VOLUME XI
OBSESSIVE COMPULSIVE
TRASH BOAT _________ SALT ASHES WILDER. _________ WITH CONFIDENCE RICH DELINQUENT
OBSESSIVE COMPULSIVE VOLUME ELEVEN - QUARTER THREE
FOR PASSIONATE CREATORS WHO WORK TO FLESH & BONE IN ORDER TO CREATE SOMETHING THAT SHOWS THEIR HEART.
OBSESSIVE COMPULSIVE C R E AT I V E T E A M
EDITOR-IN-CHIEF & C R E AT I V E D I R E C T O R Brandynn L Pope DESIGN
Brandynn L Pope WRITERS
J a m e s L i a m Wa rd PHOTOGRAPHERS Brandynn L Pope
Cassie Deadmond Sean O’Day
W W W. O B S E S S I V E C O M P U L S I V E M A G . C O M E M A I L fleshbonemagazine@gmail.com I N S TA @obsessivecompulsivemag
INDEX 06 10 14 20 24 28 32 36
P O S T- M O D E R N C O N N E C T I O N MUSICIANS RICH DELINQUENT SINGER / PRODUCER ALEX SOUTHEY MUSICIAN WITH CONFIDENCE MUSICIANS WILDER. MUSICIANS S A LT A S H E S MUSICIAN & DIRECTOR T R A S H B O AT MUSICIANS ALBUM REVIEWS W RT N B Y J A M E S L I A M WA R D
POST-MODERN CONNECTION ______ 06
With all of you having such a wide range of geographical backgrounds, how have these different places affected you and helped mold you as musicians? We think growing up outside the dominant North American let us bring a fresh perspective to how we approach making music. Of course, we all listened to a lot of popular songs growing up but also a lot of our own popular songs too. For instance, our bassist steven models his bassline after a lot of J-rock artists that he likes, which is a result him listening to that genre growing up. We think a lot of music right now is crossing over genres and classifications and our unique experiences really open up our perspective to take those combinations a bit further.
How did you get involved with local music to eventually form what would become Post-Modern Connection? PMC started with myself (Tega) and Georges. We met at UBCO and played lots of open mics and after a while we realized if we wanted to get into pubs and venues, we would need a band. So we went and made one. Georges was in a band in high school, so he was pretty familiar, but I (Tega) was new to it. We met Steve soon after, as we were in a similar friend group and asked him to play for us for a show but roped him afterwards. In 2018 met Mitch who become our keys/violin player and he introduced us to Cam who is our 3rd drummer.
What are some of the themes that you like to bring forth in your songs? A lot of themes in our music stems from self reflection. We write about our experiences and try to be candid. So, there’s been songs about love, happiness, depression, loneliness and acknowledgment.
So many of your music videos are stunning and vibrant. How much are your hands involved in the planning of these music videos? When it comes to this visual aspect, do you like your videos to have a direct representation of the songs or act as their own separate art piece that is enhanced by the music? Thank you! Our first video we planned ourselves and worked a good friend and videographer of ours KB, to bring to life. Our 2nd video Drowning was almost completely hands off. We let the videographer do his thing with inputs on the overall look. And our video for Folie a Deux was very similar. We like the videos to stand on their as their own art pieces. So we like to give videographers full control over the story and setting and give input on the overall feel and look, and ideas for shots that help achieve our joint vision.
That being said, all of your visuals are very strong. Who are some of the artists you have worked on with these different singles and what is it a bout them that attracted you to working with them and the specific art that would encase your music? Thank you again! As far as video wise we’ve worked with Kamar Burke, who’s done videos for some major Toronto artists. Teaghan Mcginnis who’s worked with Skrillex in the past, he directed Drowning and shot most of it with help from Aaron De Silva and Jordan Powers. And on Folie a Deux our buddy David Vassiliev directed and shot it. We’ve worked with them all because we were sure they could create something that matched our vision and art pieces that stood out. Teaghan had actually approached because he wanted to make something unique which I think he absolutely accomplished. We met them all in Kelowna, which is interesting because they are all very different people.
Is there a visual or lyrical motif that you find yourselves returning to? Yes, for sure. Ever since our Drowning video, we’ve been straying away from traditional story telling in our music videos. We want you to draw your own conclusions or have a good, or bad, time watching them. We’ve been drawn more and more to Wes Anderson style production that feels nostalgic.
With this single release, are you working towards a larger record, or do you think that you will end up sticking with singles and small releases for the time being? We’ve got our Debut EP coming out in the fall! We’re very excited about it becomes we think it combines popular indie music while brining our uniqueness to it. It releases Oct 14th and it will have 5 songs include Folie a Deux and In the Dark our 2nd single that releases on Sept 23rd.
Is there anything that people should be on the look out from you in the coming future? Outside of the EP we’ve been working on another small project, not exactly related to music. We’re very excited for that to be released as well as new Merch!
RICH DELINQUENT Hello and thank you for taking the time to talk with us! Let’s dive right in and talk a little bit about your song writing process. Since you are the one that produces your own songs and works on all of the components alone, how long do you find the process is to build a song? What does that typically look like for you?
Hi! Thanks so much for having me! The song writing process is quite lengthy as I’m involved in every step of creating the art, from writing, producing, engineering, recording, singing, mixing, creating the artwork to the music video and merchandise designs. I generally start by writing a basic instrumental, this is so I can catch a vibe, then write and record the vocals around the music. From there I’ll then go back and write the production around the vocal as the vocal is the center of the song. Majority of the time I’ll collaborate on the writing of the vocals, it’s a lot more enjoyable to collaborate with a song writer rather than being stuck in my own head worrying about what I am writing about. How and when did you first get started with learning how to create your own beats and songs? It came out of necessity. Touring in bands for many years where we were splitting pay equally but the workload wasn’t shared with members having mixed visions for the project. I got to the point where I had enough of being in bands, I wanted to do it all myself. So I bought logic pro and never looked back, starting off writing music for other bands and artists which eventually turned into writing for myself once I found my artistic vision.
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What are some of the themes that you like to explore within your music, both in terms of the musical elements as well as the topics that you address? I always write from personal experiences, every song is based around real situations/emotions and the musical elements are designed to match. My art comes from a dark place, drawing from negativity, trying to shed some light on pain in the hopes that fans will connect the themes and place their own meanings and life experiences on it.
