EP REVIEW: Strawberry Launch - Strawberry Launch (Self-Titled)

Strawberry Launch’s self-titled debut EP delivers hard-hitting lyrics, virtuosic arrangements, and a compelling story told through their vibrant lens.

Reviewed by Reggie Katz, edited by Ash

 

AUTHOR'S NOTE: As always, don't forget to support Strawberry Launch by streaming and/or purchasing the EP! The links to the project on all major platforms, including Bandcamp (where the album can be purchased), can be found via Strawberry Launch's Linktree page.

 

I WAS INTRODUCED TO Strawberry Launch through Taylor “Tilly” Hurt, the keyboardist, background vocalist, and current student in the Music Tech program. A couple of things caught my attention before listening to the EP, the first being the album cover. Simple in nature, but wisely crafted, the album cover looks like an arts & crafts project Van Gogh might have made as a little kid. The cover represents a literal take on the band’s name, the large strawberry on the cover doubling as a rocket ship in outer space. The cover even includes what Saturn would look like if it was a strawberry. All of this is charming and fits the band’s aesthetic. The second thing that stood out to me was that this group is an entirely female-fronted band, which isn’t necessarily that common in the indie-rock scene. These ladies, Tilly (keys and backing vocals), Riiza (lead vocals), Abby (bass), Matrianna (guitar), and their drummer Benjy, have already started making their mark, sharing the stage with Beach Bunny and Hot Flash Heat Wave, and receiving a write-up in Rolling Stone India. With all of these achievements under their belt, I had high expectations for this EP. Safe to say, they were exceeded.
 

Pictured above: The five members of Strawberry Launch. Clockwise from top left: Guitarist Matrianna Gahol, drummer Benjy Berkowitz, bassist Abby Flicker, lead vocalist Riiza McCroskey, and keyboardist & backing vocalist Taylor Hurt.
 

“Crystal Eyes” is the velvety and ambitious outset of the EP that welcomes us into the psychedelic musical universe Strawberry Launch has created. The track is entirely instrumental, with the exception of a chopped-up spoken word sample placed far back in the mix for added texture. It’s always risky for an artist or band to begin a lyrical project with an entirely instrumental track, especially in this case, when the instrumental is a little shy of 5 minutes in length. But it’s clear that the band has a soundscape they were going for in this project, and the first track only helps to establish it. The song starts off with a synth reminiscent of the 80s pop sound, a sound that reminded me of Wham! or Foreigner, repeating an ostinato on its own until the guitar comes in and follows the same pattern. When the drums came in, I first noticed how much space they filled. These drums sound like they were far-tracked, and you can really hear the room they were recorded in. The track builds and builds into this big, bombastic climax, eventually coming down until all we have left is the bassist leading us out with a killer bass line, played deep in the pocket. Even though I think this track was executed very well, I wish there were more lyrical elements throughout. On the contrary, the fact that the band establishes their sound before incorporating any words gives us more room to focus on the lyrics of each song without getting disoriented by the production. It was a courageous move for the band to start the EP with an instrumental, so they prove early on that this will be an interesting EP that isn’t going to play safe.

After having a 3-minute dance break in my room to “She”, I listened to it again closer so I would have something to say other than “this is She, the divinely danceable 2nd track off of the EP.” This song strangely reminded me of the sound of an early Vanessa Carlton; it’s a very light song that’s easy to listen to, but written in a way that allows for a lot of depth and emotional resonance. Many pop songs are written such that the choruses, rather than the verses, have the highest melodic peaks so that the choruses retain the greatest emotional impact. This song does the opposite. Normally when a song is written like this, it doesn’t work very well, but they sure did pull it off. With the verses peaking so high, it really emphasizes why the “She” makes the narrator feel so special, and makes us float into the soft embrace of the “She” with the narrator during the choruses. The song does have some cliché lyrics such as “turning water to wine,” keeping your “eye on the prize,” and having “two left feet,” but I didn’t mind them since they didn’t distract too much attention from the rest of the song. There’s practically no pitch correction used on Riiza's voice. It sounds like she just has great pipes. This track is pleasant and carefree, and definitely worth a listen.

