EP REVIEW: Campbell Moon - Mercury

Campbell Moon's Mercury is a thoroughly eclectic project that showcases excellent songwriting and captivating vulnerability. 

Reviewed by Ash

AUTHOR'S NOTE: Before reading this review, please take 20 minutes to go stream the project! The links to Mercury on all platforms can be found via Campbell Moon's website, where you can also purchase merch and keep an eye out for his next gig!

I'M JUST GONNA come out and say it now: a debut project has absolutely no right to be this good. Mercury, a seven-track, 19-minute EP which dropped last December, marks the world's first introduction to Campbell Moon, a singer-songwriter and producer within the MTech program. Mercury feels very much like both an introduction to the musical universe of Campbell Moon as well as a prelude to bigger and larger-scale musical endeavors in the future. Campbell combines a vast array of influences that includes everything from alternative singer-songwriters like Lorde to indie pop acts like The Front Bottoms all the way to rap-adjacent R&B in the vein of Joji and James Blake, showcasing eclecticism through and through in his production, songwriting, and performances. The result is an innately entertaining experience that never gives you the same song twice, making for an impressive display of musicianship and songwriting to create one of my favorite projects I've reviewed on this blog.

The EP opens with "Poltergeist", an indie pop endeavor combining a thick synth bass and reverb-heavy finger snaps with a downtempo, subtly swung groove and distorted guitars pushed to the back of the mix, which makes the song feel like an interesting stylistic crossover between Billie Eilish and The Black Keys. Campbell's vocal performance starts out breathy & soft, boasting a timbre that falls somewhere between Sam Smith and Dan Reynolds; his voice is occasionally augmented by really tastefully-arranged background vocals that create some very nice layering. Near the midpoint of the track, we finally hit the song's title; Campbell declares "Certain feelings don't go away, they just multiply/They stay in your head and they scare you to death/Like a poltergeist" as the synth bass comes crashing in and utterly swallows his voice in a moment that I thought was really cool. We get a ripping guitar solo soaked in shoegaze distortion and filled with some really nice, economical melody choices. In the track's outro, Campbell stretches and manipulates his voice to create all sorts of interesting vocal inflections, repeating "I know what you want" in an increasingly unhinged and off-kilter manner as his vocals get progressively more and more distorted and mangled. "Poltergeist" certainly made for a really striking opening to the album that successfully solidifies the persona of Campbell Moon as an earnest, if slightly unhinged, lover with an introspective and brutally honest slant.

The following "thru the street", a collaboration with Brendan Shaw, is a significantly lighter and more uptempo endeavor, anchored in an indie disco drum pattern and watery, chorused guitar lines. I really love the bass tone on this track; it has just the right amount of grit to cut through everything without sacrificing the clean tone associated with this kind of funky brand of indie pop. The guitars also sound great here, and add just the right amount of funk without being overly showy or distracting. Campbell's vocals are played a little straighter here; he sounds more put-together and in control, which I thought worked well with this track's cleaner presentation. The chorus brings multiple layers of Campbell, some panned left and some right, with subtle melodic variations between them, which I thought was a really cool touch. The short guitar solo that breaks up the last two choruses was also really nice; Campbell has a real knack for crafting guitar solos that drive the song forward without upstaging the rest of the production. The track closes itself out with a section that starts to feel a bit like an in-studio instrumental jam, as Campbell scats melodies from earlier in the song as the various instrumental elements start to drop out around him; I really love the decision to end the track like this, since I feel like it worked perfectly with this track's loose feel and organic vibe. "thru the street" made for an excellent resident pop song on this EP, and I wouldn't be surprised to hear this on the radio one day.

"FAST" opens with woozy, Don Toliver-like synth passages and psychedelic, doubled R&B vocals. Soon, the track settles into a pseudo-trap groove anchored by flickering, polyrhythmic hi-hats and a hefty 808 bass. Campbell's vocals really remind me of Frank Ocean & Joji over this type of instrumental; he captures a similar type of inherent vulnerability in his subdued, low-key vocal performance. The flows and melody of the first verse are really nice, and the interplay between the lead and backing vocals is very nicely done. I'm not sure I love the chorus of this first half; I feel like it could have hit a little harder with some more melodic variation to give the melody some more movement and emotional pull, and I found myself really wishing for a soaring R&B chorus where Campbell really lets the vocals rip. Either way, the verse is still great. After the second chorus, we enter a total vibe switch, with rapid synth arpeggios anchoring a new instrumental that leans even further into the aesthetic of trap, with a bouncy 808 bass and psychedelic background ear candy to boot. Campbell brings a fiery last verse in which he discusses feeling trapped by his personality & mental state and being forced to become someone he hates; the heavyweight emotional topics on display here are paralleled really well by Campbell's increasingly tortured vocal performance. This is absolutely a standout track on the album for me and I'm very impressed by how well Campbell negotiates the different sounds he wants to explore, as he manages a seamless fit right into the aesthetic of trap and R&B in a way that feels wholly natural.

"Crush" marks a bit of a come-down from the previous track's burst of emotion, opening with a relaxed swung guitar line backed with subtle slide guitar that somewhat humorously reminds me of some of the songs on the Spongebob Squarepants soundtrack. Laid-back, loose acoustic drums imbue this track with a chill groove; the track feels like it's in no hurry to get anywhere. The beach-like, sunny aesthetic of this track is certainly very nice and makes for a welcome switch-up from the darker tracks that preceded it. Campbell's first verse once again brings tastefully doubled lead vocals, as feminine backing vocals occasionally soar in and out for some extra flavor. The acoustic guitar solo that hits after the chorus is also really nice, as the background guitars become enveloped in heavy reverb to let the lead guitar sit front and center; the guitar solo hits some excellent melodies and triplet passages that sound great together. The track's outro is kinda hilarious, as one of the guitar lines gets processed through increasingly heavy frequency modulation until it sounds excessively warbly and wobbly—a decision that I thought worked quite well with this track's more whimsical spirit and vibe.

"103 Degrees" is a short track, clocking in at just over a minute in length. That said, it wastes no time getting itself established, with jazzy electric piano chords finding a home over sparse drums and a funky bassline to once again return to R&B territory. Campbell sings striking lines ("Only thing between us is friction/Your body has a hold of me like an addiction") over layered, textured backing vocals that add excellent bits of substance to this otherwise very minimal instrumental. I respect this track as a short interlude, but damn it if I don't really wish it was longer! The foundation is so good and Campbell fits over this type of instrumental so well that I wished that we could have heard him keep going. Either way, I hope he explores this sound some more soon!

The following "Your Name" opens with an economical guitar line and loosely pop punk eighth-note power chords. Campbell sings about heartbreak as he asks a former lover to walk out of his life; his performance here is perhaps more unhinged than it's been anywhere else on the record, as he manipulates his voice to make it dip and soar and break in a highly effective display of emotion. The track remains fairly minimal and low-key until the first chorus comes crashing in with a display of pop punk at its finest; thick power chords and a simple, punchy drum groove underscore a crazed chorus melody that embraces indie punk spirit. The second verse marks a bit of a come-down, as we return to relatively minimalist territory. There's a really nice break before the second chorus that showcases some exquisite vocal harmony work from Campbell for one of my favorite moments on the record as a subtle solo string line enters in the background. We get one more pounding, headbanging chorus from here on, which itself eventually gives way to a short section in which a full string section merges with the power chords for a decidedly sweeping and cinematic outro. I love this track and I thought the emotional dichotomy between the minimalist and maximalist sections was managed really well, creating a track that feels like a journey from start to finish.