How have you felt that being based out of Melbourne has influenced you and how you navigate within the music scene? What is it like to be an artist from that area both for live performances and the support within the community? I don’t really find that where I come from has much influence on my art, I personally find inspiration in a mix of things like life experiences and music I love (from EDM to pop, hip hop and even metal), when you listen to Rich Delinquent you’ll find little elements from every genre of music. The support from my hometown has been incredible, it feels like everyone is watching Rich Delinquent with excitement and I can’t wait to repay them with an epic live show soon. What brought you decide to remain a solo act when doing live performances? What does your set up typically look like? To be honest, I haven’t considered bringing any session musicians or anyone else on to be a part of my live show as I feel with the music being all electronic, I can control the set myself with a midi controller and just sing my heart out. The inspiration for being a lone wolf on stage actually came from seeing Drake live. I have never seen one person have so much command and presence, one of my goals is to be able to have a presence that strong on stage in the Pop/EDM world.
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When approaching creating visuals and music videos for your tracks do you like to have them directly reflect the topics on the songs or do you like them to be a piece of art on their own? The music and the imaragery go hand in hand in order to completely capture the story of each song, whilst also feeling like it’s its own piece of visual art ... I often use metaphors to artistically portray emotions and paint a deeper picture of my perspective. I won’t go too deep into the meaning behind things as I like my fans to attach their own thoughts to the art. Is there a team with people that you like to continuously work with on visuals, or have you worked with a variety of visual artists over time? I have developed a strong team to build the visuals with and we will keep expanding with the growth of the project. I find it extremely important to have a good team that can build the art with you over time and keep the feel of the project consistent rather than jumping from person to person. With having such interesting music videos with these different props and moody lighting, what has been one of your favorites to be a part in? It’s very difficult to pick my favorite as each music video was so unique as was the experience filming them. In saying tha, buying a 90’s sports car and destroying it for Death Drive and lighting a piano on fire and playing (whilst lit) for It’s Cold Where I’m From are probably the most extreme so far. Now that Bad Time has been released, is there anything else that people should be looking out for from you? A non stop influx of Rich Delinquent Art! More music, videos, showcases and merch all on the way. We are extremely busy behind the scenes! Exciting times ahead!
ALEX SOUTHEY Talk with us a bit about your upcoming release, My Nights On The Island. This EP revolves around the revision of a break up. How did you come to build this EP with the idea of keeping it circulating on this topic? I had more fun making this EP than any other past release because while working on it I freed myself of thinking it would be the next release. Once you take the project out of consideration, you’re willing to do a lot more weird stuff with it because it once again becomes yours as opposed to something that is yours but will live or die on how it’s perceived by other people. Then I really fell in love with it, plugged in its holes with other songs I worked on, and I found I had this interesting left turn of an EP sitting in front of me. Fusing the idea of a break-up (or looking back on a relationship) into the record was rarely something I knowingly. I knew in the back of my mind the theme of the record, but it’s more like that atmosphere influenced the rest of what came just by the fact that that’s the mind set I was in.
When you write something like this with a very controlled, and singular story, do you find it to be a cathartic experience of sorts, or does it have any negative impact on you at all while you are digging into these thoughts consistently? Both! The negative impact is short lived but it’s because in a roundabout way I’m working with the issue. The thing is, it’s all untethered. It’s not the kind of thing where I go “I want to write about a breakup” and then I write a song about a breakup and dust my hands and say “Well that’s that off the checklist”. The feeling or emotion of a breakup and getting stuck in its aftermath seeps into the lyrics and to the vibe as opposed to cutting in like the tip of a spear, making itself the true centre point. It’s more like a haunting that’s in and around the worlds of the songs.
Since 2019 you have consistently been able to create a lot of music and put it out into the world. How have you been able to focus and have the momentum to create something that you are proud of releasing? I feel compelled by something to keep writing. The way some people feel compelled to keep their house clean, or they grow up and they’re very Monica-esque - that’s how I feel about making music. The only thing that’s changed is the amount of effort I am putting into the PR side of things. I like writing music. It’s a rare element that can take me out of a bad mood or situation. There are so many reasons to try and actively song write and I genuinely feel lucky more than anything that my brain pushes it regularly on me.
Do you have relatively easy access in terms of the recording and production side as well that helps this process? What does this process typically look like for you? Nightmare city. First two albums I knew nothing. Bought a condenser mic based on my much more knowledgeable roommate’s recommendation and I used it for every thing I recorded. Got a Scarlett 2i2 thing and use that for everything. None of my setup has changed since I recorded my first record. All that changed really is my understanding of the tools in DAWs we can all use. I’m sure my music would be of a little better quality if I went into a true studio with an engineer, but there’s got to be a happy marriage between the money you’re willing to put down and where you are in your career. Spending thousands to make a record I knew no one outside my family would hear seemed silly. Now that I’m spending more on PR, and I’ve been around for 2.5 years, some people in Toronto know me, and it makes sense to really step up and leave my bedroom … But not just yet.
You have stated that on the release of your previous album you had a tough time between what you thought was authentic behaviour and what was done purely based on followers and the influence of social media. Would you care to speak a little bit more to this and the impact of expectation versus what you hope to achieve with your music on your own? You grow up and you read story after story about disillusionment in the industry to the point that that’s a cliche. It’s almost more interesting when someone gets launched into stardom and they go: This is fucking fun! Give me more of this! Anti-fame has been around forever but in my mind it crystallised with Kurt Cobain and since then we’ve all had to deal with this kind of give and take of fame and authenticity. Just to get something out of the way: No i’m not famous in the slightest, but once people who don’t know you start to like your music… that’s something else. It’s not fame, but it’s no longer just your friends and family. It’s more like i’m at the myth-creation stage rather than the “I’m over it fame” stage. Long story short, as soon as I realised what went in to creating a narrative about a release, shows, songs, artists as a whole… I felt a real shock. You grow up reading biographies thinking many happy accidents came together to create these gods but really it’s almost always calculated. What seem like happy accidents are detailed in an artist’s or PR person’s notebook. It’s just a lot of “I resent the top, but bring me to it please”. That’s exactly where I am too. Why lie? It’s a real predicament but instead of avoiding it, I’d rather dive headlong into it. That’s where “As Close As You’ll Ever Be” comes from. (Disclaimer: Of course I’m also fulfilling that meta cliche right now)
Was a lot of this feeling influenced by the intensity of people working and existing online during the height of the pandemic? Or is this something that you feel extends a little past that? Sure, having to exist mostly through the phone as a musician was a bit tough to get used to. You want the energy of other people but also… you miss out on the quality. I might as well perform under water for people. I never quite got the hang of (or put enough effort into) setting up a solid livestream, so I was underwhelmed by my own few performances. With that said, I think this is an issue that’s a lot more general, it was just amplified because of the pandemic circumstances. If I wasn’t doing something people-facing I would probably limit myself to having one or zero social media accounts. I genuinely think they - for now - are doing more harm than good. Not to mention over time we’ve revealed these CEOs characters and … It isn’t looking good. They don’t need more money or power.
