Loosies Of The Week, Feb. 20-26

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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Janelle Monáe - Django Jane / Make Me Feel

Somehow, a Janelle Monáe record has yet to see time in my library. This, most surprising, given the fact that I've been aware of her existence ever since Big Boi featured her on The Purple Ribbon All-Stars' 2005 record Got Purp Vol. 2, known most notably for the Southern-infused banger 'Kryptonite.' Her off-kilter brand of Prince-inspired, synth-driven Pop and Soul has netted Monáe quite the large cult following, despite having only released two albums in 13 years. Her third, Dirty Computer, will be released this upcoming April, with two lead singles appearing collectively to showcase the new array of talents. One succeeds, the other's an iffy exploration into conscious Trap.

Given that her musical upbringing lies in the heart of Atlanta, the Hip-Hop driving 'Django Jane' shouldn't be unexpected. However, Monáe's confidence in rapping should be. Especially with the grizzled tone she takes here, bearing similarities to Drake's flow and overuse of similes. It's tough to see 'Django Jane' as anything but a label making an executive decision to corner an over-bloated market. It's an okay song with Monáe making it her own. However, 'Make Me Feel' is much more promising, finding the charismatic singer comfortable in her left field Synth Funk. The tick-tock beat, zany synths, and minimal instrumentation all certain risks in the modern Pop era. What's not is the hook, which is about as straightforward and uncomplicated as they come. Basically, Bruno Mars if he was good. The final bridge, with that fast-paced, machine gun synth break is a thing of beauty.

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Flatbush Zombies - Headstone

Visually speaking, Flatbush Zombies' first single to Vacation In Hell presents a red herring. While they've surely been a colorful group at times, if 3001: A Laced Odyssey's cover is any indication, and they don't shy away from the overt sexual tendencies of Hip-Hop, the music of 'Headstone' features neither. Rather, Eric Arc Elliot strips the vibrancy he's capable of in favor of a grizzled, East Coast Hip-Hop-inspired cut that's all black and white. The tone matches the lyrics, which are perhaps the most entertaining aspect of 'Headstone.' While the trio of Meechy Darko, Elliot, and Zombie Juice haven't improved in their rapping talents, still ranked in that order, each offer their respect for the genre that made them who they are. Countless Hip-Hop references litter 'Headstone,' from the Wu-Tang Clan to Gravediggaz to Outkast to Kanye West. It's an ode that's resembled well in the overarching style, albeit one that lacks particular musical enjoyment.

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Father John Misty - Mr. Tillman

Last year, Father John Misty released Pure Comedy, one of the most insufferable music projects in recent years. The reasons why well-catalogued, as he wasn't afraid to expose his unbearable personality and self-inflated ego for all to see. However, while Pure Comedy may have been nothing more than a display of narcissistic pretentiousness, Father John Misty's talents of a musician aren't all for naught, as we saw on 2015's decent, sometimes strong I Love You, Honeybear. 'Mr. Tillman,' perhaps the first single to a new project, is a departure from sappy, Singer/Songwriter piano ballads and a return to his traditional Indie Rock. Even though 'Mr. Tillman' is quite ordinary in its structuring, that standard is a strong improvement over the purposely cliched mannerisms found in the production of Pure Comedy. As for Father John Misty himself, both halves of his lyrical dilemma, the absurdist side and conceited side, meet halfway in the middle for something that can be comedic, but not overtly so as to cause eye rolls or audible moans. It's a promising, albeit tame, step forward for someone hoping to regain credibility that was previously lost.

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Superorganism - Reflections On The Screen

Last time we saw Superorganism, with 'Everybody Wants To Be Famous,' it was my first time experiencing their offbeat Indie Pop. The Internet-bred group, quite literally as the eight-piece outfit discovered each other through message boards and hail from distinct places across the world, floored me right then and there. You can still count the songs they've released on one hand, with each one, apart from 'Reflections On The Screen,' bringing with it a cutesy vibe that drags The Go! Team back to their origins, only to transport them to the Internet-consumed future. I say excluding 'Reflections On The Screen' because it's the group's first dud. Well-composed albums need various moods and tempos; they can't all be Teen Bop anthems. However, not all moods work well as lead singles, of which 'Reflections' does not. Since their recent upstart, Superorganism has never bred themselves to be serious. The art comes from their heart, their youth, and their hobbies. 'Reflections' takes time to organize itself, which is the exact opposite approach Superorganism needs to take. An average cut after a string of unanticipated hits.

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Bishop Nehru - Rooftops

Can a journalist please do a study to unearth just how Bishop Nehru continues to get these kind of connections? Something shady must surely be going on. First there was NehruvianDOOM, an entire collaboration album with Hip-Hop legend MF DOOM, the mystery man who only lends his time to select people. And now, instead of abandoning the young upstart after failing to prove anything worthwhile on that project, DOOM has returned to produce, alongside, get this, Kaytranada, the entirety of Nehru's new project Elevators. Nehru, in a desperate effort to prove himself to anyone who still cares, had the gall to call Elevators his attempt at making a Rap Pet Sounds, whilst simultaneously dividing the entirety of the genre into two camps; Mumble Rap and 'Grammy' Rap. What a joke. 

There's a reason, by the way, that I haven't discussed 'Rooftops' whatsoever. Because, as should be a surprise to no one, Nehru continues to meander in utter expressionlessness. His verse adheres to one school of thought, never deviating from that path, and his lyrics still fail to sound anything above those unheard-of rappers you randomly see go viral on Facebook for their 'true' Hip-Hop skills. There's more charisma in DOOM's horns jazzing up 'Rooftops'' background than there are in Nehru's voice and words, and that's not an exaggeration.

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Hop Along - Not Abel

At this rate, I haven't a clue what to expect from Hop Along's forthcoming album Bark Your Head Off, Dog. What's certain is that my hopes are higher than they were for the painfully derivative Painted Shut, their last LP. Rarely did they sway from their Indie Rock/Midwest Emo foundation, and through just two lead singles, 'How Simple' and 'Not Abel,' they've done so twice. The latter even more so than the former, as the group attempts to transition between guitar-based Rock and orchestral Folk. All this tied together by Frances Quinlan's vocals, which sound as much her own as they do Joanna Newsom. That's how unexpected the first few verses of 'Not Abel' are, and truth be told, getting past her spiral storytelling may be a chore. But upon doing so, in the single's final moments, you'll be rewarded with a fantastic Art Rock manifesto. Everything comes full circle, the guitars are prominent, and Quinlan's vocals return to normality. After experiencing their branching period, a return to their safe zone really proves dividends.

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