"Sometimes", the final track on the record, returns us to indie pop/indie folk territory; this instrumental is rather austere in its presentation, slowly introducing first strummed acoustic guitar, then bass, and then drums in a methodical, unhurried way. The buildup to the first chorus is excellent, as Campbell's harmony work once again steals the spotlight; the following guitar solo is also aces, as per usual. Unfortunately, this last chorus is all we get, as we're gifted a short outro verse and a spoken word outro to close out the album. This track could have been longer, but nonetheless, I feel like it worked really well as a closer to the album. It doesn't linger, but it does offer a nice closing to the EP's narrative themes of heartbreak and the effects it can have on one's self-esteem and self-confidence. Through his exploration of his own stagnating mental state, Campbell leaves us with a solidly meditative closing message to ruminate over as we exit the universe of Mercury.

Pictured above: A snapshot from the release party for Mercury last December.

In my time reviewing music for this blog, it's a rare thing for me to encounter an EP that manages to explore so much musical territory. Campbell Moon navigated his way through a wide variety of sounds on this track, ranging from pop punk to indie rock to trap-adjacent R&B; his journey on this record feels totally natural where other attempts at doing this kind of stylistic mismatch might have felt significantly more disjointed. The narrative & themes of this record also come through really strongly, as Campbell's earnest exploration of heartbreak and his sense of self go over really well. I feel like many artists would have needed the runtime of a full studio album to explore these themes in-depth, but Campbell manages it in just nineteen minutes.

Campbell's technical prowess is also on display here; his guitar work, vocal harmonies, and songwriting are all consistently great on this record, paralleled by excellent mixing and mastering work to boot. As a producer, Campbell manages the introduction of new elements really well; his songs never feel overproduced, and often manage to be strikingly sparse without ever feeling empty. When Campbell does go big, it always feels like a climactic moment, which I think speaks to his skill as a songwriter and arranger. The emotional throughline of this record feels remarkably cohesive and natural. Anytime my only complaint with a project is that I wish it was longer, you know it's a good one! Mercury was a really strong project that feels like a prelude for a full studio album that will do everything that this project did, but with more tracks and even more freedom to explore every corner of Campbell's eclectic musicianship. I'll wait eagerly for that next project, and I'll be sure to give it a listen when it does drop!

Personal enjoyment score: 9 out of 10

Standout tracks: "Poltergeist", "thru the street", "FAST", "Your Name"

SINGLES SPOTLIGHT: November 2022 - RED_E¥E, Deadbeat Girl, Kudu, Cynnoh, sillybronco

This November batch of singles from the MTech community showcases a handful of artists with a lot of promise.

Written by Ash

Hello and welcome back to Singles Spotlight, the series where we take a short-form look at some of our favorite singles from the month! This is the November issue, and this month was definitely a really good one for MTech music. A ton of new releases dropped this month, and paring down this list to the five singles we've chosen to spotlight today proved to be a really difficult task. In any case, we've got some really great music for you today! Please take a moment to go stream the music via the links I've provided below and support the artists involved, and we hope you enjoy the songs!

RED_E¥E - Hail, Hedona

Links to this track on all platforms can be found via RED_E¥E's Linktree page, which can be found here.

RED_E¥E, known to friends and classmates as Rain, is a relatively recent addition to the MTech community, but has made a gargantuan splash with his latest efforts. He kicked off 2022 with two projects, Through the Hole in the World... and DREAMS, both excellent showcases for head-spinning rap production and insane creativity. Released at the tail end of last month, RED_E¥E's new "Hail, Hedona" is the first follow-up to DREAMS, and heralds a dark and apocalyptic new direction. He has built himself quite a reputation as a creator, riding on the back of his edgy brand of hip hop flavored with dark psychedelia and towering production. While "Hail Hedona" mostly builds on this sound palette, this new single also marks quite a shift from RED_E¥E's established sound, drawing influences from techno and industrial in its pounding electronic backbeat and heavy, sidechained bass to create a distinctly woozy, abrasive sound.

 

The track opens with dark, minor key synth plucks over a steady, simple drum pattern. As the four-on-the-floor kick drum lays down a foundational rhythm, RED_E¥E enters with a woozy, drugged-out lead vocal, proclaiming "The mask on my face is starting to slip" with a haunting, detached delivery as reverb-heavy breaths fade in and out in the background. The first verse sees a heavily-processed, slightly telephonic-sounding lead vocal spitting tight triplet flows. While I love the vocal sound in this first verse, I find myself wishing RED_E¥E's lyrics were a little easier to pick out; I had some trouble discerning the exact wording of certain lines here and there, but otherwise I love the sound. In any case, the song is hugely catchy and takes the listener on a thrilling ride from start to finish. After the second chorus, the track goes into an extended instrumental break where the breath noises convey a great sense of sweeping movement; I catch some influences from Death Grips, New Order, and Pink Floyd in the track's slow buildup and creative arrangement. After a final chorus, the track closes out with the sounds of cars zipping by and a distant scream. I loved this track overall and it teases an exciting new direction for RED_E¥E; I hope he explores this sound more on his next project!

Deadbeat Girl - She Loves Me

Links to this track can be found on Deadbeat Girl's Linktree page, which I have linked here.

If you caught last month's edition of Singles Spotlight (and if you didn't, you can read it here!), then you know how much I fell in love with Deadbeat Girl's debut single, "Another Day". Deadbeat Girl, a.k.a. Valentina Olson, achieved an achingly poignant level of pathos that synergized perfectly with the track's themes of heartbreak and loss. This month brings her second single, "She Loves Me", which makes for a meteoric follow-up to that first song that capitalizes on Deadbeat Girl's established strengths to create something arguably just as heartwrenching.

Mournful, folksy acoustic guitar passages open this track. Raw, quietly emotional lead vocals enter during the first verse; Deadbeat Girl's prowess as a vocalist never ceases to amaze me, and her brand of vulnerable, expressive, slightly tortured vocal performance works very well in this stripped-back context. The building acoustic guitar layers that continually get added over the course of the song provide nice countermelodies that crop up during select moments in each ear. The song never feels stagnant; it's always building and progressing. In particular, I really enjoy the entrance of the subtle electric piano and the suitably twangy, tastefully detuned banjo that enters in the back end of the track. The mix generally sounds great; it sounds polished and professional without losing its DIY charm. My only real gripe with the mix is that the lead vocals can sometimes get a little loud during the chorus sections, which perhaps presents an opportunity for some heavier compression. Otherwise, though, this was a wonderful listen that further cements Deadbeat Girl as an artist deeply skilled at conveying her unique brand of heart-shattering pathos.

Kudu - Lagoon

Links to this track can be found on Kudu's Linktree page, which I have linked here.