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With your particular sound, how did you come to find it and make it work for you? The beauty is I don’t think that I have much of a sound outside of my voice. I feel like it’s a really good balance where my voice is the one constant against a kind of flowing river of musical ideas I’ve got. I’m not gonna be putting together a g-rap unit or a jazz fusion trio but if I want to introduce a “beat” or some weird chord sequence that’s outside the norm of what 75% of the song seems to be, I’m gonna do it, and I’m not gonna worry about whether or not it’s “Alex Southey style” as long as I find it interesting. The sound of this EP was an odd alchemy of: Hip Hop Evolution (watched it twice in a row), 70s prog (Floyd), Brit Pop melancholy sunshinyness, and whatever else my 17 year old self loved back then… which was a lot. As I said at the beginning of this novel, I wanted to treat this first as a project that wasn’t even going to be the next thing in my career, so I used my 17 year old self’s taste as a kind of guide… with my 28 year old self’s editor’s ear.
How have you felt that being from Toronto has influenced you as an artist? Wherever you live definitely feeds into how you feel and what you write about. The west coast and Toronto both pop up very often on my records. I’m not sure that the city influenced my sound (what city doesn’t have an acoustic guitar?), but the place itself (topography, whatever) is influential.
When it comes to the visuals of your releases, you have this very distinct painting style that tends to encompass your music. What is it about these images that you feel suits your work? Is there one artist that you are working with consistently to have these beautiful visuals? Felicia Wetterlin is the artist I’ve worked with on everything after my first record. She’s phenomenal. We were in the same circle at university (UBC), we went our separate ways, but I saw on Instagram a few years later she was putting up artwork. I thought it was great, and that her style suited my sound. It blossomed from there and now she’s getting requests from other people … Exactly what I hoped would happen. At some point I might move away from this style, but Felicia will remain the first person I go to for a project. Despite never being best friends or anything, I think there’s a strong mutual admiration for each other’s work, and that forces us to make our best.
Moving forward with the release of your EP, what do you anticipate that you will be working on or getting up to into the latter half of the year leading into 2022?
Latter half of this year I’m gonna play some shows and get back into the swing of things. I’ll follow along the release of My Nights On the Island into the early 2022, and then I’ll probably release something else a few months later. I’m sitting on a small bank of songs in need of a real sculpting, but that’s always the best place to be… Baaaack at the beginning.
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WITH CONFIDENCE
Jumping into the release of your self-titled record, tell us a little bit about how everything came together. How long had you been working on some of these songs? What direction did you go in for getting it recorded and produced For the most part, it started while we were rehearsing for our last US tour. Songs like ‘City’ and ‘Anything’ came out out of those days. We were recording In our dressing rooms and renting cabins on our days off. I think we all enjoy the headspace of getting away from largely populated areas. There’s far less distractions. I know Jayden & Ini both dug into their pockets and pulled a few of these songs up from the depths. Lose is one of Ini’s first songs ever, but it ain’t ready ‘til it’s ready. The final ingredient was getting us all home to Australia and hooking back up with Stevie Knight who did Better Weather with us. We wanted to take some chances and Stevie is as great a producer as he is a friend so there’s a trust there.
When it came to releasing songs, did you feel any pressure to hold off on releasing anything in the lockdown? Yeah, the plans for release changed so many times. Not pressure so much, anticipation. There’s no rules when it comes to releasing music but there are age old methods (like touring) that really have made all the difference when releasing an album. Once our long awaited UK tour dates were on the table again we decided the album is coming out regardless. They can cancel the tour but you can’t cancel our spirit. So it’s out. Play it loud.
What are some of the themes that you explored on this record? You have referenced that much of the record is about, ‘turning lemons into lemonade.’ What specific lemons of subject matter did you write on? The song ‘What You Make It’ was all about that. The juxtaposition between a fun activity on a week night, an expensive drink in a cheap motel. I think the many years of touring have shown us you can feel rich in the pretty poor conditions under the right frame of mind. We all had something to say after the few years in between album. Relationships had ended, new ones begun. We’d been to so many new places nand met so many people we’d be amiss not to try and tell those stories.
Tell us a bit about the visuals that accompany this release. What is it about the overlay of images that you feel encompasses the mood of the record? Where and/or who did the photos come from? We try to keep as much of our output as in-house as we can. Our resident photographer and guitarist/singer Jose Ini Del Carmen is responsible for the artwork, like he was on our last album “Love and Loathing” as well. When it came time to decide on a photo that would articulate these songs, one photo just didn’t seem to cut it. I think in the end Josh was the one to suggest layering the photos on top of each other, which gave us our album cover! The result is a tree from Joshua Tree National Park placed in the mudflats of Taiwan. Which is kind of a nice metaphor for how we feel when we’re on the road traveling
Continuing with the visuals, when it comes to your music videos how much say do you have into the direction? Is it something that you feel needs to have a direct reflection on the song or is it more of a separate artistic piece on its own? I would say all have a strong affinity for great video. In the past we have written our own treatments & ideas but at some point you usually hand over to the director because you’re in their world after all. On album 3 though we all wanted to be more involved. Videos give you the chance to cement the idea you’ve already presented in the song or elaborate further on what the song is meant to make you feel. Sometimes it’s just fun to go and film a day out with the crew and laugh at the end result. Much like we did with Big Cat Judgement Day. I would say ‘Cult’ is one of my favourite videos ever. Ini wrote that song & video. It’s really cool to see the evolution from song demo to fully finished video all from one persons brain. That video is all one shot. No edits or cuts. That’s the first time we’ve ever done anything like that.
What sort of influence has being from Sydney had on you as a band? How do you find the local music community has affected you both musically as well as being a part of the community itself? The Aussie ethos never really leaves. 3 of 4 still call Australia home. The fans down here are some of the oldest and best we have!
Now with the record out, how do you anticipate that you’ll be celebrating it’s release leading into the end of the year? We’ve had lots of plans fall through in the past few months. Australia is still completely locked down for the time being. We‘ll be doing our best to play some of these songs “live” on the net anyway we can. We’ve been getting more into the podcast game on interviews for this album so maybe that’s something to look at for us while we can’t perform.
Is there anything that people should be looking out for from you in the next few coming months? Loads more on the way. We’ll have another video out soon for ‘What You Make It,’ they shot that today in Los Angeles. Otherwise, soak up these new songs and we’ll be coming to a town near you ASAP.