“There’s no one to curse at but me”, Riiza exclaims, in this indie punk-pop song, appropriately titled “Fork”, which is the third track on this project. It talks about having some blockage in your mind, knowing it’s entirely your fault. This song plays on cliché as well, but the ideas of them are expanded upon more, which is swell because now we get to hear the narrator’s thoughts on this cliché. Having a “fork in the road” is a phrase that is used so frequently that it has now become cliché, but the song did expand upon the idea regarding why they felt like there was this blockage in their mind. Compared to the rest of the tracks on the album, this track is one of the weaker ones, but still well-executed. Melodically, it didn’t travel very far and it felt like we were building up steam in the previous tracks, and we lost it a little bit in this song. The musical talent is still very much here though. It’s evident that another trait that makes this indie band different from the rest is their distinguished musical abilities.

Matrianna's opening guitar tone felt like a mixture of tones from The Beatles and Silk Sonic on “Sophie”, the 4th track on the project. I consider this song to be the beginning of the falling action of the journey of love that this narrator once felt. Built on a simple refrain of “Sophie, it’s funny how things change”, the track explores the concepts of dichotomy and internal conflict through rapid changes in presentation. The first section is a light-hearted description of Sophie, singing some lyrics that might even be considered affable. When they switch to the second section, there’s a large shift in energy, with Riiza exclaiming “no I don’t want to know you, Sophie.” It feels like the narrator is having a battle in her mind about whether Sophie is good or bad for her. Because of this and because of the lyric “Sophie stranger to my mind,” it seems like Sophie might be the “fork in the road.”. There’s a really nice guitar solo toward the end of the song. Nothing crazy necessarily, but it demonstrated control as well as Matrianna's ability to play in service of the song, rather than playing to show off. I thought this track was fantastic and definitely worth a listen. The echoing final lyric “I wonder if you know me” ushers us to the penultimate track on the EP.

One thing that is consistent with each lyrical song on this project is that every first lyric hooks the listener in. The fifth track on the EP, “That’s on Me”, continues the internal and external struggles that have defined the rest of the project to this point.  The story of the song is vague enough for many people to relate to, but specific enough so that it has some meaning. Screaming in the high school parking lot, wanting to be with someone who just broke up with their girlfriend, and giving in to urges of love that we can’t suppress are themes that a large sum of listeners could relate to. There are some clichés in this song as well, but I don't mind them since they’re strategically placed throughout so the track doesn’t end up feeling lousy. I wish the vocals were less touched up in this track, but the talent shines through still, and deeper messages spark in this song when Riiza sings “I know it might hurt, but that’s on me,” invoking themes of possible self-sabotage which is difficult for the narrator to take control of.

The opening chord progression on “The Sun.”, the final track on the EP, is a really beautiful progression that we haven’t heard anything like yet on the EP, played on a heavily reverberated guitar. This track is a nice closer to signify the fact that even though Sophie may not be in the narrator’s life anymore, she’ll always be remembered. “I stare at the sun ‘cause I know you’re out there staring somewhere” is a nice final comment on Sophie implying that you can see the sun everywhere you go, so Sophie will be remembered everywhere.

Overall, I thought this album was superb, and definitely one of my favorite student projects I’ve listened to this year. There were a lot of clichés throughout the project, but there was even more personal interpretation, original thought, proficient musical abilities, tremendous production skills, and a great story. I really enjoyed the lofi-esque mixing and mastering, and the dark turn the EP took towards the end regarding themes of self-sabotage in relationships. Even though this EP is self-titled, the title does seem to relate to the idea of the project; if you’re trying to grow something sweet, like a strawberry, or a relationship, it can easily become sour if you aren’t careful. Worthy of all the praise, including mine, I am excited to see how far this band will go, and I’m even more excited to see what music is in store for them next.

Personal enjoyment score: 8.5 out of 10
Standout Tracks: “She”, “Sophie”, “That’s on Me”, “The Sun.”

EP REVIEW: The Plastic Eyes - Nothing Changes if Nothing Changes

On Nothing Changes if Nothing Changes, The Plastic Eyes deliver a refreshingly modern, polished spin on 1970s classic rock.

Reviewed by Ash

AUTHOR'S NOTE: Before reading this review, please take ten minutes to give the EP a listen! The links to the project on all major streaming platforms can be found via The Plastic Eyes' Linktree page.

A VERY HAPPY NEW YEAR from me to you! I hope you all are resting comfortably as your final grades from last semester trickle in. Today, I'm bringing you a bite-sized review of a similarly-sized project. Hailing from Florida, the retro-flavored rock band The Plastic Eyes released their debut EP in October of 2022. Titled Nothing Changes if Nothing Changes, the EP is a tight, three-song collection of 1970s throwback classic rock that showcases the band's three members locked in sync together like a well-oiled machine. Fronted by MTech undergrad Tomas Della Torre, who performs lead vocals and guitars, the EP was recorded as a three-piece, with Pedro Restrepo on bass and Isaac Poler on drums. Tomas also served as chief songwriter and lyricist during the making of the EP, which was recorded at Hit Central in northern Miami and at Isaac's home studio. The end result is a faithful ode to classic rock that sees the band turn in a remarkably tight package of songs, cementing all three members as skilled musicians.

