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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Mitski's 2016 effort Puberty 2 garnered tremendous attention from the Indie crowd, yet never found its way into my library. That's going to change now that I've heard her voice on 'Between The Breaths,' a collaboration with Xiu Xiu for the film How to Talk to Girls at Parties. While I'm unsure of Mitski's true sound, the comfortability she sustains whilst under Xiu Xiu's synth-ridden, Noise Pop parade is dazzlingly effective. In a way, she bears similarities to Jamie Stewart, especially when her voice cracks, flinches, and peaks. 'Between The Breaths' is also an excellent showcase on what passionate artists can do to generic material. Lyrically-speaking, the track's about as cliched as they come. Not a surprise given it finds a home on a teenage romcom. But with Mitski's earnest vocals and Xiu Xiu's rich and metamorphosing production, 'Between The Breaths' succeeds in spite of the apparent setbacks.
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Three singles in and Courtney Barnett finally releases something that could conceivably be on the level of Sometimes I Sit & Think. Needless to say, 'Nameless, Faceless' and 'Need A Little Time' both featured her endearing quirks and knack for simple charm, but lacked the Rock-driven ambition of her debut. 'City Looks Pretty' has that, if only byway of the two-tone appearance it gives. One half, the first, features a certified Strokes-inspired groove that, oddly enough, is catchier in the verses than the hook. The other half finds that riff decomposing in a melodic gutter. Barnett's vocals still struggle to match the tonal shifts, but the lingering guitars and softhearted drums help the emotive palate of 'City Looks Pretty' evolve.
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Well now. Blanck Mass' career, marked by his audacious Electro-Industrial under his own name and his Noise-laced Drone as part of Fuck Buttons, clearly teetered on the break of Industrial. However, what made his music unique was the commitment to remaining within the Electronic fold. 'Odd Scene' and 'Shit Luck' crash into the Metal scene, with Blanck Mass' ultra-aggressive instrumentation matching the genre's noted garbled vocals. Unlike World Eater, there's no value to be had in the belligerent riot. Despite the uproar, each track just feels like empty fluff meant to entice a reaction. Apart from a hidden guitar that's melodious, but brief, 'Shit Luck' really offers nothing of worth. The same can be applied to 'Odd Scene,' except with the admittedly-interesting caveat of the final minute of collaged samples, which is both haunting and fascinating.
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There comes a time when it's time to throw in the towel. I'd say The Flaming Lips reached that stage a few months after the experiment involving Miley Cyrus didn't work. Oczy Mlody had its moments, but was largely littered with random proses and inane non-sequiturs, the psychedelic music only saving moments with inconsistent melodies. Perhaps foolish of me, the title of 'The Story Of Yum Yum & Dragon' alone had me anticipating this Record Store Day drop, only to leave disappointed when the poignancy of Wayne Coyne's songwriting failed to reach Yoshimi Battles The Pink Robots level. 'Yum Yum' does adhere to its thematic telling, which I appreciate even if it doesn't amount to much. However, it's the production choices that suffer, as Coyne's vocals are covered in hollow autotune, the selling point of the hook a generic ringtone one can find on their iPhone.
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