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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Five minutes have passed since I first heard '1000,' and I still have absolutely no idea what to make of it, yet alone what to write about it. Typically with my loosies, they're written immediately post-listen, so not much thought is poured into it. Yet, here we are. 2000's Rap Rock pioneers N.E.R.D. took a break from the scene, primarily thanks to Pharrell Williams' ascension to bonafide Pop star. However, whether it was producing Missy Elliott's fantastic comeback track 'WTF,' teaming up with Thundercat on 'The Turn Down,' or making Daft Punk's return worthwhile with 'Get Lucky' and 'Lose Yourself To Dance,' it was clear Pharrell's fame wasn't getting the better of his taste in music. '1000' confirms that, because '1000' is weird. It might be one of the more anti-2017 tracks out there, devoid of any close representation (apart from maybe the Gorillaz with Humanz). The lingering synths, relentless Footwork, chopped vocal cuts, and Pharrell's wacky charisma, all something of a rarity in Hip-Hop right now. Which makes Future's appearance all the more perplexing, and intriguing. A necessary beat switch occurs to include him, but the marching band aesthetic he works over allows the typically redundant emcee to shine in a new light.
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Meghan Remy, known most familiarly as U.S. Girls, has always been in my peripheral. That'll officially change to having my full attention with next year's In A Poem Unlimited, if the two lead singles are any indication. Remy's been making music in the Alternative Indie scene for a decade now, gaining prominent recognition for her last LP; 2015's Half Free. Circumstances considered, that makes sense, as it was her least experimental, streamlining her kitschy 50's vocals with an Indie Pop flair. Remy joins the ranks of other female Indie artists like Julia Holter and Jenny Hval to start off daring, bold, and distinctive, only to timidly pull back when their Pop instinct catches fire. In all three cases, quality has not been affected, perhaps most true with U.S. Girls. Like 'Mad As Hell,' Remy swings, sails, and self-granulizes her vocals in a way that seems purely theatrical, as if she's up on the play stage gleaming it up with the lead heartthrob. While not as large and in charge as 'Mad As Hell,' 'Velvet For Sale' offers a new sight to Remy, one that finds her directing the production with poise and maturity. I'm reminded of Beth Gibbons and Portishead as there's a fair deal of Trip-Hop influence here.
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It's safe to say with 'Something Foreign' and 'Something New,' SiR has cemented himself as Contemporary R&B's newest potential up-and-comer. Sure, his EP earlier this year, Her Too, had flashes of brilliance, but they typically relied on others' tropes, like Drake on 'New LA' or D'Angelo on 'Don't Call My Phone.' With these two singles, SiR does a complete 180 and presents himself as he is; a talented R&B crooner with a knack for ingenuity in a genre growing stale. On 'Something New,' he leads the procession with a melodious horn that helps to heighten the summer vibe he's going for. There is a lack of growth throughout the song, but Etta Bond, in her final verse, helps to divvy the perspectives. There's also a curious outro taking place on a rocket ship, something that'll surely be at the heart of the album's concept. As for 'Something Foreign,' SiR takes a more traditional route. Yes, Anderson .Paak's likely on your mind during the track, but it's still a polished West Coast sound, one that's heightened by Schoolboy Q's laid back appearance. Rather than a horn arrangement, we receive a piano medley here, something that works splendidly in both instances.
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To preserve your eyes, I won't be posting the actual cover to 'Tisk.' Let's say just, if you saw it, you'll want eye bleach. On one end, I'm conflicted to not speak on behalf of Mellowhype's return at all because of the edgy disgust that now visually represents what's otherwise a curious track. On the other, there are numerous noteworthy things about 'Tisk' I can't ignore. For starters, Mellowhype is back...? In 2017, with Odd Future a long dead memory, does the Hip-Hop community care? Especially with the cover and some of the lingo lent down by Hodgy Beats, their immaturity doesn't look good against Tyler, The Creator, Earl Sweatshirt, Domo Genesis, and Frank Ocean, all former affiliates who have moved forward sensibly. Secondly, Hodgy himself sounds dramatically different. Not just from MellowHype's past, but even his most recent material like 'I'm Good.' His voice, his flow, his slang, everything. Unsure whether that's good or bad, as it sure as hell makes 'Tisk' compelling. And lastly, it samples what's now becoming one of modern music's most infamous sample sources; Son Lux's 'Easy.' A track that I adore, mind you. Left Brain effectively utilizes it, but I'm also impressed by Hodgy's ability to rap so quickly over it.
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Back when The Go! Team released Thunder, Lightning, Strike in 2004, it was evident the happy-go-lucky aesthetic wouldn't have much legs. They created it, defined it, then exhumed it with such efficiency that any album which ensued would feel redundant or tacked on. Basically, to boil down their three LP's since, that statement is accurate. However, hits from each and every record, down to 2015's The Scene Between, continue to exist, which continues to prove The Go! Team's worth. 'Mayday' won't be that hit. For starters, there's an irritating bleep used intermittently during the track that resembles a morse code transcript (it almost certainly is, given the content of the song). 'Mayday' finds The Go! Team, and Ninja who returns for some spoken word monologues, in an uncharacteristic state of dismay. The happiness has subsided on the inside, while they continue to bombard the senses with glee on the outside. Which leads to the apathetic production, mimicking The Go! Team's style without adding anything new.
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Ty Segall's fucking with us now, right? Since his second, self-titled LP earlier this year, and certainly with hints on last year's Emotional Mugger, I've noted Segall's transformation into the modern day, retrofitted David Bowie. Writing was on the wall that Segall aimed to capitalize on a collaboration of Garage and Glam Rock that never fully got investigated, on account of the sexual disparity. One featured masculine rockers, the other feminine garment-wearers. Segall's been doing both, and now officially, nowhere is that more evident than on 'The Main Pretender,' a track that perfectly combines his two loves into one song. Out of the four colored singles thus far, 'The Main Pretender' is by far the most insatiable. Of course, there's the wailing trumpet that recalls Bowie's Aladdin Sane era, while the soft fuzz and hum during the chorus echo Hunky Dory. Almost all that though is static feedback and crunchy guitars, along with Segall's twanged, guttural vocals. 'The Main Pretender' is a fun track, and one that, while creativity still evades Segall, he's making what limited resources he has work.
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