Leon Peter Dominic Sleator, known in musical circles as Kudu, released his latest single at the beginning of the month. The song is called "Lagoon" and inhabits a sonic playground loosely defined by chill techno and dance influences; it also marks my first foray into Kudu's music, and it made for a pretty exciting one! The track opens with a major key synth riff over a funky sub synth bass and danceable drums, backed by watery, sweeping sound effects that give the track a very wide and spacious feel. The short sustain time on a lot of the drum samples here really makes the groove stand out and gives everything else lots of room in which to sit. The sound selection on the synths reminds me a bit of Owl City, with the metallic plucks and watery major-key arps conveying a distinctly nostalgic vibe. Halfway through, though, we get a bit of a vibe switch, as these really nicely-arranged, trippy vocal chops enter and the track modulates to the relative minor, where we stay for a minute or so before the track eventually swings back around to the major key. I really dig this middle section, and I thought it lent the track a really great sense of movement that firmly stopped it from getting old in the slightest. I also love the consistent evolution of the synth sounds on this track; nothing stays totally unchanged, and the lead synths in particular frequently undergo gradual changes in timbre that help a lot to keep the song interesting. Overall, this was a cool piece of techno-adjacent electronica that successfully captured a feel-good vibe, evoking nostalgia for simpler times in the process.

Cynnoh - Revolution

This track can be found on all streaming platforms by its Ditto page, linked here.

For our next track, we're taking a look at another song that first saw the light of day in Collegium! This is Cynnoh's "Revolution", a loosely-indie pop piece of work that takes on a distinctly industrial, metallic, minimalistic soundscape in a manner that belies its superficially peppy and upbeat presentation. 

While writing this review, I took a moment to ask Cynnoh, a.k.a. Danielle Strassberg, about their process behind creating the song. They wrote that "Revolution" was their attempt at "captur[ing] a moment in time through music" in the immediate aftermath of a friend's suicide attempt. The song grew out of the anxiety, guilt, and dread of the experience and became somewhat of a point of focus for Danielle, as they sought to emerge with an optimistic spin on things. I feel like the song's presentation absolutely nails this vibe; it's a careful balance between hopefulness and detached apathy that makes total sense considering the circumstances behind the song's creation.

The song is built on a simple major key two-chord progression, rendered through a clanging, repeating bass pattern and backed with understated, low-key, driving drums. Cynnoh sings through a heavy vocal chain that results in a strikingly laconic, robotic sound; singing about loss in this rather detached way lends the song a super apathetic bent that suits Cynnoh's performance really well. While the drums and bass mostly remain a constant foundation, various instrumental elements enter to double the vocals at various points; a warped synth flute thick with vibrato mimicks Cynnoh's sung melody during the chorus, while an equally warped synth pseudo-guitar sound does the same during the second verse. The song's bridge sees Cynnoh break into falsetto, delivering some interesting melodies before the chorus reenters for a final time, this time sung an octave up; though Cynnoh's singing the chorus an octave higher than it used to be, the performance remains remarkably disaffected and the aesthetic of the song is never compromised. The emotional takeaway from this song is a really unique one, as the constant pounding bass and lack of variation in the drum pattern suggest a spiraling mental state that doesn't progress anywhere, which I thought was an intriguing perspective from which to write considering the song's optimistic leanings. In short, the emotional resonance of this track absolutely sold the whole thing for me. Although "Revolution" may not be the most superficially "complex" song, I find that it doesn't need crazy ear candy and multilayered wall-of-sound production in order to scratch an itch for me. Its complexity comes from the conflicting aspects of its presentation to create something really, truly striking. Cynnoh's debut was a really good one and I feel there's a lot of potential in the detached and disaffected spin on pop they gave us with this song.

sillybronco - u Kno

This track is currently Soundcloud-exclusive and can be found here. Please also feel free to check out my recent review of sillybronco's latest EP, THANKFUL 4 THA SLO LIFE, which you can read here!

Coming off of his recent EP, THANKFUL 4 THA SLO LIFE, Jackson Barada a.k.a. sillybronco seems hungry for more. I was fortunate to have the opportunity to review Jackson's last project near the beginning of this month, and I was particularly impressed with his kinetic, R&B-influenced production and unique, formant-shifted vocal stylings. The EP cemented itself as a powerhouse soundtrack for good times and parties, and I found myself looking forward to what sillybronco would give us next.

