Archive | December, 2017

Moses Sumney – Aromanticism

10 Dec

Moses Sumney is a 27-year-old from Los Angeles, but he doesn’t belong at that intersection of space and time in so many ways. While his fellow millennials are eager to jump in – and out – of relationships at literally the touch of a button, Sumney is hesitant to move forward even with someone who loves him. He’s introspective, melancholic and shy to the point of physical discomfort – clashing garishly with the showy extraversion of LA. Sumney doesn’t fit in, and he can’t bring himself to be vulnerable enough to love someone, despite his human need for affection. And worst of all, he’s aware of all of this. The culmination of these themes is his debut full-length album, Aromanticism.

Although the premise may sound too depressing to warrant a listen, Aromanticism is actually a gorgeous and immensely repeatable album. Sumney has an ethereal voice that is amplified in beauty by a moody guitar and a masterful falsetto. His gossamer-silky vocals twist, snake and turn, in line with the churning thoughts in Sumney’s deeply introverted mind. He’s also a great writer; Aromanticism is full of evocative metaphors, references, and a penchant for the dramatic.

Take, for example, the first single “Plastic”. Within the first minute, Sumney’s voice effortlessly flutters across half a hundred notes as he sympathizes with a fellow lonely soul (“I know what it’s like to behold and not be held”) over a barebones guitar strum. He reveals his secret at the end of the sole verse (“My wings are made of plastic”), sung a dozen times but each so nuanced that the message sinks in twelve times deeper. Orchestral drama then segues his other big reveal: “My wings are made up, and so am I”. Sumney is a present-day Icarus, complete with plastic wings to replace the wax of yore. His fragile attempts to connect to another human often end with the melting of his metaphorical wings – and himself, too.

“Quarrel” takes place during one of these wing-melting moments. It’s an achingly beautiful song – a choir of layered voices (all Sumney) blend quite luxuriously with the harp. “He who asks for much has much to give / I don’t ask for much, just enough to live” goes the opening doublet – Sumney tries to keep a low profile in relationships, because he can’t be vulnerable enough to give someone else a lot of love. Unfortunately for him, his lover seems to have put his fragile soul at edge. “If I don’t have tools to fight, calling this a quarrel isn’t right,” he laments, before sinking into the almost-indignant chorus (“Don’t call it a lovers’ quarrel”).

Experiences like these have made Sumney sort of anti-love over the years. In his own words, Aromanticism is a rejection of “the idea that romance is normative and necessary”. But it’s clear that he does wonder about what it means for him, long-term, as a human being that cannot love. “Am I vital if my heart is idle?” he wonders on “Doomed”, so plaintively that it’s impossible to not share his fear.

However, as we’ve stated before, don’t be disheartened by his melancholy, because this man literally has the voice of an angel. His languishing wails on songs like “Lonely World” are almost enough to make one weep, and his falsetto alone has more range than most artists’ singing range. Aromanticism is a flawless debut by a deeply tortured genius.

* In case you were wondering about the album cover, it seems to be a reference to Plato’s Symposium, in which Aristophanes posits that humans were once four-legged, four-armed, and double-sexed, but Zeus cut them in half. Since then, humans have been trying to find their “other halves”, but Moses is pictured on the album cover as a human that’s missing his complementary half. More info here.

Best songs: “Quarrel”, “Plastic”

Advertisements

SiR – Her Too

8 Dec

170210-SiR-Her-Too-Art-800x600

R&B has been making quite the quiet comeback over the past few years. It’s not as flashy as the stuff that’s going on in the rap world, but it’s definitely there. This EP from SiR, the new TDE signee, is a brief burst of traditional R&B and a quite good one at that.

The standout here is the wonderful “Ooh Nah Nah”. Full of a soft heat and absurdly languorous, the song is just captivating. Additionally, Anderson.Paak shows up well in the opener “New LA” and is fun as always. I keep coming back to the closer “W$ Boi” though. It’s almost entirely the chorus, which is nothing more than a chant of the words “I’m a Westside Boi”, but imbued with serious energy.

At nothing more than 18 minutes, this EP is compact in all the best ways. SiR’s debut album has yet to drop, but he’s already clearly an artist to watch.

@murthynikhil

Future & Young Thug – SUPER SLIMEY

2 Dec

A collaboration between Young Thug and Future is something that always seemed in the cards. These two Atlantans are probably the biggest young rappers out there this side of Kendrick Lamar. Stylistically, there is quite a difference between Thugger’s yelps and Future’s growls, but the meeting felt inevitable. Now that it’s here, the result is sadly a little less than the sum of the parts, but that total is still plenty.

When they play off each other, such as in the excellent transition between verses in “Three” or build one another up, like in “No Cap”, where Future builds into Thugger who then sets up Future perfectly, this is truly fantastic music. However, “Cruise Ship” is one of the strongest songs in the album despite having no Future in it at all. It’s just classic Thugger. Meanwhile, “Drip On Me” feels entirely like a Future joint. Young Thug is actually quite good here, but it’s really the murkiness of Future that animates this song. Similarly, “Group Home” lies squarely in Future’s drug-hazed lane, and Young Thug is just a little out of place.

The talent is undeniable here. When it clicks, it’s great and when it doesn’t, it’s still fine. This isn’t the strongest work from either artist, but it is a testament to their current powers how good it is anyway.

@murthynikhil

%d bloggers like this: