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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It's hard to be concise when talking about Kanye West and his predictable album rollout antics. I'll do my best because plenty has been said about 'Ye Vs. The People' and 'Lift Yourself,' along with his rollercoaster of tweets and promotional circus. While Yeezy's devout fans will abide by every command, a great many haven't backed down from his public support of President Trump, which is refreshing, albeit playing into the hands Kanye held out. That's evidenced by 'The People,' a strictly political cut that finds T.I. as the voice of us all. Beyond the fact that it's downright odd, 'The People' struggles to start the discussion Yeezy implores, mainly because, considering the song's cognizant existence, the rapper himself knows its a farce meant to rile the masses. Always the marketing genius, it's clear Kanye saw himself in President Trump, who gathers attention in much the same way. Outlandish statements, meme-worthy opinions, and peculiar antics go a long way in forcing the spotlight to shine upon oneself.
'Lift Yourself' works in much the same way, and interestingly enough, pairs quite well as the antithesis to 'The People.' Knowing Kanye's parameters for artistry, the lowbrow - and now infamous - "Poopy-di scoop" verse isn't intended as a simple meme to stir the pot curated by him through his awkward Ebro interview, but rather acts as a statement towards the absurdist culture we live in, both musically and politically, thanks to the Internet. It's no coincidence that Kanye released 'The People' and 'Lift Yourself' together, as the latter acts as the mealy-mouthed mumbo jumbo version of the former. He can say anything without saying anything at all. This is, after all, the most self-aware artist making music today. He released the 40-second 'I Love Kanye' as a single. His testimonies have merit, and 'Lift Yourself's' callow baby talk nullifies any and all discussion he had with T.I on 'The People.' And that's exactly the point he meant to make. We're at the stage now where whether he succeeded or not is meaningless.
'Lift Yourself' works in much the same way, and interestingly enough, pairs quite well as the antithesis to 'The People.' Knowing Kanye's parameters for artistry, the lowbrow - and now infamous - "Poopy-di scoop" verse isn't intended as a simple meme to stir the pot curated by him through his awkward Ebro interview, but rather acts as a statement towards the absurdist culture we live in, both musically and politically, thanks to the Internet. It's no coincidence that Kanye released 'The People' and 'Lift Yourself' together, as the latter acts as the mealy-mouthed mumbo jumbo version of the former. He can say anything without saying anything at all. This is, after all, the most self-aware artist making music today. He released the 40-second 'I Love Kanye' as a single. His testimonies have merit, and 'Lift Yourself's' callow baby talk nullifies any and all discussion he had with T.I on 'The People.' And that's exactly the point he meant to make. We're at the stage now where whether he succeeded or not is meaningless.
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It has been three years since Trevor Powers ended his successful, genre-defying project Youth Lagoon with the tasteful, although uninspired Savage Hills Ballroom. At that time, I felt the frail bedroom singer turned psychedelic misfit would've been gone for good. However, Powers has returned with a message of rebirth and music anew. Trapped by the confines of fan expectations, Powers shed the weight of Youth Lagoon (to my chagrin, given Year Of Hibernation's one of my favorite albums of all-time) and has embarked on a new sound, a new style, a new approach with 'Playwright.' Much like before, his identity is an acquired taste, his vocals just as squeaky and fragile. However, whereas previous works felt sonically sensible, 'Playwright' entertains a challenging discourse. Eastern strings dash, quiver, and shriek with uncertainty, curtailed vocal samples infrequently bludgeon the background, and Powers' own vocals shift and overlap to access tonally different avenues. 'Playwright's' the demanding piece, despite being quite minimalistic. This, for short-term ingestion, would render the single a disappointment. However, considering the lack of longevity Savage Hills Ballroom had, this newfound artistry might have something meaningful in the making.
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While timing may not be advantageous, given the stranglehold Kanye West and his G.O.O.D. Music label have on Hip-Hop for the next two months, Travis Scott's Astroworld rollout has been a long time coming. Teased for years, even before Birds In The Trap Sing McKnight, Scott's proper follow-up to Rodeo has consumed large bouts of hype off silence and empty promises alone. 'Watch,' what's presumably the album's lead single given a cute namedrop at the start of the track, features contributions from two tenured Scott associates; Lil Uzi Vert and the aforementioned Kanye West. Despite a quality that eclipses Scott's disappointing collaboration with Quavo, Huncho Jack, Jack Huncho, 'Watch' doesn't exactly dispel fears of the Houston rapper never achieving his Rodeo heights again. Initially, the carnival beat offers a creativity we haven't seen in Trap since Lil Boat, but it's one that's quickly dispelled by a muddled bass and a cornucopia of hi-hats. As for the performances, Lil Uzi Vert blended in without making a mark, Scott did as well. Only Kanye's eccentric verse found anything notable in the one-line department, although it teeters on the brink of senselessness by the end ("never trust a bartender that don't drink, bitch").
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There's always a fair deal of excitement when a critically-acclaimed artist, especially one I'm indifferent towards, changes direction. That's the case with 'Black Snow,' Oneohtrix Point Never's first single to Age Of. Unlike his strictly Progressive Electronic, which, while artistically-refined and future proof, lost me due to the ambiguity and indecisiveness. 'Black Snow' signals a transition that could bolster Danial Lopatin's career, the most noticeable of which is the inclusion of his vocals. Folding the divide between linear Glitch Pop and pure Glitch was a judicious move that could most certainly prove fruitful. Loptatin's vocals, while tempered and quiet, bear similarities to Justin Vernon's of Bon Iver. This, naturally, will bring up comparisons to 22, A Million, largely in the pairing of natural templates being uprooted by technological means. For the first half of 'Black Snow,' a small melody begrudgingly moves forward, enticing with every return to Lopatin's utterance "wave of black snow." Then, the synth scaffolding begins to build and collapse over glitches, keyboards, and something called a daxophone. 'Black Snow' is a promising evolution of a sound that could've grown stale.
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During the downtime between 2015's Ego Death and now, The Internet as a group hasn't done much. Yet their popularity may never be higher, their time to pounce never as appropriate. That's mainly because of Syd's relatively successful debut Fin, and more importantly, the unveiling of their ace-in-the-hole Steve Lacy through singles, a demo, and notable feature spots. On 'ROLL!,' Syd wisely surrenders lead vocalist duties to Lacy, lending her angelic vocals to the background, beefing up the Boogie-provided cut with some Funkadelic-esque P-Funk. The song is lovably simple, acting more as a movement than a singular piece. The rolling percussion, stumbling bass, and sensual synths all guide the rhythms for Lacy to do his best, albeit tame, George Clinton impression. With how synth-infused Pop and R&B have become in recent years, along with the alternative scene - led recently by Janelle Monae - The Internet were wise to reflect the transition and strike while the iron's hot. That being said, much like Childish Gambino's recent exodus "Awaken, My Love," the group does temper themselves and restrict their creativity by assimilating too closely to the Funk and Soul of the past.
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Adult Swim's weekly singles series has been an unequivocal success, highlighting a wide range of unusual artists that could be likened to the network's quirky style. Of all these artists, few associate greater than Thundercat, the humorous Funk aficionado that takes pride in his nerdy side. Even last year's Drunk found the singer obsessing over anime ('Toyko'), taking psychedelic night trips ('Jameel's Space Ride'), and embracing Internet obsolescence ('Bus In These Streets'). On 'Final Fight' he takes that late night outlandishness even further, unraveling a tale of dreamy love loss, one which culminates in him, animatedly, jumping out a window with glass shattering around him. Based on the sound, style, and topics on hand, it's clear 'Final Fight' was a Drunk outtake. There's talk of rabbit holes, insomnia, and people acting up in a drunken rage. The progressive production, which babbles forward like a blob-strewn train cart, takes full advantage of Thundercat's limber bass and lively percussion. The only potential negative here is that, if one were to compose all of Thundercat's quirks, stereotypes, and overused cliches, 'Final Fight' would be the resultant song. It's predictable, but still a fun and bountiful romp nonetheless.
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