Deep Cuts. An idea spurred by those countless playlist drifters, jumping from single to single, without investigating albums further. Here you'll find the five best songs of the previous month, not given exposure via the duty of lead single. The only condition I've imposed upon myself is that no artist can have more than one song.
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Elori Saxl - Wave I
Blue Of Distance | Ambient
It's so unassuming, like much of Elori Saxl's Blue Of Distance. After all, 'Wave I' is nothing more than a meditative Ambient piece. Yet, in its brief two and a half minutes, refractory bliss unfurls itself against the placid backdrop of a downtrodden bassoon. Unlike a majority of Ambient, melody plays a crucial role, as the foundation of music descends with each weeping loop. 'Wave I' is my style of Ambient. Tranquil and emotive, yet tethered to enjoyable facets of music that don't deliberately dawdle in the background.
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Goat Girl - Pest
On All Fours | Art Rock
Don't you hate it when something sits on the tip of your tongue, but connecting the final piece proves impossible? That's where I'm at with Goat Girl's 'Pest.' It sounds exactly like something I've heard before, but it feels like a distant - though potent - memory. A helping of Lida Husik, some scatters of vintage Fiona Apple, a voice akin to St. Vincent at her most serene, places 'Pest' in mid 90's Alternative Rock. Yet the exact comparison can't be found. Alas, On All Fours' building opener sets an excellent scene that bridges the tenuous gap between Art Rock and Neo-Psychedelia, with anthemic rhythms and faded synthesizers.
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Beginning TYRON's second disc with a weeping, throwback sample, 'i tried' contradicts the previous seven Trap hits with impoverished Neo-Soul akin to Chicago circa 2000's (Kanye West, Common, even Detroit's J Dilla). It's a stunning and sublime beat, composed by Daniel Duke-Okeze, accentuated by slowthai's contemplative headspace. This, a 180 from TYRON's bombastic first half destined for radio play. On 'i tried,' slowthai proudly laments the hurdles he's needed to endure, reveling in his greener pastures while accepting the arduous past that's made him who he is today. "If Hell's meant for sinning, Heaven's never been for me" he concludes, assured of his dominion.
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Urban Village - Marabi
Udondolo | Nguni Folk Music
There's a certain understated revelation that occurs when you're stripped of the ability to comprehend language. This happens often with African music, most prominently when it's exalting, such as in the cases of Francis The Great, Maitre Gazonga, or KOKOKO!. Add Urban Village to the mixture, a South African group heralding the traditions of the Nguni. 'Marabi' is an excellent example of such pride, flourishing around a rousing horn arrangement and genial harmonies. In fact, it reclaims Solomon Linda's 'The Lion Sleeps Tonight' from the legion of white poachers - most notably The Tokens - by utilizing, come song's end, the wimoweh refrain known the world over. Here it's incorporated naturally rather than lambasted and lampooned.
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After years of anticipation, For The First Time finally reached the public's eye. And let it be known, I've never been more disappointed in a record I've given an A to. That's due, in large part, to the ineffectual rollout that offered a mere one new song for consumption (an 'Instrumental,' at that). That being said, 'Opus' now exists in stereo form and for that we should be eternally grateful. Arguably the third best track on the album (behind 'Sunglasses' and 'Science Fair,' tied given the day with 'Track X'), 'Opus' barrels ahead like a runaway freight train powered not through steam and coal, but Klemzer. The frantic thrust by Lewis Evans on the saxophone is entrancing, forcing Charlie Wayne's drums to sloppily maintain pace. As per usual, Wood's mental collapse guides the proceedings, twisting daily occurrences into a calamitous wreckage ("I guess I'm a little bit late to the party"). For an album as afflicted as For The First Time, 'Opus'' fragmentized blowout works as the perfect culmination.
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