PHOTO CREDITS: ERICK FROST
WILDER. Let’s start out by talking a little bit about your EP, Bad Bad Luck. How long have you been sitting on some of these tracks? What did the production side of it look like for you? Oh man. We initially wrote 4 of the songs back in Winter of 2019 when we were still under our old band Hearts Like Lions. It was a long process for production. We mulled over the songs a lot. By the time we hit the studio with Mike Pepe, he was able to come in and help us make some final structural adjustments and really make them shine. We spontaneously wrote “Oh No” within the 2 weeks before hitting the studio. Good things take their time.
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What are some of the themes and subject matter that you explored throughout the EP? Definitely a lot of stuff in there about leaving the church, regretting past mistakes, and letting go of a lot of people. Yet with all of that said and done, it’s also about arriving on the other side of it a new person who is looking forward to the future.
What do you find so attractive about juxtaposing these upbeat musical elements with more serious, and at times confrontational topics that you discuss? That’s kind of been something we just naturally do. When we write instrumentals, we are automatically inclined to write more upbeat, fun stuff because that’s a lot of what we listen to. When Stephen hits the lyrics, he’s naturally inclined to be very honest and writer from a first person perspective. Can’t really explain it too much other than that’s kind of been a theme with how we write since we first started back in 2010.
How have you felt that being from Southern California has influenced you both as musicians as well as with this specific project? SoCal has a huge punk / hip hop influence and has always been very cutting edge in terms of art. There’s a difference between being born in LA county and starting a band, and moving in from somewhere else and starting a band here. There’s nothing wrong with either at all, but from what I’ve sene, the bands / artists that are actually from LA county always have a bit more grit and attitude to them. I admire than a lot.
What were some specific lessons with your previous projects that compelled you both to come together and stick as a duo? Definitely respecting each other’s opinions and outside obligations is huge for us. If we can prioritize the relationship between ourselves, our manager, and the rest of our team, then it will always mean that we will prioritize people over whatever else may come our way. To us, having a super successful project full of miserable people is neither desirable nor sustainable.
Tell us a bit about some of your visuals that have been accompanying your tracks. They seem to have a great balance of fun-loving characteristics as well as a bit of seriousness. How much say do you have within these music videos, or is it something that you allow the the videographers take over? It was so much fun putting the videos and overall imagery together, and it was also very well thought out and intentional. We wanted it to have a very defined, fun look, but also feel relevant and not stuck in whatever past trend has gone. Our video producer Josh, and his team, really followed our lead in terms of vision and execution. He took our ideas and brought them to life with his skill, throwing in his suggestions here and there. But the majority of the driving once was Stephen and I in terms of creativity.
With the cover of the Bad Bad Luck EP, explain a little bit about the choice of using this broken Disco Ball. Are you pulling references from the bad luck associated from breaking mirrors? How did you come to decide that this was the direction you wanted to go with as a visual umbrella for the EP?
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Honestly, at the time we started planning out the visuals (mid-late 2020), we really hadn’t seen many bands messing with the disco ball imagery. It’s more so just something that we thought looked super dope and wanted to mess with the idea more. But after observing the artwork many times now, there definitely seems to be an undertone there. Like everyone who goes to a party or a show has some kind of unseen struggle going on that they’re trying to escape from,whether it be a lame job or a serious relationship struggle, or worse. If the disco ball represents the party, then the shattered glass in its side represents the internal strife. There’s a dichotomy there. A lot like whats in the songs!
How are you hoping to celebrate the release of the EP? By doing these awesome interviews and seeing it all unravel. It’s so cool to even have just a few people ask questions and be interested, so on behalf of our team, thank you for submitting these questions. That, and more tangibly, we plan one throwing a banger of an album release show on October 9th right here in Long Beach!
Is there anything else that people should be keeping an eye out for from you? More music, more shows, and definitely some curveballs in terms of our sound as it progresses. Get wild!
PHOTO CREDITS: RIO CARCIERO
SALT ASHES Tell us a bit about the music video for “Love, Love.” What were some of the elements that you most strongly wanted to get across in “Love Love”s video specifically? The video is about a man trying to win my heart over, emotionally and physically. It’s a story that soon reveals that it’s not as innocent as it first seemed. My main focus was to create an uneasiness for the viewer; to keep them guessing as to what was happening and to what he, the male character, was going to do. I kind of wanted people to think it was a nice love story until certain things are shown. The most important thing for me though was having a killer actor and I think Chris Sherwood smashed it.
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You tend to direct your own music videos. Tell us a bit about your experience with this as well as a little bit on why you like to take on the position of the Director. Directing and starring in a music video isn’t as easy as I thought it would be. It actually takes longer because you need to stop and check each shot … Or you have to rely on the eyes behind the camera to execute your vision which can be tricky. I do love seeing something you imagined come to life though. It’s a beautiful, and stressful, journey.
Do you prefer to have a larger hand in the process for all of your various visuals? I usually do unless I find someone that I feel really sees inside my head and shares the same vision which doesn’t come around too often. I think wanting to be in control can be a blessing and a curse all at the same time. Understanding when to relinquish control though is a skill within itself and when the right people come along I know how to do that.
I would say that while you are also a musician, you very much have a knack for various forms of artistic expression. So much of the style that you put into everything feels so purposeful and fitting to the work that you create. Have there been specific influences that have left their mark on you for different aspects of your work as an artist? I want to say something more poetic but I use pinterest a lot. I have an “inspiration” board and I’m constantly adding to it and referring to it when I’m looking for inspiration. I also love watching old films and taking note of the styling. Most of the time though, I have no idea where my ideas come from. Sometimes it’s like someone has thrown an idea my way and it pummels me in the face. I have no choice but to take notice.
With anticipation for your second record coming out, what sort of themes and subject matter should people be expecting to come through on the songs? All personal experiences for starters. A lot on relationships, lovers, friends, family and some on female empowerment and owning your body and decisions. I see it as a journey through a lot of emotional shit I’ve experienced so I hope people find something in there that hits them in the guts.
Tell us a bit about your experience writing and building these tracks. How long have you been working on some of them? What did the production aspect of it all look like for you? My producer, Louis Souyave, and I have been working on it since mid 2020 although you will find one or two that were written before that. A lot of it was spent during lockdown in Louis’ studio - we had created a bubble together - just hashing out our shit and our fears of the world crumbling through music. It was all very cathartic actually I think we needed each other and this project to keep us sane.
