.R.A.M., even though it's credited as the other way around. Redd dominates the middle of the track, and by the time D.R.A.M. returns, all hope for 'Ill Nana' worth, apart from an unforeseen beat switch, is virtually gone. Lyrically, the song riffles through phrases that are as important as any fellow Trap anthem playing at the club. Which is to say, they're not important at all.
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