 This new track, titled "u Kno", continues the feel-good, carefree vibes of that last project, riding on a bouncy trap beat and easygoing vocals. The track opens with what sounds like a '90s R&B sample built on flickering synth arps and a grimy-sounding Rhodes keyboard. The sample here is an excellent one that has a great sense of movement and rhythm to it; sillybronco's sample choices remain consistently great and the sample once again anchors the production here. He chooses to augment the sample with bouncy, West Coast trap drums; the 808 bass hits some really nice syncopated rhythms with the kick drum that give this beat a very distinctive, fun groove that feels indebted to the production of 21 Savage and YG. sillybronco's vocals are as laid-back as ever, and his breezy, confident flows suit this beat perfectly. The entrance of the first verse is also accompanied by some subtle vocal chops that add pleasing bits of ear candy. I only wish this track was longer, as the outro always feels like it comes too soon for me, and I'd love to hear this track augmented with a proper chorus and some extra verses… which I suppose only means it's ripe for remix territory! Either way, this was a great solo effort from sillybronco that capitalizes on the strengths of his last EP and renders them into a new song that feels even more focused and artistically confident than his prior works. "u Kno" will definitely make for another solid addition to the partygoer's playlist!

~~~~

That's all for this edition of Singles Spotlight! Lots of really exciting music came out this month and it was my pleasure to review it! Please feel free to hit us up via email at NYUMTechMusicReviews@gmail.com, or slide into our Instagram messages at @NYUMTechMusicReviews to submit your own music for review in next month's edition. Tune in next month for the final issue of the fall 2022 semester!

Ash

ALBUM REVIEW: Not From England - Guest House

Not From England’s Guest House is a light-hearted collection of intentful songwriting and elaborate indie-rock production.

Reviewed by Reggie Katz, edited by Ash

 

AUTHOR'S NOTE: Before reading this review, please support Not From England by streaming the album! The links to the album on all streaming services can be found here. Additionally, please check out Not From England's Linktree page, which contains links to their music videos and some prior reviews of their music!

I WAS INTRODUCED to this LP when Not From England requested that we review it, upon which I fell in love with the sound of the project. I listened to a few of their tracks at first to get a feel of their sound, and I ended up being very intrigued by the sound of the lead vocals (which can’t help but put a smile on your face), and the consistency of the high level production throughout. Their album Guest House is a great example of the California indie-rock sound. It is also a nice reminder of how satisfying it can feel to listen through a whole album in a genre such as this one. Guest House left me feeling eager for more music from Not From England.

"Instigator", the first track on the album, gives a solid preview of the rest of the album’s sound. The kick drum come in at first and then we hear a distorted electric guitar. While not necessarily a musical sound, the unpredictable distorted guitar noises add a lot of texture, which starts to get the listener hooked. The producer of this album is not shy about showcasing their talents right away. The vocal layering, panning, and different EQ’s for the lead vocals and background “oohs” are expertly crafted. Overall, I enjoyed this track. My only criticism would be that the kick drum sits a little too far back in the mix, comparatively to the second track on the album. But overall, this was a great way to introduce us to the rest of the album.

"Something To Do" is the fun and catchy second track. The stronger kick drum and overall sense of rhythm in this track helped provide a sense of stability in the track since most of the other elements are a bit more free-sounding. I found myself jamming out to this track as well. My main criticism this track is the diction of the words. It was hard for me to understand a lot of what the singer was saying, and I was really let down by that since I was reading along with the lyrics of each song. This song is nicely written, so it would’ve been nice to appreciate the lyricism of this track a little more. Other than that, all my feelings towards this track are positive. A very easy song to listen to!

The third track, "Rest Of It", is a nice juxtaposition to its predecessor track. The guitar pedalboard sounds like it was kept pretty bare-bones. The more stripped-down tracks on the album make for consistently beautiful moments that showcase Not From England’s excellent storytelling abilities. This track talks about the trouble of being trapped inside your own head and being unable to do things that you once could do Although the instrumentation in this track is rather stripped down, for me this symbolizes what it feels like to lose your mind. My only criticism of this track is the bridge. It sounded like there was supposed to be a bridge, but it wasn’t different enough from the rest of the song to be a true bridge in my opinion. Regardless of that, this is one of my favorite tracks off of the album, and made for a perfect segue into the title track.


Track four, "Guest House", is an outstanding track. I have no complaints about this track at all. The production and relationship between the bass and the drums creates a very cool push-pool that I could almost feel physically. The idea of this song was interesting as well. It tells the story of how you can lose a best friend if they stop putting in effort into the friendship. This track really resonated with me since I've been in situations that felt like one-sided friendships. The lyricism in this song was very well done and made the song especially relatable. This is one of my favorites off of the album as well.

Track five, "Red Light", keeps the energy of the album going, starting off with a nice groove. This track had some atypical production which I admire since it added a lot of personality to the song. For example, about halfway through the track, some unplugged electric guitars came in. Although the production was very creative, I personally was not a fan of this one. I was unable to understand most of the lyrics, and for me, connecting with the lyrics of a song is what makes a song special. But overall, this track is still well executed, and the production remains very unique.

"Good Morning Thieves", the eye-catching title of the sixth track of the album, is also more stripped down compared to the majority of the music we’ve been hearing. I liked the use of panning and reverb throws in this production, making us  like we’re in the studio with them. This was another song about being tired of being stuck in your head. It was a pretty good song and overall a nice track that further explores the album’s themes of feeling trapped.

The seventh track, "Nylon Pipes", shows off angelic pipes and incredible songwriting ability. This song was totally acoustic, and absolutely beautiful. Placing this track in the seventh spot was a great decision in terms of pacing, and made for a perfect break from the more uptempo & heavily produced indie rock songs that led us to this point. I’m always a sucker for acoustic, balled-esque productions since that is the kind of music I grew up listening to, so naturally, I gravitated to this track quite heavily. The little imperfections in the guitar and vocals really added to the authentic feel of the performances as well. I got chills when the backing vocals came in. "Nylon Pipes" is my favorite track off of the album.

Pictured above: A snapshot of the recording process for Guest House.

"Don’t Get Me Wrong", the eighth track on the album, starts off in a very “Mr. Brightside” kind of way: guitar panned hard left, drums panned hard right, and vocals right down the center. We’re back to more of an indie-rock feel again, but the song is nothing too heavy at the beginning. It eases us back into the vibe of the rest of the album will be. The song talks about wanting to die but being too scared to act upon those feelings. I enjoyed this track and I loved the use of the slidey vocals.

"Beach Night" is the experimental ninth track on the album. Not From England once again uses distorted guitar sounds solely for sonic elements, rather than musical elements, and for the most part, it works quite well, but I didn’t love this track for a couple of reasons. The repeating four chord pattern worked, except for the third chord in the pattern. It sounded a little too dissonant for an average listener to enjoy. I also felt like some of the guitar sounds got a little too experimental to fit in the context of the album. But as a standalone track, it is nice to listen to if you are into experimental-sounding guitar. Think of Frank Ocean’s guitar heavy tracks off of Blonde. Overall, I thought it was pretty neat to hear Not From England experiment with sounds and chord progressions that we had not heard before. So even though it wasn’t one of my favorite tracks, I ultimately respect their decision to include it.

"Bluebird" is the tenth track on the album. Some things that stood out to me in this track are the drums and groove. The drummer does a really nice job of showing off their skills while still keeping a really nice groove. I also enjoyed the little cameo at the end of one of the band members' voices. The haunting eleventh track on this album is titled "Jura". The opening lyric “I’m starting to lose my mind” just grabs you; After all of the tension and questioning in the previous tracks, they finally say it out loud, which made for a really powerful moment. It almost sounds like there is a sense of panic in this production, adding to the overall sense of going crazy. It was a nice track to add to the falling action of the album.