What initially attracted you to creating music within the synth-pop genre? What do you appreciate most about this genre? I just fell into it really. I used to think I wanted to be in the pop/rock world and started a band but when we gigged those songs I realised that I never looked forward to the gigs or singing the songs so I took some time out to experiment and see what happened. And what happened was me falling into this genre and it really feeling right. I love that when a lot of people here the genre “synth-pop” they immediately think of high energy, 80’s synth, bubblegum pop yet that’s not the music I create. Yes there are influences, especially 80’s influences, but there’s always a darkness which I fucking love.
Now with everything slowly rolling out for this release, what should people be keeping an eye out for? The album is the next big release for me. There will be a leading single with it as well as another music video (I can’t help myself!). I’m also in talks of putting on an album launch party in London so keep an eye out for that date as tickets will be limited.
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TRASH BOAT Tell us a bit about your upcoming record, Don’t You Feel Amazing. How long have you been piecing together these songs? The album was worked on over the entirety of the lockdown period, but in all honesty, it was really WRITTEN in the 4 weeks before the studio and the two weeks during. We had 6 weeks of creative chaos that changed everything. How did you go about working on the recording and production side of the record? Who did you know that you wanted to work with in production as well as with features on your tracks? Everything was done over zoom until we actually got into the studio, which if you are in a band yourself, you will understand how nearly impossible that is! Everything changed when were were all together in the studio, it was a formative experience. We were introduced to our producer, Jason, entirely by chance and just loved his energy and the way he would speak about the songs we have already written. The features came about in a similar manner, we asked and they said yes! Did you feel pressure to hold off any release until there was more flexibility on restrictions for live music? Not really, we took the opportunity to make sure the album was everything we wanted it to be while we were forced to not be able to play shows. It took a little longer than we would have liked to finalise everything, but the lack of live music meant there was no rush.
There’s no doubt that there’s been a shift in some of your music with this release when compared to prior releases. Though I imagine a lot of this was quite organic, how did you come to decide to approach balancing into this darker or heavier sound? Were you influenced by other artists that you were listening to at the time or was it very much a product of where you were mentally in the moments of writing these different songs? We were influenced by our instincts rather than our desire to achieve status in a certain scene. If our instincts would have told us to write a similar album to Crown Shyness, we would have done so, but we allowed an unrestricted creative element to guide us and this is what we made! Same people, same influences, less posing. With this record, there are a lot of strong and direct lyrics. Tell us a bit about some of the themes that you were exploring on this record and what you set out to say within it. Addiction, Hedonism, Self deprecation, Pride, Sex, Confidence, Anger, Reclamation, Honesty, Candour, Humility, Vulnerability. I tried to be as honest as I can with my experiences regarding these subjects in the hopes that people can connect and be honest about themselves too. You have these particularly powerful visuals in music videos that accompany your tracks. How closely did you work with the directors on these visuals and what were some of the visuals that you felt were the most significant for yourself? Zak Pinchin was great to work with and has awesome artistic vision! My favorite video is definitely Don’t You Feel Amazing because that black goo/ honey shot is just FIRE. Whole video is a vibe and makes me feel feelings. As for the album art, who designed this cover for you? The use of the standing form human seems very purposeful, tell us a bit about this motif. His name is Jack and his Instagram is @jedyr. The little man is the central theme in a larger much broader and more intense world that he casts an imposing shadow on despite being completely at its mercy. Now that this is being released, how are you hoping to celebrate the release and share it with your audience? What else should people be on the look out for from you? Shows shows shows shows shows. We made the most of live streams and that was awesome. Now that we can play again we will DO IT1 Headline tour in October, plenty of festivals and SO MUCH MORE.
A
LBUMS OF REVIEWS
WRITTEN & CURATED BY JAMES LIAM WARD
ANGEL OLSEN 08.20.2021
3.5
Aisles
somethingscosmic/Jagjaguwar
Angel Olsen’s latest EP is a whole new mess of 80’s pop covers that fails spectacularly in nearly every aspect. Beginning with a slow-motion cover of Laura Branigan’s “Gloria”, Angel and her producer Adam Mcdaniel implacably remove every ounce of energy that drove the original tune, replacing the nimble bassline and energetic vocals with a tapestry of swirling synthesizers and Angel’s understated croon. The pacing of the song is like auditory drip-feeding, and the dramatic vocals during the song’s conclusion feel too little, too late. I appreciate the bold statement that Angel and her producer were trying to make by taking this 80’s dancefloor hit and bringing it to a snail’s pace, but as a listener, there aren’t enough ideas present to remain invested for the track’s fiveminute runtime. The tone and lyrics of Billy Idol’s “Eyes Without a Face” are much better suited to Angel Olsen’s timbre; the eerie hypnotic synthesizers are effectively replicated here, and I love the dreamy vocal details worked into the instrumental that make it sound a bit like a Beach House song. As the heavenly vocal layers are worked into the hook, it seems as though this cover is going to go off without a hitch… until the bridge. Now, I’m aware that Angel Olsen rapping over Billy Idol’s section probably wouldn’t have gone well, but the inclusion of wailing synthetic autotune sounds infinitely worse and serves to immediately sour what was a totally solid cover up until this point. This brings me to a couple more glaring issues on Aisles, the production and the mixing. The exact reason I find 80’s music so enjoyable is the exact reason why I hate the sound of this project; retro mixes are fantastically spacious and lush -- every instrument has its own role and space -- but I find the mixing of Aisles to be both oppressive and suffocating, particularly at high volumes. The reverbed drums on “If You Leave” sound overly loud and compressed,
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and the washes of synthesizers sound harsh, trebly and irritating. I can’t make any sense of Angel’s “Safety Dance” cover either, which has been slowed to the point where it is legitimately undanceable (except maybe if you’re dead or debilitatingly weak at the knees). “Forever Young” is the final syrupy-slow slap to the face, where throughout the five minutes of gimmicky and weak production, Angel sounds absolutely and completely fed-up. This is the foremost issue amongst the cascade of failures that is Aisles; Angel Olsen is undeniably bored out of her skull. This fact undermines the project entirely, as the conviction and command of Angel Olsen’s voice is one of the most essential aspects of her sound and the key to making her dramatic and emotional music work. Without Angel’s investment in the material, it is impossible to become invested as a listener. Pairing an uninterested Angel with a slew of creative oversights and Adam Mcdaniel’s unimaginative production, Aisles is far and away the weakest project to come out of Olsen’s decade-long career.
