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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Nearly everyone who plays sports video games (or certain games in general) can attest to the effectiveness of a solid soundtrack. Select recurring series, like Tony Hawk's Pro Skater or the early NBA 2K's, have provided me with numerous songs and artists I'd otherwise not be familiar with, shaping my adolescence in the process. There's a power there to expanding your brand, and Run The Jewels knows that all too well. Remember 'Panther Like A Panther' bouncing viciously under the Gears Of War trailer? This time around it's FIFA and 'Mean Demeanor,' clearly a one-off cut meant for newcomers to RTJ. And it works. It's prototypical RTJ, with El-P's frantic, fast-paced production and Killer Mike's fancy flow-flipping. Overall, there's a doubtless pro and con. Pro: RTJ was smart to leave the hook vocal-less, as they struggle more often than not in that department. Con: The instrumental, DJ-scratched outro is unnecessary and rather weak by El-P's standards. Still, for a free, video game soundtrack song, 'Mean Demeanor' satisfies.
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So, this was unexpected. 319, as they've labeled themselves, is the seemingly one-off duo of Oneohtrix Point Never and Ishmael Butler of Shabazz Palaces. Who do we have to thank for this dream collab? Well, Adult Swim of course. Who else? 'The Rapture' is quite an intriguing conundrum as, unlike most one-off collaborations, the sonic palate of Butler and OPN are quite similar. The procedures by which OPN crafts his aural-spectacular soundscapes differ in their structureless organization, whereas Shabazz Palaces is grounded to (relatively) basic Experimental Hip-Hop norms. Other than that, these two attend to the same aesthetic, and you can see that handedly on 'The Rapture.' It's rare I quote a Youtube comment, but one listed there describes the matrimony efficiently: "Spitting just fresh bars into the dead of a windy night." That's what 'The Rapture' sounds like, featuring both the cool, calm, and collected rapping style of Butler and OPN's glitchy and unorthodox grooves. Being more familiar with Shabazz Palaces' career, 'The Rapture' bears resemblance to their lauded Black Up, rather than their more recent material like the two Quazarz albums.
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For some inexplicable reason, Angel Deradoorian's contemporaries have seen far more exposure than her, with the former Dirty Projectors member hidden as guest vocalist with Flying Lotus, Avey Tare, Rostam, and more. Sure, Art Pop's an over-bloated genre and allowing more in may not be applicable, but Deradoorian deserves a spot. It has been two years since her last project, 2015's Expanding Flower Planet, and returning with merely a mini-album may not be the best decision, but Eternal Reoccurrence proses a strong, haunting atmosphere that bears resemblance to the dying Witch House. As seen on 'Nia In The Dark,' the approach isn't done crudely or tongue-in-cheek, but more onset and intense. Percussion is entirely absent as Deradoorian's vocals and icy synths guide the production, acting as an antithesis to the days of Nico's harsh, gothic world-building. That, with a touch of the nestling cinematics of Kate Bush and Bjork. No, not their famous cuts, but those sneaking around the edges of Hounds Of Love or Vespertine respectively.
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Big K.R.I.T.'s fall from grace has been one quietly shuffled under the rug. Once a promising new prodigy representing the last bastion of Southern Hip-Hop, alongside Isaiah Rashad who still has hope, K.R.I.T's weak albums in comparison to his original mixtapes, squabbles with various labels, and infrequent releases in recent years has twisted the knife into his career. That's why, in the music video for 'Confetti,' the street-wise slanger murders his past self. Whether done personally, to indicate a change, or for promotional purposes, to try and regain his waning audience, is unclear, but no matter what, it does mean something. However, all that high production value and boisterous smooth-talking means nothing when 'Confetti' is more of the same. Unfortunately so, that's the case. Big K.R.I.T.'s a steady artist, and like the one-off single 'Mt. Olympus' of three years past (wow) or 'Free Agent' last year, 'Confetti' is a strong banger that showcases K.R.I.T.'s confidence. However, it's been done with every 'return' of his, that the efforts this go-around seem futile. Good, but nothing to revere.
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Apparently I have selective cynicism. On one end, I love fun-loving trash like Lil Yachty's Lil Boat, but when that fun-loving earnestness is interpreted in other ways, like, let's say, Kurt Vile and Courtney Barnett tuning their guitars in a dingy living room enjoying each other's company, my eyes begin to roll. It's the Mac DeMarco effect, someone whose made a living by embracing the slacker ideology. After two singles capturing this tone, Lotta Sea Lice, the collaboration project between Vile and Barnett, aims to be the most laid back, blasé album of 2017. The dueling Singer/Songwriter of 'Continental Breakfast' fails to interest, entice, or intrigue me. By nature, Vile and Barnett's mannerisms are aggressively anti-ambitious, cornered in a room and genre that's both outdated and overused. The frustration comes from accepting 'Continental Breakfast' as a leisurely stroll by two friends contemplating friendship, and nothing more. If you're one to appreciate the smaller things in life, like "watchin' the waves come in at night," then Vile and Barnett's back-and-forth amenity will satisfy. Me personally, I'd like something more.
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Quality Control, Lil Yachty, & Young Thug - On Me
If there's one thing, and really, I mean one thing, modern Trap's doing right, it's giving credit where credit is due. I've noticed, in recent months, that producers, no matter how popular or unknown, are being given their own spotlight for fans to acknowledge. It reminds me of comic books, in that traditionally it was the writer and artist given all the attention, but in recent years the colorist's name has been recognized alongside the more prominent contributors. Given that the typical Trap rapper suffers from gratingly poor lyrics, the only remaining potentially-enjoyable points are their charisma, flow, and the track's production. With 'On Me,' that's exactly what we get, as Young Thug and Lil Yachty unite over Quality Control's minimalist beat that's inspired by Yachty's old unusual Trap, Wonky, and a tinge of Alternative R&B. It's rather unique and poppy, a succulent mixture that works effectively for both Yachty and Thugger. The former does seem to go over the top with his verse, emphasizing his slang with an ol' country farmer sound, while Thugger breezes by in his, standing out more during the hook. At the end of the day, 'On Me' is harmless, fun, and doesn't try too hard. It also works as an absorbing showcase of Quality Control's material.
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