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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Many forget the distinctiveness James Blake once held before he moved on to define U.K.'s rich Alternative R&B scene. On his early EP's, he didn't even have a voice, fidgeting around spasmodic corners with Glitch, Wonky, and Future Garage as a producer. On his three LP's, he learned to intermingle those elements and restrain them so his tender vocals could benefit from some clarity. Some worried he strayed too far. 'If The Car Besides You Moves Ahead' proves Blake's past, and future, are very much on his mind. Oddities far too frequent and prevalent for mainstream listeners frolic gingerly over model Glitch Hop. It's a surprising move for Blake following the largely sterile, but still exquisite The Colour In Anything. Instead of continuing down the path of appeal, 'If The Car' challenges listeners with excessive vocal glitches that are molded with a buoyant strain. It's a curious sight, one that makes it virtually impossible to sing-along, despite the production lingering underneath remaining largely straightforward. If this is Blake's new direction, consider me onboard for the ride.
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If there's one thing I struggle to accept with Lo-Fi music, it's the lack of textures apart from the one predominant aesthetic. You know, where it's purposely muffled, fuzzy, and distorted so the artist runs with that, and that only. A few exceptions arise that detail various other sensations, one of which is Unknown Mortal Orchestra's music. Lead musician Ruban Nielson has learned, through the band's official LP's and their ongoing experimental side project SB, that more colors can emerge from Lo-Fi melodies that aren't just television static. 2015's Multi-Love was their most refined project yet, an electrifying Psychedelic Rock record that relied thickly on said psychedelia. If 'American Guilt' is any indication, UMO aims to revert that expansion while returning to their gutty, Lo-Fi roots. Psychedelic visions are replaced by the cruddy feedback of Garage Rock, as the guitars throughout the track feel so flat and distorted that they seek to strip Nielsen's vocals of their liveliness as well. Is it disconcerting? Not quite yet. To force reduction of quality one must have enough variety and heart to propel the aesthetic over the edge. It remains to be seen if Sex & Food will accomplish that.
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Truthfully, Hop Along's 2015 LP Painted Shut, the only one of which I've spent time with, came and went without so much as a reaction from me. Off the noggin, I couldn't name a song or remember a sound. Expectations were low going into 'How Simple,' and while reaction is temperamental, the standard Indie Rock format that Hop Along has crafted seems to finally be receiving the fruits of its labor. That, or I've listened to enough Japanese Breakfast to now enjoy Frances Quinlan's voice, one that bears striking resemblance to Michelle Zauner. On 'How Simple,' the concept of lost love presses down, a topic that's neither new for the group or for music. Where 'How Simple' succeeds lies in its steadfast composure, Quinlan's unwavering presence atop the instrumentation, the crisp guitar bridge, and the excellent chanting chorus that extends towards the outro. Again, can't remember specifics of Painted Shut, but that moment of momentous climax feels artier than anything that album had presented. It's super catchy, and while, yes, still adheres to the simplicities of Indie Rock, 'How Simple' invites a lighter tone that welcomes those who may be hesitatingly burnt out on the typical arrangements.
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Let's get two things out of the way with A$AP Rocky's '5IVE $TAR$.' One, it's bad. Two, it's clearly an unfinished product. However, even more questions arise after seeing that. Why is Rocky releasing something, his first new music in two and a half years mind you, that should never have escaped the mixing room? Why promote it in such a cryptic way (going so far as to change the single's art), as if to indicate an album rollout? And why, of all things, is he taking inspiration from the lazy swath of Trap one-and-doners, like Playboi Carti or 21 Savage, who once took inspiration from him? Unfortunately, due to his recent feature choices and A$AP Mob affiliation (with Cozy Tapes 1 and 2), Rocky's taken some backwards steps since At.Long.Last.A$AP to Trap irrelevancy. The clear lack of quality and energy in '5IVE $TAR$' isn't what worries me moving forward. It is "a test," as Rocky states in the Soundcloud description, after all. What worries me is that his solo interests lie in music so bland, so unoriginal, so tread-worn. Oh, D.R.A.M.'s there too, contributing absolutely nothing.
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At least the promotional material for Man Of The Woods wasn't a complete joke. After promising a more introspection, personal album, Justin Timberlake went on to release 'Filthy,' a song that sounds about the same as its namesake, and 'Supplies,' a paltry attempt at retaining Pop relevancy. Now comes 'Say Something,' the first inkling of the Folk roots Timberlake promised. Disappointingly so, Chris Stapleton, Contemporary Country singer, joins him. 'Say Something,' combined with 'Filthy' and 'Supplies,' further cements the disheartening realization that Timberlake has lost his way, merging a collective of mismatched ideas on a single album purely for the lust of being trendy. With Stapleton alongside him, comparisons can be drawn to Nelly & Tim McGraw's 'Over And Over' or the Black Eyed Peas' 'Where Is The Love;' two songs that glue opposing styles together in an attempt a sappy love song that appeals to more than one targeted group. It should be mentioned that Timberlake, of course, was featured on 'Where Is The Love,' so moments like this aren't passed him. Problem being, terrible collaborations like this should've been left in the early 2000's. This sounds really, really bad in 2018.
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Past to present, 2007 to 2018, From Here We Go Sublime to 'Staircase,' it's clear The Field's a one-trick pony. However, in the Electronic genre, of all genres, that's not necessarily a bad thing. Repetition plays a crucial role in the Techno he creates, putting listeners in a trance-like state for one pleasurable experience after another. 'Staircase,' part of Adult Swim's wonderful weekly series, is another. Minimal, well, everything, darts in and out of existence. From the scarce female vocals accomplishing little more than bated breath, to the farty synthesizers rising and falling like an ocean's tide, to the constant rhythmic procession that cruises under providing a foundation with little identity, 'Staircase' is composed of these rudimentary components that, together, achieve The Field's go-to Minimal Techno. Is there still a niche for this in 2018, especially with Electronic music progressing onwards with the likes of Burial, Andy Stott, and Kelly Lee Owens? All I struggle with understanding is how a single man, for over a decade, can create music that still returns him to the same finishing point.
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