BEST TRACK: Eyes Without A Face WORST TRACK: If You Leave
CHARLOTTE DAY WILSON 07.09.2021
8.2
Alpha
Stone Woman
Alpha is the debut studio album from Canadian singer/songwriter Charlotte Day Wilson. I found Charlotte’s music through her frequent collaborations with Canadian jazz quartet BADBADNOTGOOD and was immediately drawn by her brooding and meditative sound – a sound that is further honed and refined on this new LP. “Strangers” opens the record with gently plodding pianos and ghostly vocal harmonies that fade in and out of the mix like sonic fireflies; Charlotte’s whispery voice cuts through the tune like a knife, and the introduction builds effectively with layers of synthetic percussion and doo-wop vocals. Charlotte’s collaboration with the afore mentioned BADBADNOTGOOD goes over flawlessly (as usual) and presents an instrumental of gentle guitar arpeggios and an angular bassline driven by a pronounced drum groove with memorable accents and pauses. The distant harmonies add an ethereal and dream-like quality to the refrain, and the psychedelic guitar solo and sparkling synthesizers add a uniquely intoxicating timbre to the song’s close out. A strong gospel influence runs through the powerful and unforgettable chorus of “If I Could”, where an expressive bass and spacious groove only add to the heavenly drama. The key ingredient, however, is the layer of Charlotte’s synthetic vocal harmonies that appear throughout the song’s refrain and its epic acapella conclusion. The emotive ballad “Mountains” feels equally as cinematic with its expansive chorus, lumbering groove and profoundly lovesick vocal performance. The heaps of angelic voices that back the hook on this song sound great, and the descending trumpet that wails through the final chorus is completely spine-tingling. The sparkling guitar loops and shoegaze sounds of “Lovesick Utopia” make for a unique moment, and Charlotte’s
voice sounds wonderful when paired with her guest Daniel Caesar, but both moments on Alpha’s first half run very brief and feel slightly unsatisfying as a result. The second half of Alpha feels much like the first; a collection of subtle, pensive and well-crafted but unique R&B tunes. “Changes” is the perfect example, offering a palette of reserved keyboards, colorful vocal samples and a distant saxophone that make for a perfect combination with Charlotte’s resigned and doleful vocals. The driving and shifting percussion of “Keep Moving” gives Alpha the momentum it desperately needs, as little material on this album moves faster than a sad sway or mournful march. The song’s lead guitar includes an excellent and tuneful melody, while the bridge’s beat switch makes for a refreshing resolve that adds a lot of dynamic to the track. In between these songs, “Take Care of You” with Syd feels relatively ordinary and although the two singers have solid chemistry, the song’s murky sub bass and straight-forward beat feels too generic to be exciting. The final moments of Alpha drive home the lyrical themes of the album, as Charlotte concludes the project with the crushing mantra “Still wrapped in fear; it’s what I know”. Alpha is a graceful debut, but not the kind that is looking to impress; rather, the album finds strength in its subtlety and sound design as well as the consistency of Charlotte Day Wilson’s powerful voice and lyrics. BEST TRACK: If I Could WORST TRACK: Take Care of You
A GREAT BIG PILE OF LEAVES 08.13.2021
7.1
Pono
Topshelf
After eight years of studio silence, Brooklyn indies A Great Big Pile of Leaves have returned with their third LP, Pono. As an echoing acoustic guitar fades in, “Yesterday’s Clothes” drops into a sprightly drum and bass groove slathered in the band’s signature angular guitar work, topped with verses of nostalgic baritone vocals. The bridge opens into an electrifying and spacious section with layers of more distorted guitars that slowly build into a final chorus. By A Great Big Pile of Leave’s standards, this song is positively heavy and serves to highlight a notable uptick in energy -- perhaps the only alteration that the band has made to their sound over the last eight years. “Hit Reset” sounds more like business as usual for the band, except for its bizarrely alternating time signature that throws the entire song into a strange and unique swing. Despite being such a rhythmic oddball, the band is still able to make the song’s tone and transitions come off as smooth and dreamy. The slick guitar work all over “Beat Up Shoes” is meticulously vivid, and the interplay between the guitar and bass throughout this song is fantastic; a gentle build of smooth finger-picked chords, splashing tambourine and faint claps flows into a quirky start-and-stop section filled with shots of drums and acoustic strumming. The defined hi-hat groove and chanting vocals make the end of this song sound huge, and I appreciate the change in this song’s structure relative to the opening tracks. More angular riffs kick off “Waiting for Your Love” before the tune builds with gently palm-muted guitars and snare rimshots. The refrain’s spacious drum grooves leave plenty of room for rich guitar arpeggios to weave through the mix, well contrasted by the driving percussion and heavily strummed chords at the song’s conclusion. The concept and melodies of “Halloween” are enticing, but at this point in the album it’s clear that the band doesn’t intend on
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bringing anything new to the table. Although the ethereal, cavernous guitar tones and accentuated bassline of “Kitchen Concert” set a solid instrumental tone, it’s the charming lyrics about “dancing on the counter” and “drumming on the table with a spoon and a ladle” that really carry the song. This is because even though the band has great grooves, killer guitarwork and awesome basslines on every track, the lack of variety or significant sonic change begins to really affect the enjoyability of Pono. The strumming guitars and jovial lead melody that flow through “Swimmer” sounds so whimsical, and I resonate with the song’s message which simply romanticizes the idea of being a fish. Finding a favorite tune on Pono is simple; since all the songs sound the same, just pick the track with the most pleasing performances and charming concept. The momentous bridge of “Writing Utensils” features some fantastic instrumental interplay, and the distant backing vocals really makes this penultimate chorus hit, but the guitarwork and dragged out ending of “Simple Pleasures” leaves the album’s ending on a particularly drab note. Every song on the album is well-performed, well-structured and incredibly sweet on the ears, but A Great Big Pile of Leaves are simply too obtuse to switch up their style, and this flaw leaves Pono unsatisfying as an entire experience. BEST TRACK: Swimmer WORST TRACK: Simple Pleasures
LEON BRIDGES 07.23.2021
6.8
Gold-Diggers Sound Columbia
Gold-Diggers Sound is the third studio album from soul singer/songwriter Leon Bridges, named after the East Hollywood studio, hotel and bar where Leon wrote and recorded the entire project. The album is a significant departure in style for Leon and incorporates a more clean and modern sound resplendent with sparkling synthesizers and punchy electronic percussion. This change is marked right off the bat with the hypnotizing opener “Born Again”, where lush keyboards interweave with a wistful brass section as Leon Bridges delivers a spellbinding vocal performance. The following “Motorbike” and “Steam” hit relatively similar tones as Leon sings romantically over amiably sequenced drums, luscious guitars and dreamy synths. Everything goes off without a hitch on these poppy, neo-soul hits, but the real standout is the mournful ballad “Why Don’t You Touch Me”. Most of the tunes on Gold Diggers Sound are displayed as sleek and sunny soul tunes, but the dramatic shift in theme to fading love and heartbreak on “Why Don’t You Touch Me” makes it an instant standout. The desperation and yearning in Leon’s performance is crystal clear, and the stunning vocal harmonies and depressive guitar melodies only add to the tragic tone. The album’s vibe quickly shifts back to normal with the luminous “Magnolias” whose booming bass and spiraling guitar loop make for a notably bold and unique instrumental. Even though the horns halfway through are a fantastic touch, I can’t get on board with Leon’s refrain; his layers of harmonies feel too robotic and mind-numbing for such a punchy and smooth instrumental. After the brief but engaging interlude “Gold-Digger’s (Junior’s Fanfare)” the album transitions into its second half and into the last truly great song on the project, “Details”. Gold Diggers Sound is a romantic record, and no song displays romance better than the intimate and attentive lyrics that Leon delivers
