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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Right now, Synthpop's split into two halves. The first - helmed by artists such as Chvrches, Purity Ring, and Passion Pit - treat the punchy synthesizer as percussion, forgoing a neon-lit atmosphere for something more immediate and modern. The second's a more curious bunch, as names like U.S. Girls, Chromatics, and Molly Nilsson provoke their insatiable 80's adoration to reignite that nighttime wanderlust. Last year, Nilsson's 'About Somebody' was the prime example of this sentiment, livening up a Noir bar with giddy horns that could get even the most disgruntled patron to dance. On 'A Slice Of Lemon' - a single from the upcoming LP 2020 - Nilsson magnifies her aesthetic to its ultimate form, purposely lo-fiing the hollow soundscape that includes her weeping background vocals. Soaring synths take off in the chorus, surrounding Nilsson with the necessary remorse the issue of global warming - 'A Slice Of Lemon's' topic - requires. While the single lacks an attainable angle, something 'About Somebody' donned with those gorgeous horns, the dripping atmosphere more than makes up for it.
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Pure talent allowed ye to hover in moderate mediocrity, instead of tumble to the dead zone Speeding Bullet 2 Heaven occupies. Problems were plentiful, with Kanye's general negligence the primary benefactor. That extension drives further with 'XTCY,' an all-but-completed demo from a track initially on West's whiteboard. On it, Kanye rants and raves about the splendor mind-altering drugs cause, opening with a vintage Kanye one-liner: "You got sick thoughts? I got more of them." However, as to be expected with the modern marketing genius, the follow-up holds the essential controversy: "You got a sister-in-law you'd smash? I got four of them." In reality, not so questionable given the Kardashian's penchant for maintaining a similar physical aesthetic, one derived from wife Kim. As for the production, much like ye it's sloppy, cheap, and hinges on a sample-based dynamic (in this case, The New Year's 'My Bleeding Wound') that seldom works. 'XTCY' rarely holds interest elsewhere, with a reprise of 'Lift Yourself's' pitiful humor and a general reminder that Kanye's exuberance has been far removed.
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Slug and Ant. Rapper and producer. Two halves of Atmosphere. Today they compose one of the few lasting memories of Underground Hip-Hop, a dying genre thanks to the all-consuming nature of the Internet and its perpetual accessibility. With over two decades, eight LP's, and ten EP's under their belt, Atmosphere's legacy has already been cemented. Yes, even if their more recent material, like 2016's Fishing Blues, had a far bit of uncalculated misdirection mixed with lethargic energy. However, a second wind has been created with 'Make It All Better Again,' a single intent on hyping their upcoming US tour. On it, Ant dottily strums a Pop Rock guitar, looping it over his classic Boom Bap percussion. The rhythmic sensibility allows Slug to postulate his renowned hypothetical stories. It's here where 'Make It All Better Again' thrives, as the simple and modest storytelling immediately draws comparisons to some of Atmosphere's best works, including 'You,' 'Yesterday,' and 'The Waitress' off 2008's When Life Gives You Lemons, You Paint That Shit Gold. 'Make It All Better Again' works because it has heart and appreciation for Hip-Hop as a by-the-books art form, something the majority of aging emcees lose when trying to maintain relevance.
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Aphex Twin promoted his upcoming EP Collapse in the most Aphex Twin way possible; graffitiing his notorious logo in conspicuous locations in cities across the world. Then came the music video for 'T69 Collapse,' originally intended for an Adult Swim premiere only to be pulled - rightly so - after failing a photosensitive epilepsy test. Despite all this build-up, 'T69 Collapse' itself stammers in Aphex Twin's recently-predictable no man's land. Since Syro, Richard James hasn't really ventured beyond the walls of his ultra-confined, relentlessly-processed IDM. That includes his most recent EP Cheetah. 'T69 Collapse' signals the same fate, as a deluge of ricocheting synthesizers and drums clash, crumble, and clatter against the backdrop of a quiet and sweetened ambience. It takes two minutes for something of note to occur, which, in this instance, is an arresting pitch shift through earth-shattering bass and Glitch-centric delirium. Here, the loosening of restraints provides Aphex Twin with his most unique structure yet, branching out from the rigid claustrophobia his music's known for.
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With each release in anticipation of Be The Cowboy, Mitski's proven herself to be as defiant a musician as she has one that rest on her laurels. Always the risk, 'Two Slow Dancers' is both a single and finale to an emotionally-bled album, removing the striking first impact closing tracks typically don. Mitski's breakout project Puberty 2 unveiled a fresh face for Indie Rock, one who provided varying punches in short time spans. As we've seen with 'Geyser,' 'Nobody,' and 'Two Slow Dancers,' Be The Cowboy's aiming for that same draw. The latter draws similarities to Puberty 2's close, which includes the building uneasiness of 'Crack Baby' and the nominal self-scrutiny of 'A Burning Hill.' With 'Two Slow Dancers,' both product's are wrapped into one. As fans have grown accustomed to, the balance Mitski strikes between trivial lyrics and poignant commentary is of particular note, centering her rumination around an aged couple reliving their glory days in a sweating gymnasium. While succinct and amiable, 'Two Slow Dancers' doesn't escape expectation, nor does it provide that captivating climax we expect from Mitski.
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For 2018, Mick Jenkins has been teasing his recently-announced LP through scrapped material disguised as mixtapes in the form of his Or More series; The Anxious and The Frustration. With the sight of 'Bruce Banner' and the announcement of Pieces Of Man, it seems as if Jenkins is gearing up to take on Hip-Hop; David versus Goliath style. Dating way back to his debut mixtape The Water[s], Jenkins has proven capable of parlaying aggression with compassion, making him a curiosity amongst Chicago rappers who, in recent years, have typically picked sides. 'Bruce Banner' leans towards the former, finding Jenkins rifling through straight bars with no hook over a grimy street beat that carries the same cold atmosphere of Mobb Deep's 'Shook Ones Pt. II' or GZA's 'Cold World.' In that sense, it's far more inspired by throwback East Coast Hip-Hop, even if the woozy underbelly leans more towards current Cloud Rap. However, apart from an ear-piquing line ("Can't nobody come for me 'cept Kendrick, and I hope you offended like it's untrue") 'Bruce Banner' hardly feels like a momentous lead single with its straightforward vibe. A promotional single seems more fitting.
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