The final track on the album, "In Town", is an appropriate track to end the album on. I got a very warm feeling from this final song. The instrumentation almost sounds like something off an Alabama Shakes record. The track provides a sense of completeness, especially because of the repeated lyric, “another day is nothing changed.” This track was pretty enjoyable for me.

Pictured above: Not From England, performing live at the Observatory Main Stage in Orange County, California.

My overall thoughts on Guest House by Not From England are somewhat mixed but mostly positive. While I thought the songwriting was pretty well done, the majority of the tracks ended up sounding very similar as you listened through the album. It is clear by the capabilities of the musicians and producer that they are all very skilled. I hope that on their future releases, they apply their skills some more by adding some more differentiation in each of their tracks. I also was not a huge fan of not being able to understand the lyrics of the song. I understand that part of the indie-rock style is this sort of unclear and distorted vocal, but I felt like sometimes it was overdone, which sometimes took away from my enjoyment of the songs.

On the flipside, though, it’s clear that Not From England has found their sound and are sticking to it. Think of if The Rare Occasions and the Arctic Monkeys had a baby. While songs sounded similar on the album, it may very well be because this band has already found their sound and wanted to adhere to it, and I respect that. Nonetheless, Not From England’s acoustic endeavors on this album were all fantastic; their musical abilities in an acoustic context are definitely not to be underestimated! Another stand out feature of this album is the production, mixing, and mastering of this album. I have pretty much no complaints about the production quality, mixing, or mastering. I think this album's production elements could compete with any mainstream track. This album was a fun listen overall and I look forward to listening to more work from Not From England!

Personal Enjoyment Score: 7 out of 10

Standout Tracks: “Rest Of It,” “Guest House,” “Nylon Pipes,” “In Town”

EP REVIEW: Thai Thai - TELEVISED SUICIDE

Thai Thai's TELEVISED SUICIDE is a haunting experience that showcases moody production and clever lyrics to create a gripping, intense journey through trauma and loss. 

 

 

AUTHOR'S NOTE: As always, before reading this review, take thirteen minutes to go stream the EP! The links to the project on all platforms can be found through Thai Thai's Linktree page, which I have linked here.

 

WHEN THAI THAI SHOWED UP in my Instagram messages to suggest I look at his most recent release, TELEVISED SUICIDE, I was immediately struck by the title and album art in a way I haven't been in a long time. I'm no art critic, and visual art definitely is not my area of expertise, but I swear I knew on some level after looking at the artwork that this project would encapsulate a really interesting vibe. After listening to the EP, I think it's safe to say I was right. This EP delivers a large-scale experience that belies its short runtime of just five tracks and thirteen minutes, and is probably one of my favorite projects I've reviewed since this blog began.

 

This EP marks Thai Thai's sophomore project; its predecessor, the five-track PIECE OF MIND, was released to the public in April. Despite only having two EP-sized notches on his belt to this point, Thai Thai, also known as Mathias, presents a remarkably fleshed-out and well-realized sound on this project; it's evident that he has a clear vision of who he wants to be as an artist and the kind of sound he wants to explore. TELEVISED SUICIDE seamlessly alternates between an apathetic, depressive stupor and barely-repressed anger & aggression over instrumentals that similarly oscillate between melancholy R&B-sampling conscious rap and heavy, distorted trap metal. Thai Thai raps about everything from the peaks & valleys of his artistic journey to watching loved ones fall victim to drug use, making use of his incisive wit and brutal vulnerability to create an EP that is equal parts artistic showcase and coping mechanism. The end result is thoroughly gripping and extreme, and makes an excellent showcase for Thai Thai's abilities as an artist.

A woozy, muffled flute sample opens the EP on the first track, "LIFE OR DEATH". Soon enough, a heavy synth bass enters under shuffling 12/8 percussion. Thai Thai delivers a meditative and thoughtful first verse dealing with mortality and death through a detached, disaffected delivery before rapidly switching to an aggressive, raw, shouting delivery as the beat modulates upwards in key; the result ends up feeling like a stylistic cross between Scarlxrd and J Cole. The track rather successfully communicates the dichotomy between melancholy and aggression that often comes hand in hand with loss, and sets up the EP to deliver a thought-provoking, tortured hip hop experience.

A jazzy, retro-flavored conscious rap instrumental anchored in sweet harp chords lays a foundation for Thai Thai’s distorted, confident vocals in the first verse on "KILL 4 MY SPOT". Between this track and the opener, Thai Thai demonstrates a real penchant for crafting simple yet effective and catchy flows that provide a solid base on which he builds slick wordplay and compelling storytelling. His voice bears a real similarity to Kendrick Lamar on this track, and the meditative atmosphere feels very much like something that might have stepped off of Mr. Morale. We get an R&B-style sung hook based in an austere earworm of a melody; the lyrics cut deep here ("Prayed to the Lord for forgiveness/Promised shit would be different/He looked real deep in my eyes and said 'You lying, admit it'") and the introspective message of this track is a solidly memorable one. The mixing sounds very professional here; every element occupies its own space and nothing feels like it’s clashing with anything else. The extended harp breakdown at the end of the track is also very nice. I really love this track and I think it makes for an excellent cross-section of what makes this EP so great: economical, moody production anchored by raw lyrics and a vocal performance that visibly aches like an open wound.

On the following "PERC 30", we get an instrumental that is significantly more trap-flavored. The huge, distorted, sliding bass patterns and massive, clanging snare point to trap metal influences. Thai Thai also showcases his technical prowess on this track, as his  flows are realized with laser-like precision. He seamlessly transitions from steady triplets to rapid eighth and sixteenth-note subdivided rhythms with ease. He also employs some off-kilter vocal inflections here, dipping and soaring in a pseudo-melodic way that reminds me of Baby Keem. On the second verse, he breaks into a screaming headbanger of a verse that features his raw delivery and creative bars ("Death what I insist, if y'all persist let's make it simplistic/My opps cease to exist, check off that list, now you a statistic") front and center. My only real complaint with this track is that I wish it was longer. Its time in the spotlight is short, coming in at just under two minutes, and I feel like it really could have used another verse. Either way, though, this is still a real banger of a track that communicates an impressive amount of energy in a tight package.

Sampled vocal harmonies and retro R&B guitar form the instrumental to "WHAT DO I KNOW?". The resultant chill, introspective vibe reminds me of something Lauryn Hill might have done. Thai Thai finds himself in his bag on this track, as he spits spiteful bars addressed to an unfaithful former lover. The two features, lez and Xavier Top Floor, are both utilized really nicely and add a lot to this track. lez’s vocals in particular are really nice; she brings a smoky timbre that reminds me a bit of R&B singers like Janine and Victoria Monét, and her insane harmony layers on the song’s bridge really elevate the track. Xavier's second verse is dripping in effortless swagger, and he floats over the beat with ease. This is another track that I feel could have used another verse from Thai Thai to really bring it home, but nonetheless, there's a lot to love here.

The final track, "TELEVISED SUICIDE", opens with a sampled children’s choir and a reverb-heavy Japanese-language narration. Soon, those elements drop out in favor of a menacing low horn line and subtle, soulful bass guitar as Thai Thai spits haunting verses dealing with the effects of drug abuse. Thai Thai's abilities as a storyteller really shine here, as he articulates the deep regret and screaming sadness of loss with a painful degree of detail. His flows here are economical and simple, but on a track this emotionally heavy, it's clear that he feels no need to show off his technical ability when this track is really about his lyrics and storytelling first and foremost. A beautiful saxophone solo closes out the track alongside a narration from Thai Thai, in which he bids farewell, to life and to the listener both. I can't imagine myself putting on this track for casual listening very often, but only because it's so heavy and heartwrenching that I can't handle too many listens, which I take to mean that this track utterly and totally succeeded in what it set out to do. Thai Thai fires on all cylinders as he weaves a gripping, desolate tale of a story that features all of his strengths as a lyricist at their fullest.