on “Details”, highlighting all the little things that he appreciates and remembers about his lover. The instrumental is brilliant and shines in its simplicity; a gentle guitar quivering over a skeletal drum loop with a fantastically addictive groove, sounding like something off a lo-fi hip-hop playlist. Beyond “Details”, the album becomes increasingly reductive, tacking on track after track of pleasant guitar melodies, barebones percussion and flourishes of brass until every song in the album’s third act just blurs together with very little personality or nuance coming through. Leon’s hopeful vocals on “Sweeter” sound great, but the skeletal and synthetic beat isn’t complementary of Leon’s voice (except for Terrace Martin’s beautiful saxophone embellishments). The penultimate “Don’t Worry” is annoyingly inconsequential considering its near seven-minute runtime, but I do enjoy the more organic percussion and despondent strings on the closing “Blue Mesas”. This final moment on the record is a solid one, and feels satisfyingly reminiscent of Leon’s older work, but the song’s bizarre incorporation of fuzzy synthesizers and it’s abrupt ending leaves the song and album on an unfulfilling note. The lack of concept and variety is what really hurts Gold Diggers Sound, particularly during the album’s second half, where the track list fluff and clear lack of ideas becomes almost painfully obvious.
BEST TRACK: Born Again WORST TRACK: Sho Nuff
LORNA SHORE 08.13.2021
6.6
...And I Return to Nothingness Century Mediai
…And I Return to Nothingness is the latest EP from American deathcore band, Lorna Shore. The project begins with a cavernous acoustic guitar melody that quickly gives way to lamenting electric guitars and splashing cymbal accents. Brand new vocalist Will Ramos comes screeching into the mix, howling through layers of crackling distortion before the song descends into a thunderous blast-beat section. The tune weaves through passages of stuttering guitars, dizzying double bass and crushing breakdowns while occasionally looping back to more melodic sections bolstered by layers of dramatic strings. These more harmonious passages add a notably grandiose tone to the EP, reminding me of symphonic metal bands like Fleshgod Apocalypse and melo-death groups such as At the Gates. This regal tone and feel work well for the band but are in direct conflict with Lorna Shore’s tendency to drop into hyper-edited and insanely over-the-top breakdowns that come across more ludicrous than heavy. I understand the necessity for extremity in this genre, and while the snorting, snarling vocals at the end of To the Hellfire are still awesome, most of the ostentatious breakdowns on this project come off a bit silly… “Of the Abyss” also attempts a dramatically epic tone with its opening operatic vocals, but these layers don’t become effective until they are paired with the groovy and exhilarating drum and guitar performances later in the song. Halfway through the song, the band transitions into a guitar solo and breakdown that is as gnarly as it is unexpected, but Adam De Micco’s performance is too flashy and leaves little room for expression. After the guitar solo ducks out, Lorna Shore then commits to the full breakdown where more of Will Ramos’ obscene vocalizations pull me out of the song. The band loves to assemble these majestic, Emperor-like presentations of extreme metal, but they also aren’t
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afraid to sound like a pig choking on its own slop; this dynamic makes some of the band’s passages feel a bit forced, such as the abrupt transition from knuckledragging breakdown to symphonic refrain on “Of the Abyss”. The project’s title track “…And I Return to Nothingness” opens with an airy soundscape of pulsing synths and strident organs which accurately set the conclusive tone of the instrumental. I love the sweet, harmonized guitar leads over the verses, presenting a sense of somber urgency that remains consistent throughout the track’s onslaught of melodic breakdowns and lightning-quick riffage. This tonal consistency throughout the tune immediately makes it the most listenable on the EP, and although the double key change at the song’s conclusion feels a bit extra, it adds a final boost of intensity to a project that clearly thrives on intensity. …And I Return to Nothingness is a dense and thoroughly extreme deathcore project; my biggest issues culminate in the band’s lack of tonal consistency and the occasionally robotic sounding performances – granted, when you’re playing shit this fast, sometimes it’s going to sound a bit unreal. BEST TRACK: ...And I Return to Nothingness WORST TRACK: To the Hellfire
STRUCTURES 07.09.2021
7.5
None of The Above Independent
Canadian metalcore band Structures have returned from a six-year hiatus with a destructive new EP called None of the Above. The title mirrors the name of their first release, All the Above, which was released over a decade ago. The band’s return was impressive with the comeback single “Planet of Garbage”, an absolute barn burner of a track that quickly became one of my favorite metal songs of the year. The tune kicks off with these harmonized, bending guitar leads that drone like air sirens over a drop-tuned onslaught of caustic electric guitars and half-time drums. The apocalyptic tone of the track comes through loud and clear, and I love how the lyrics seem to drive the song’s structure; one particularly clever moment is a deliberate and sudden transition right as Brandon Padjasek screams, “If we want to make a change in the world, we need everyone”. The subsequent “6” is just as exhilarating when it busts in with a sludgy and sinuous guitar riff. There is a fantastically groovy rhythm repeating throughout this song that is emphasized by the pummeling bass kicks and chugging guitars. Brendan Murphy’s appearance sounds more influenced by his work on END rather than Counterparts, and that’s no detriment as his savage screams pair perfectly with the complex and constantly shifting instrumental. A strong hip-hop influence shines through on “Gone / Dead”, especially as the band drops into a bombastic sub bass section layered with atmospheric guitars -- The whole track feels very Fever 333 influenced. Padjasek’s performance here is admittedly stronger than most of Jason Butler’s verses, but it was still a good call to keep this song on the short side as the instrumental feels barebones in comparison to the previous songs. The second feature on None of the Above is Michael Barr from Volumes, and I don’t find his performance
on “Civilian” to be very commanding or interesting. Thankfully, the frantic drum performance and convicting screams of Brandon Padjasek keep the song from flopping. The spidery guitar riff that opens the following “Psycho Hours” sounds awesome and I love the woozy, melting feeling of the droning guitars on “Fortune Fades” but neither of these tracks are as gripping as the opening material. None of the Above feels very front-heavy with its great material, but the band still nails the addictively pessimistic and apocalyptic tone throughout a seamless six songs. It’s not often that comebacks are a success, but Structures is sounding tighter and angrier than I’ve ever heard; this new EP has a great sound and an accurately venomous stance on human nature.
