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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In a year that featured Kendrick Lamar, Vince Staples, Tyler The Creator, and Big K.R.I.T. all contributing standout albums, it was actually Brockhampton's Saturation trilogy that took the Hip-Hop world by storm. A surplus of angsty teenagers embracing LGBT progressiveness through catchy, oftentimes imaginative Pop Rap acted as the perfect replacement in the wake of OFWGKTA. And then, on the cusp of their establishment - having signed with RCA Records - allegations of sexual abuse by Ameer Vann, the group's best rapper, came to light, causing his departure and general uncertainty on Brockhampton's future. '1999 Wildfire' is the first taste of that future, and it's a rocky one. Normally marketers of exclamatory lead singles with new aesthetics, 'Boogie' the latest example, '1999 Wildfire' lacks a visual identity and developmental sound. Since their inception, Brockhampton has always tiptoed the line between authentic and corny. Here, they stumble off that balance beam with a cheap, derivative hook ("laaa la la la la la," really?), over-exaggerated vocals, and stereotypical production that would've felt amateur on Saturation 1. The lack of Vann's seriousness is noticeable, especially given Joba and Matt Champion's cheesy verses that are a bore to endure.
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Foolish or fair, there was a time when I felt Lil Yachty was the savior of Trap. Not because of talent, obviously, but more so his acceptance of a playful, careless attitude that was sorely lacking in the identity-deprived genre. This year's Lil Boat 2 surpassed expectations but only due to Teenage Emotions' catastrophic calamity. However, what always set the red-haired rapper apart was his distinguishable creativity, something lost on his latest, high-profile single 'Who Want The Smoke?' Joined by Offset of Migos and Cardi B - which is a noticeable get considering her trendiness at the moment - 'Who Want The Smoke?' could've been the breakthrough hit handicapped by stars Yachty was waiting for. Instead, it's a dull reminder of Trap's overindulgence. The biggest eyesore, the content of the song, which relies on Stoner Rap despite Yachty's avoidance of drugs. The first line acts as an exclaimer: "hotboxing in the whip, I don't even smoke." Why, then, make a song centered around smoking? Offset's flow is decent, but apart from that no elements - the production, Yachty, or Cardi B - are noteworthy.
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Justin Timberlake, as a long-running list of Pop stars beforehand, has begun his transformation into desperate trend-snatcher. That much was evident on the abhorrent Man Of The Woods, a record that simultaneously borrowed from Trap and Country Pop, despite Timberlake showing no inclination of interest in either beforehand. It was a thinly-veiled marketing ploy that eschewed his desired fans in favor of a more accessible approach. Upon initial inspection, 'SoulMate' seems no different. It's produced by Nineteen85, famed Drake producer, after all. However, while you can see that nocturnal, almost aquatic sound lingering under 'SoulMate,' the predominant vibe is one that's more uptempo and tropical. It's Dance-Pop through and through, which is something that lies more comfortably in Timberlake's zone. That being said, 'SoulMate' fails to do anything interesting at all, circling around the same tired dialogue we've heard countless times before. Not to mention, the chorus is a contradiction that diminishes the sincerity of a soulmate and the spontaneity of a one night stand.
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One of the best surprises of last year was Yung Lean's reinvention byway of Scandinavia via Stranger. Instead of rushing into generic Trap patterns, Lean and his sad boys crafted a wintry soundscape that provided his melodrama with the right mix of solace and solitude. After the entirely forgettable Warlord (sans 'Hoover'), Stranger breathed new life into an artist who was seemingly D.O.A. That being said, Lean's audience is about as niche as one could get, and that's not going to change. Especially after 'Crash Bandicoot' and 'Ghostface / Shyguy,' two tracks off name alone that further cement Lean's abnormal aesthetic. What he loses in icy vibrancies, Lean gains in silky flows. The minimalistic beat on 'Crash Bandicoot,' guided primarily by hollow drums and hi-hats, helps the rapper distinguish himself, even if some of the triple-time flows are borrowed Trap cliches. Lean's unpronounced energy is a new norm, and could provide yet another evolution for the rapper. 'Ghostface / Shyguy' is familiar territory, dancing around cheap industrial synths that fit vibes but doesn't offer anything fresh.
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Never one to sleep on their laurels, the Oh Sees just continue pouring out material. While they're not quite at King Gizzard's level of quantity, the two mega-outfits feel awfully comparable in their output. As with the case of previous single 'C,' and unlike the Speed Metal of lead single 'Overthrown,' 'Enrique El Cobrador' returns to familiar Heavy Psych territory that puts a strong emphasis on guttural, bestial fascination. In fact, separating name from music and one would be remiss for thinking 'Enrique El Cobrador' is peeled from early 70's Prog Rock. The one noticeable separation lies in the organ, which, despite being an unorthodox instrument for this situation, works off sheer extremity. Dwyer's vocals do tend to feel muddled in the mix however, unable to offer a substantive hook or seething one-liner. They're too stereotypical, lending questions to 'Enrique El Cobrador's' sincerity as duplication is easy. Not only have we heard his systematic approach on 'C,' it appeared occasionally on Orc, a record that otherwise offered a fair deal of variety.
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In recent weeks, the formerly defunct moniker of Travis Miller (Lil Ugly Mane) has detoured into an odd and spiritless direction. Rather than taking his talents further, pushing the barriers of Hip-Hop with his Bedwetter pseudonym, Miller has teamed up with bonafide Soundcloud rappers destined to be forgot. Last week was Little Pain's 'See You Shine,' this week the quality of the produce goes even lower with 'Just Like You,' a collaboration with Drake wannabe Mackned and Emo Rap purveyor Lil Tracy. Like 'See You Shine,' 'Just Like You' deals heavily in relational melodrama that only drama-obsessed adolescents could relate to. And while Lil Ugly Mane's shown that he's not opposed to engaging in drama, he's also shown capable of flying far beyond it. His eight bars here scream apathetic rapper cashing a quick check. Which one can't really blame him for given 'Just Like You's' easily forgettable quality, something he surely recognized the instant Mackned and Lil Tracy's trivial cliches came pouring out.
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