The end result of TELEVISED SUICIDE is a body of work that feels thoroughly professional-grade. You could have told me this was a major label release and I wouldn't have batted an eye; it's truly that good. The mixing and mastering work is excellent here, and the technical prowess that went into this project is clearly evident considering the level of polish on the final product—which I feel speaks to the strength of Thai Thai's creative vision and his own view of the sonic territory he sees himself exploring. On the creative side of things, Thai Thai proves to be a capable producer and a remarkably talented lyricist. I don't know how much remains to be said that I haven't said already; his lyrics consistently cut right through the context of each song and lay bare the very real and human emotional aftereffects of trauma and loss. As a rapper, every performance he turns in suits the song, and he always sounds completely at home over each and every beat. I guess my only real complaint is that I wish that there were more verses and more tracks, but that really just translates to an admission that the record did its job so well that I can't help but want more. In short, this EP was absolutely gripping and I only hope that Thai Thai continues to capture and expand upon the magic he achieved here on his future projects.

Personal enjoyment score: 9.5 out of 10

Standout tracks: All five tracks are excellent and deserve a listen.

ALBUM REVIEW: Jaden Tyler - Sadfish

Jaden Tyler's full-length debut project Sadfish is a romantic, earnest nostalgia trip that is nonetheless modern and cutting-edge in its production.

Reviewed by Ash

AUTHOR'S NOTE: As always, before reading this review, remember to stream the album and support Jaden Tyler! The album can be found on Spotify and Apple Music. Additionally, check out the music video for "Swimming Pool Thinking", attached here!

IT'S RARE THAT I ENCOUNTER a project that evokes such strong feelings of nostalgia as I found on Jaden Tyler's new LP, Sadfish, while also sounding very little like the music of the past. This project just dropped last Friday, and Jaden himself slid into my Instagram DMs to gently point me in its direction, thus marking my first exposure to the world of Jaden Tyler. Sadfish is Jaden's full-length debut, meshing influences from pop punk with synthpop and indietronica into a neon-flavored album that deals in heartbreak and love. Clocking in at a tight nine tracks and 28 minutes of runtime, I was excited to crack this LP open and see just what Jaden had to offer.

Pictured above: The man behind the madness, Jaden Tyler himself, performing live on the guitar.

Sadfish opens with "Zipline", a track that sees a straightforward, chunky pop-punk-meets-grunge guitar riff supported by an agile synth lead and dusty drums that ride a groove somewhere between power pop and dancehall. Apathetic, autotuned lead vocals enter soon after, showcasing a timbre that somehow reminds me of both 1980s pop rock and early 1990s grunge music, with a smooth yet detached delivery anchored in grunge melodies and chords. The vocal is really nicely engineered on this track, with the reverb swelling at choice moments that make the whole lead performance pop that much more. The vocal harmonies that come in during the second verse are really nice (though I do feel that they start fighting for space with the guitar a little) and do an excellent job preparing the listener for the track's climactic final section, when the drums slow down and Jaden delivers some gorgeous high sustains to close out the song.

"Common Ground" sees bitcrushed, retro pop drums find a home under hollow pad chords. Jaden's vocals are a little more raw here, which works quite well amongst this laid-back, quietly emotional soundscape; I did find the vocal performance to be a little shaky, especially when the melodies dip down below the lower third octave, but on the whole I think it works with this track's vulnerable vibe. The pre-chorus chord progression is really nice and manages to be thoroughly unpredictable without ever feeling unnatural. The chorus vocals and melodies actually remind me quite a bit of Ethan Crowley's music. After this, we get some strange tempo switches in the second verse that didn't quite gel with me; I didn't think they felt especially natural. Nonetheless, the harmony work in the second chorus is very nicely textured, and the ad-libs that surface between lines are a nice touch. The moments where Jaden pushes into his higher register definitely communicate the emotion of the song successfully, and the last chorus soars beautifully.

The third track, aptly titled "Track 3 Pop Song", opens with a slow build as watery chords and vocals enter over sparse, pseudo-trap percussion. The deep kick drum, punchy snare sample, and flickering hi-hats back autotuned backing vocals and smarmy, clever lyrics for a distinctly tongue-in-cheek character. The chorus melody is very catchy and conveys a sort of detached yet fun spirit that enables Jaden's performance to fit this track very well; this vocal performance in particular screams pop punk for me, a genre which Jaden slips into with remarkable ease. The production is super dynamic as well, with Jaden employing various filters and constantly shifting the sound selection as he adds and subtracts various elements in a way that manages to make the track feel like a steadily evolving pop experience. The mix does feel a little smeared, at least in my opinion, since there's a lot of reverb and some details get a little lost in the reverbrations, but that's not a huge complaint from my end, since I feel that the vibe of the track remained intact either way. Anyways, this track was a huge deviation from the previous two, but I found that it worked really well nonetheless and made for a thoroughly enjoyable listen. This track was a really fun deconstruction of pop music and I loved the listening experience it affords.

Complex polyrhythms split between syncopated drums and arpeggiated, soft synth melodies form the instrumental background for "Sparkle". Jaden's vocals are far back in the mix and soaked in reverb, which I actually really liked; the decision to push the vocals so far back in the mix gave the track a spacious and somewhat lonely vibe I thought worked quite well. Nonetheless, Jaden remains remarkably intelligible despite sounding so far away. The guitar solo at the end of the track is quite well-performed, conveying a bombastic '80s flair dripping with pathos.

Pop punk chords, panning synth arpeggios, and cavernous drums open the following track, "Without You". The slow build and understated presentation combine with Jaden's heartfelt lyrics and vocal performance to successfully convey the post-heartbreak sense of emptiness accompanied with the cautious optimism that follows. The guitar tones are really nice on this track; I really dig the use of chorus and reverb, which results in a tastefully watery pop rock guitar tone that doesn't feel overprocessed. Jaden manages the dynamism of his production quite well, often changing out plugins and employing tasteful automation; in a further showcase of this, the distortion kicking onto the lead vocals at the end of the last chorus is a really nice touch, as are the variously processed vocal snippets that close out the track.

"Swimming Pool Thinking", the lead single from the album, opens with a sweet vocoder section, which is always a good way to gain my favor. Distorted 808 bass and trap drums kick in with the first verse. The cavernous, distorted guitar power chords in the prechorus are a really nice, pad-like cinematic texture. The production on this track is truly immaculate, though the chorus on this track admittedly isn't my favorite. This could also just be my ears and brain hearing things that aren't there, but it sounds to me like the pitch correction on the vocal is slightly out of tune with the rest of the track during the second verse specifically, which really pulled me out of the experience for a second. Nonetheless, this track boasts strong production and infectious energy, and I can certainly see why Jaden might have picked it as the lead single.

"Thank You for Making It This Far" follows, marking a bit of a slowdown from the previous track's breakneck pace and frenetic energy. A crushed, spacey vocal performance floats over major key guitar riffs to give this track a relaxed, introspective atmosphere. To my surprise, the track goes fully instrumental after a short verse, which was a decision I ended up really loving. The instrumental breaks showcase some really well-assembled, tasteful production that leans towards chill, relaxed techno in the vein of Tchami and Mall Grab. The soft piano rolls and fuzzy drums are nicely complemented by washes of synths while keeping the whole soundscape relatively sparse and not overproduced in the slightest: a decision which I thought paired perfectly with this track's title, that almost reads like it's addressed directly to the listener. As someone who generally isn't the biggest fan of interludes and interlude-like tracks on albums, I found myself really loving this one, and Jaden's production really brings it home for me.

On "Maybe I Will", the second single from the album, 8-bit video game synths and staticky trap drums create a chill atmosphere before the anthemic chorus comes crashing in. The chorus melody here is one of the album's best and is genuinely extremely catchy; Jaden showcases a fast-paced flow rendered through a hard-hitting earworm of a melody backed with Owl City-esque synth lines and chugging pop drums. The use of the vocoder to provide harmonies is also a great decision that lends the track a lot of texture. I catch some pop-adjacent glitchcore influences, especially in the huge breakdown at the end where the whole track degenerates into glitchy synth phrases. I loved this track overall; the chorus absolutely soars and I love the sense of energy and momentum it conveys, which for me, served mostly to cement Jaden as a very capable songwriter.