BEST TRACK: Planet of Garbage WORST TRACK: Gone / Dead
STURGILL SIMPSON 08.20.2021
8.5
The Ballad of Dood and Juanita High Top Mountain
The Ballad of Dood and Juanita is the latest conceptual album from American country music singer, Sturgill Simpson. On the Kentucky crooner’s seventh studio album, we follow the kickass cowboy Dood as he scours the old-fashioned American frontier in search of his one true love, the incomparable Juanita. Beginning with a classic outlaw country instrumental of acoustic guitars, fierce fiddling and a warm upright bass, Sturgill introduces us to our main character on “Ol’ Dood (Part I)”. The plonking jaw harp, banjo and tinkling triangles give the tune a traditionally bluegrass feel, and Sturgill’s bold (and hilarious) claim that Dood could “blow the balls off a bat, reload and shoot it one more time” only serves to paint a more vivid picture of our half-blood hero. After dear Juanita is taken by a cruel bandit named McCule on the waltzing “One in the Saddle, one on the Ground”, the journey with our protagonist and his trusted companions truly begins; Dood in the saddle, and his beloved dog Sam on the ground. Nimble banjoes and bouncing upright bass set the invigorating pace for “Shamrock”, a veritable bluegrass banger with Sturgill’s baritone lyrics centering around Dood’s trusty mule, Shamrock. Our hero is hot on the bandit’s trail as the song’s refrain is broken up by incredibly expressive instrumental solos that highlight the lively interplay of the band. After a short break and tempo shift, the song ramps up in energy as the banjo erupts in a flurry of notes before giving way to a jaw-dropping suite of guitar and fiddle solos; the amount of life and emotion and expression coming through in these performances is simply exhilarating. The good times don’t last though, and we find our hero injured and at his wit’s end on “Played Out”. As a reverberating jaw harp and bass drum drive this sombre swaying waltz, Dood tragically finds his dear dog dying on the desolate ground – spoiler alert. The following “Sam” is a simple and beautiful acapella ode to Dood’s best friend and companion; there is a sobering universality to this tune that goes far beyond
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the scope of this story, and I can’t help but get a bit emotional every time Sturgill and his band mourn Sam, the “hound of hounds”. A smooth Latin swing and warm bass line are worked into the helplessly romantic “Juanita”, as we continue to follow our desperate protagonist on his noble journey. This tune has some solid lyrical sentiments, but the contribution from country music legend Willie Nelson ultimately ends up disappointing; Willie’s guitar playing is dragged and sloppy, as if he is playing to a completely different groove and tempo. Thankfully, Sturgill Simpson’s convicting vocal performance and an expressive fiddle keep the song’s quality high and make up for Nelson’s messy contributions. “Go in Peace” serves as the climax of the story, where thanks to the help of the mighty Cherokee, Dood is finally reunited with the love of his life. The dual singing performance on this track radiates a fantastic energy, and the instrumental embellishments after every vocal line give the entire tune a lively, epic and in-the-moment feel. After the brief whistling and military snare drum of the album’s “Epilogue”, Sturgill Simpson ties up the last loose end of his story, hunting down the evil bandit Seamus McClure. Reprising the same colorful fiddle, noodling banjo and twanging guitars from “Ol’ Dude (Part I)”, The Ballad of Dood and Juanita ends on a seriously badass note, as Dood shoots the villain from over three hundred yards away and then kills him with a flying tomahawk. Outside of maybe a few too many doobies on Willie Nelson’s part, The Ballad of Dood and Juanita is a whimsical story of romance and redemption set to a satisfying soundtrack of wellpaced and organic traditional country songs. BEST TRACK: Sam WORST TRACK: Epilogue
VINCE STAPLES 07.09.2021
8.4
VINCE STAPLES Motown/Blacksmith
Long Beach rapper Vince Staples has once again teamed up with prolific producer Kenny Beats for his fourth and most consistent studio album to date. The self-titled project is a concise ten tracks, kicking off with the incredible “ARE YOU WITH THAT?”. I was blown away by this song upon first listen and it will undoubtedly be one of my most-played songs of the year; I love how the warbling synthesizers ebb and flow over the rattling, hard-hitting beat, and the shots of massive sub bass sound fantastic. Vince Staples’ performance makes the tune, adding just enough melody to his hooks and verses to add a potently morose and pensive tone. The following “LAW OF AVERAGES” is executed just as flawlessly, delivering a smooth, swaying groove and lumbering sub bass. The tapestry of pitch-shifted soul samples makes for a one-of-a-kind instrumental, and Vince sounds cool as a cucumber throughout, sounding both laid-back and robust in his delivery. Beyond these smash singles, the rest of Vince Staples is equally as enjoyable. “SUNDOWN TOWN” is a bouncy instrumental laced with mournful melancholic melodies, and the strident sample that drives “LIL FADE” pairs perfectly with Kenny’s booming bassline. The intriguing sound design of “THE SHINING” makes it an instant highlight, as amorphous psychedelic textures twist and weave over a rigid and resonant bassline. Throughout these tracks, Vince’s presence remains decidedly dejected but never indifferent; his verses are stoic and despondent but equally rich and engaging – and sometimes funny. The Harry Potter reference “Quidditch, catching snitches” on “TAKING TRIPS” is particularly sharp. The intoxicating and nocturnal beat on “TAKE ME HOME” sounds fantastic, and Fousheé’s whispery hook only adds to the dreamy, dark vibe of the instrumental. The main melody of this track is introduced on the reflective interlude “THE APPLE
& THE TREE”, making this preface an effective and meaningful pause in the track list. I can’t say the same for “LAKEWOOD MALL”, whose presence at the very end of the record feels both unnecessary and uninteresting in context. A couple of the album’s refrains fall short as well, such as the hook on the previously mentioned “TAKING TRIPS”, as well as the closer “MHM”; after a needless penultimate interlude, the mumbling refrain concludes Vince Staples on a slightly weaker note. BEST TRACK: ARE YOU WITH THAT? WORST TRACK: LAKEWOOD MALL
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