"Burning" emerges from the figurative rubble left by the violent dissassembly at the end of the previous track, as a simple, round synth bass and echoing textures form a cinematic buildup to the entrance of the first verse, which features Jaden's vocals at their rawest yet, leaving only his signature autotune. His vibrato is really great on this track and lends the song a lot of emotion. The backing harmonies are truly lovely on this track, and they're processed in a way that creates a thoroughly enveloping and immersive atmosphere; it feels like I'm floating amongst the numerous layered voices. The second verse sees Jaden become more distant and digitized, like singing through an old radio slathered in Autotune. After the harmonies enter once more during a short break, the song soon fades out and the album ends. I guess it could be argued that it wasn't needed, but I found myself waiting for a third verse and a climactic moment where the track could really explode and soar.The fact that we didn't get such a climax left me wanting a little more at the end of this record, though perhaps that was intentional.

Overall, Sadfish was a project that felt very nostalgic for me all the way through. It's not that it sounds overtly 1980s in its presentation, because it doesn't, but Jaden nonetheless managed to capture something really poignant that I struggle to articulate. Maybe it's the combination of old analog synth sounds put through late-2000's synthpop melodies and RC-20 RetroColor-like vinyl noise that give it that nostalgic feeling for me; it's like a strange marriage between the time period the public zeitgeist seems to be nostalgic for (the '80s) and the time period during which I grew up (the late '00s/early '10s), and it somehow totally works. The soundscape of this album is certainly unique; it has a distinctly retro, neon flair, like a snapshot of the now-distant 1980s viewed through nostalgia glasses and soaked in vinyl crackle. In that sense, Sadfish rather successfully captures the mystic romanticism surrounding the decades that had long since ended by the time all of us were born. My point in saying all this is that for me, that soundscape elicits a consistent feeling of yearning for something more, of wanting something long since lost to time, which suits the album's themes of heartbreak and unrequited love rather well, and really adds to the overall emotional experience for me. Maybe that's my own personal takeaway, and maybe that's not something that every listener will experience, but at least for me, Sadfish struck a chord very close to home, and it resonated with me in a way not many projects do.

I suppose if I had to offer constructive feedback (which I do; it's my job, after all), I'd venture to say that I wish the album featured more clear hooks. Songs like "Track 3 Pop Song" and "Maybe I Will" prove that Jaden can absolutely write really good choruses, and I find myself wishing that he'd flexed that muscle a little more. Having said that, I also loved some of the less overtly pop efforts on this record, most notably "Thank You for Making It This Far", which is not and never will be a pop song, so maybe all I'm saying is that I just wanted more tracks out of this project. Jaden's vocals are also sometimes a tad shaky in my opinion. Nonetheless, his laconic and disaffected style does suit these chill instrumentals very well, and he generally holds his own as a vocalist quite well across this project. The production remains a consistent strength, and Jaden successfully captures the emotion of these songs and conveys it in a tight, nine-track package that held my full attention all throughout. Jaden Tyler is poised for an exciting musical journey through MTech and I hope that the next time we hear from him, it's with a project just as creatively driven and emotionally rich as this one was.

Personal enjoyment score: 9 out of 10

Standout tracks: "Common Ground", "Track 3 Pop Song", "Thank You for Making It This Far", "Maybe I Will"

ALBUM REVIEW: TypeOh - Seeker

TypeOh's Seeker showcases hard-hitting rap packed with rapid-fire bars, catchy hooks, and eclectic production.

Reviewed by Ash

AUTHOR'S NOTE: Please remember to support TypeOh by streaming this project! Seeker can be streamed on Spotify, Tidal, and Apple Music.

THIS YEAR'S MTECH FRESHMEN are making quite the splash so far. Between nickwuh, Kai Banda, and Ethan Crowley, I find myself scarcely able to keep up with all the freshly arrived new artists and their projects that keep popping up in my review queue. TypeOh's Seeker is at the front of the line for today. TypeOh, known to friends and classmates as Luke, released this LP back in May; the three years between Seeker and its predecessor, the seven-track, 23-minute long [Sic], released in 2019, afford him lots of space to show off his artistic growth. Seeker clocks in at fourteen tracks and forty-three minutes in length, so TypeOh affords himself plenty of space to navigate a variety of different sounds and genres without overstaying his welcome. The result is a record which stretches between rapid-fire, hard-hitting trap bangers and emo-adjacent indie pop rock, anchored by TypeOh's excellent production and songwriting ability.

Seeker opens with a track appropriately titled "Intro", which sees bouncy jungle percussion meet washed-out synthesizers to create a shifting soundscape of laid-back, funky rhythms and rich textures. The track is primarily instrumental, leaving plenty of room for the listener to appreciate the synth melodies on display on this track; TypeOh's sound selection is really good here and the drums have a nice, chill groove to them. A sampled narration discusses the meaning of life over backing vocal harmonies before the track abruptly goes into a beat switch, at which point we get our first appearance from TypeOh. This short hook is based in a soul chord progression and a major key flute melody, making for a distinctly upbeat vibe that is intensified somewhat by TypeOh's quietly confident delivery. Soon enough, this repeating hook fades out and the track closes with another narration, revolving around the theme of life on other planets. As cool as I find "Intro" in isolation, after having listened to the whole record a few times in its entirety, I find myself wishing that this intro track had provided me with a clearer picture of the kind of music that awaits on the rest of the LP. "Intro" feels a little stylistically out of place amongst the rest of the album for me, but it definitely makes for a cool piece of concept art.

"200mm Lens" follows; a chopped, manipulated piano sample anchors this track, backed by trap drums with a crazy, 12/8 swung groove. TypeOh delivers confident triplet-flow bars in which he raps about his own growth as an artist and desire to make it to the top. The track has a super unique feel, in part owing to its distinctive 12/8 feel, and as the first non-intro album track, I really like the decision to open up with a message of growth and confidence as our first true peek into TypeOh's psyche.

The third track, "CREAM Interlude", features an instrumental based in a guitar sample that sounds like it was lifted from a 1970s progressive rock song, supported by retro boom bap drums. Dusty-sounding hi-hats and a punchy rimshot anchor the rhythm of the track. TypeOh gives us a more aggressive delivery on the verses, which works well with the retro soundspace and '90s vibes; he discusses his focus on financial success and money through witty zingers ("Opportunity'll never pass me/Been sticking with the classy/They fronting that they gon' shoot/All smoke like a track meet") that make this short track and shorter verse nonetheless an entertaining listen.

 

TypeOh, also known as Luke, flexes his NYU dorm setup in this picture.

A whispered hook and punchy, West Coast 808 pattern open "Night Time", soon becoming accompanied by drums that straddle the line between trap and synthwave, punctuated by bongos and metallic fills for a distinctly funky rhythm. The result ends up feeling like a 1990s rap hit in a modern, bouncy West Coast trap song's body: a stylistic crossover that TypeOh's tasteful production makes feel impressively natural. As someone who can never seem to get whispered vocals to sound good, I really admire the mixing work on this track. Everything comes together really nicely and it sounds super professional. TypeOh quotes The Notorious B.I.G. ("Sicker than your average/I'm a classic man, expensive taste on my fabrics") as he spits straightforward, retro flows with palpable swagger. The second verse brings a doubled, pitched backing vocal for a more unhinged vibe that makes for a solidly ear-catching moment. I really like this track; the beat successfully rides the gray area between retro and modern, while TypeOh's writing and performance abilities come to the forefront and combine to make one of my favorite tracks so far. In short, "Night Time" kicks off a stretch of tracks that rank among my favorites from the album as we venture into more hard-hitting, macho territory to which TypeOh fully commits himself.

"Flatline", the lead single from the album, follows next on the tracklist. The intro opens with aggressive bars over a heart monitor beep sample and a reverb-heavy kick that hits in two-step patterns resembling a heartbeat. Once the beat kicks in, we get hard-edged rage synths and distorted 808s in the vein of Playboi Carti and Yeat, making this track feel distinctly fresh and modern. TypeOh's fiery delivery and well-practiced, precise flows grant him a certain resemblance to Logic; I was also reminded of the raw energy of Scarlxrd, albeit minus the screaming. TypeOh compares himself to figures like Jeff Bezos and talks down to his detractors with an infectious confidence and swagger that anchors his performance. We even get some cool moments with alternating, panned lead vocals trading lines in the second verse. I love this track and TypeOh maps the aesthetics of rage over his existing style remarkably well.

Synth bell fifths and a simple Southern hip hop groove form a minimalist yet catchy instrumental bed on "Hollywood". TypeOh spits zippy, quick-footed lines with a hungry delivery full of bravado. I was again reminded of Logic while listening to his increasingly flashy and speedy delivery. The simple beat and nimble performance combine to create a track that feels distinctly like a showcase for TypeOh's pen game and rapping ability, and it's a really good one. 

On "Overdrive", a bouncy, minor key West Coast beat pairs heavy 808s with a really nice, rounded synth bass in a seamless combination that must have been the result of extremely careful EQ work. I really enjoyed the danceable and braggadocious vibe of this track; though the track sounds distinctly modern in its presentation, the retro-sounding synth bass, rapid two-step hi-hats, and TypeOh's energetic old-school flows reminded me of N.W.A.'s "Straight Outta Compton" for some reason, which I think speaks to TypeOh's impressive ability to successfully capture a similar kind of frenetic, rebellious energy despite the wide differences between the two—or maybe my brain is just drawing random comparisons. Either way, this track is really good and I found it to be a really fun listen.

After several tracks of nonstop bangers, we take a short break with the comparatively chilled-out "PD Interlude". The spacey, synth-based boom bap instrumental is pretty cool, and TypeOh delivers a solid verse, though considering this track is only forty-two seconds long, I don't have too many other thoughts to offer.

On the following self-titled track, TypeOh treats us to a spacey beat with sliding bass. I love the lyrical content of this track; he discusses the chase for fame and recognition with palpable emotional investment and unadulterated hunger that makes the lyrics instantly relatable.

The record totally switches gears on the following track, "Alone at Night", and we veer off into indie pop/rock territory following this point. This track begins with a somewhat muted major key chillwave-esque guitar riff over pop rock drums and autotuned vocals. I don't love the way TypeOh sounds through this much autotune, though underneath all the pitch correction, I do think his voice is remarkably well-suited for this pop punk-adjacent indie rock sort of style. I found myself really enjoying the sections wherein his natural voice surfaces during the more rap-leaning portions of the verses, while I tended to gravitate away from the vocals on the hook. The featured artist, Jessica Li, also sounds a little overcorrected on the vocal side of things, but she has a nice vocal timbre underneath, and her two-part harmonies during the last part of her verse are pretty nice. I think the mix could also use some work; the backing vocals during the chorus that chant "alone at night" come through pretty loudly and I found it a little piercing.

"Soliloquy", the second single from the album, stands out as a definite highlight of the record's second half. A watery, two-chord guitar line opens the track. The panning vocal on the hook is pretty cool, and TypeOh's voice is utilized really well on this track in general; he brings some vocal inflections that feel indebted to The Kid LAROI, which sells the emo vibes pretty well. The melodies on the verses, and particularly in the prechorus, are also really catchy, and his overall vocal delivery retains some of the aggression and confidence employed during the fiery rap verses from earlier in the record. The distorted, screaming guitar playing during the choruses is a very nice touch. The switch back to rap in the second verse works quite well as TypeOh's nimble flows work nicely over this uptempo groove. This track is definitely a daring stylistic experiment that successfully proved that TypeOh can write catchy pop lyrics and melodies just as well as hard-hitting rap lyrics and witty bars.

Reversed drums and autotuned vocals form the foundation of "Slow Motion". TypeOh gives us a multilayered, stacked vocal performance; the harmony arrangement is pretty nice, though I wish the mixing separated out the various layers a little more and made them more distinct. In general, the mix of the whole track seems to be really loud; the reversed sample on which the instrumental is based seems to get slightly piercing at times as well. In my personal opinion, the slow burn style of this track doesn't fit TypeOh's typically energetic style as some of the other sounds explored on this record. I wish the song had a clearer buildup and a greater sense of dynamism and progression overall. The guitar coming in during the last part of the track was really nice, though, and made for a nice vibe switch that put a new spin on a familiar chorus. The guitar tone employed here is also really sparkly and shimmery, which I enjoyed, and it has really nice interplay with the other plucked guitar parts here.

"Catapult" brings a distinctly cavernous vibe, communicated through hollow synth pads and distant, warped plucks. TypeOh sings with a delivery that straddles the line between singing and melodic rap as trap drums enter underneath. I think the combination of TypeOh's robotic yet somewhat raw singing and washes of synths and strings contributes to this track's unique, detached vibe. I catch shades of Don Toliver and Post Malone in the song's watery, psychedelic aesthetic. The backing vocals throughout the song sound like they've been processed through a vocoder, which ended up being a really nice sound; TypeOh sounds absolutely godly through a vocoder like this and it sounds especially good here. The final minute of the track sees the layered and vocoded vocals come to the front in a stripped-back, catchy outro section. I really like this track and I think TypeOh shines as a singer, but also as a writer of melody and harmony on this track.

"Coming Home" is the final track on the record, and continues the significantly more indie-leaning sound of the album's second half. A pop, DIY-sounding acoustic guitar progression opens the song before abruptly cutting out and giving way to huge, EDM-style synth leads articulating the same progression; I thought it made for a similar production genre crossover as I'd previously reviewed on nickwuh's us against the universe. Soon enough, we get big '80s drums and a sung chorus. I'm not the biggest fan of the vocals on this track; I found the lyrics to be a bit difficult to understand underneath all the autotune, and I also felt that the backing vocals clashed with the lead in a strange way, which might have to do with the mixing. The underture towards the end of the track was a cool moment, though, as lyrics and lines from earlier tracks in the album pop up and are mashed together in a moment that sums up the entire record into a few seconds of music. As a closing track, I suppose it made for a cool listen.

My overall thoughts on Seeker are somewhat mixed, but generally positive. On one hand, the album feels a bit uneven to me. Tracks like "Night Time", "Flatline", and "Overdrive" really cement TypeOh's very strong abilities as a rapper and hip hop producer. However, I found myself less captivated by tracks like "Alone at Night" and "Slow Motion", which I thought left behind many of TypeOh's strengths as an artist in favor of pursuing a different sound. I don't mean to say that artists like TypeOh should be restricted to a very specific sound forever, and I think that experimentation and pushing the boundaries of one's comfort zone is always an admirable and worthwhile pursuit; I just think that the results from the second half of the album just didn't gel with me as well. "Intro" and "Coming Home" also feel a bit out of place to me; I feel like since these two tracks are the opening and closing tracks, respectively, they should tie in more heavily to the themes and aesthetics of the other tracks on the record, but "Intro" inhabits a strange place as an intro track that doesn't quite sound like a preview to anything else on the album. The result, for me, is a project that feels a tad unfocused. Its indie pop and hip hop halves don't always come together to create a clear sound, resulting in a listening experience that felt a little disjointed to me. Ultimately, though, that's just my opinion, and this review reflects solely my personal enjoyment of the record.

While I would have loved a more cohesive project, there's nevertheless a lot to love about Seeker. The first half of the album is packed full of hard-hitting bangers that capture the massive boom of modern trap and marry it with the raw energy and rebellious braggadocio of 1990s hip hop in a winning combination. TypeOh's prowess as a rapper is truly remarkable here and his confident delivery manages to completely sell the bravado and swagger of his witty, razor-sharp lyrics. Unlike many MTech student projects, lots of which are made by artists who are really still trying to find their voices (and there's nothing wrong with that!), it's clear that TypeOh has found his voice and is sticking to it, as with Seeker, he has rather successfully carved himself an utterly convincing stage persona as a fiery underdog who isn't afraid to scrap. In spite of that, his ventures into more vulnerable territory yield occasional gems as well. "Soliloquy" and "Catapult" are both great tracks that make excellent use of TypeOh's unique singing voice and strong melodic sensibilities. I just think that the record struggles to showcase all of these different strengths in a manner that feels narratively & aesthetically connected. Nonetheless, there's a plethora of great ideas on display, and I really do feel that as long as TypeOh can corral those myriad ideas and bring them under one cohesive umbrella of sounds, then he's bound to create a wealth of great music in the future. Overall, there's a huge amount of talent and potential showcased on this record, and I hope to see TypeOh continue to grow as an artist as he progresses through the MTech scene!

Overall enjoyment score: 6.5 out of 10

Standout tracks: "Night Time", "Flatline", "Hollywood", "Overdrive", "Soliloquy", "Catapult"