 

Pictured above: The Plastic Eyes. From left to right: drummer Isaac Poler, guitarist & vocalist Tomas Della Torre, bassist Pedro Restrepo, and guitarist Rogelio Bofill. Rogelio joined The Plastic Eyes after the recording sessions for Nothing Changes if Nothing Changes, hence why I haven't really mentioned him in this review.

The EP opens with "Acid Rain", which kicks off the project on a dark, slowly-building guitar riff. The tight guitar & bass interplay on this track reminded me a bit of Fleetwood Mac, with the guitar parts integrating melodic passages and chords together in a way that I thought was pretty cool. Tomas delivers a composed vocal performance through a smooth baritone timbre that I thought was like a cross between Richard Ashcroft of The Verve and classic soul vocalists like Roy Orbison. The vocal melody during the chorus is especially catchy, and the opening line of "We were stuck between the city and the bay" definitely got stuck in my head a few different times while writing this review! I also thought the guitar layering on this track was really nice, as the band combined steady rhythmic power chords with various little countermelodies and hard-panned alternate chord voicings for a complex and diverse soundscape; in particular, I really enjoyed the little stepwise ascending figures in the right channel during the chorus, which I felt added a really great sense of movement to the whole thing. Isaac's drumming is also quite steady here, as he provides a solid pulse to the track while also hitting some tasteful, economical fills and little spot cues that the rest of the band follows very closely; it's evident from this first track that the band is really comfortable playing together, and the feel of everything remains impeccable throughout.

Pictured above: Bassist Pedro Restrepo, performing live with The Plastic Eyes.

The second track, "ORDEP", opens with a four-on-the-floor kick drum and regular power chords that establish a driving rhythm early on; these elements are soon joined by an eighth-note bassline. I really love Pedro's bass tone here; it hits with a rounded low end paired with just the right amount of ferocious, high-mid growl to stand out amidst the rest of the mix and provide some bite to the sound of the song. Pedro was also responsible for composing the chord progression in the chorus, which is another part of this song I particularly enjoyed. The blend of minor and major seventh chords pairs quite well with Tomas's soaring vocal melody, and Isaac's spot cues and fills are once again on point, giving the track a consistent-but-varied pulse. The band remains remarkably tight and each performance feels very locked-in, which I feel speaks to the level of familiarity the band's members have with each other as well as the material. If I do have one piece of constructive feedback for this song, it's that I wish the second verse moved the soundscape of the track forward a little more. As it stands, after the chorus, we mostly return to a fairly minimal instrumental soundscape anchored in pretty austere bass and guitar parts, and I found myself wishing for the addition of maybe one or two small elements to differentiate the second verse from the first more strongly and give it a clearer sense of progression. All things considered though, "ORDEP" is catchy, breezy, and infectious, and the band's tight performances and technical proficiency do a lot to elevate the track.

Pictured above: Isaac Poler, drummer for The Plastic Eyes.

The EP's third and final track, "Next Day's Diary", is a slightly more downtempo soft rock endeavor that feels like Tomas's take on the pop rock songwriting of acts like The Cure and Chicago. I really love the verses on this track; Tomas's opening line of "Selling souls isn't the way to go" is instantly ear-catching, and the chord progression and vocal melodies employed here are both aces. It's a shame we only get one verse, as a short, fiery guitar solo occupies the space between the first and second chorus. Still, though, this guitar solo is a good one, as Tomas gets a moment to shine as a guitarist, employing some tasteful bends and vibrato in a relatively frugal solo that nevertheless elevates the song quite a bit. The melodic guitar passages that crop up during the second chorus are also really nice, and interweave themselves with the vocal melody in a way that creates some interesting interplay. Speaking of the chorus, Tomas's vocal melody here consists mostly of long, sustained notes, resulting in a fairly simple melody with not a lot of variation or "ear candy" moments. On its own, this is fine, but I found myself really wishing for more melodic stuff with which to fill the space. In particular, I thought that some additional harmony layers might elevate the track a little more—chiefly because the limited backing harmonies we do hear sound really nice, and secondly because I think Tomas's smooth, rich baritone voice would sound excellent with some bigger and more expansive vocal layers. After the second chorus, the track breaks into an extended instrumental outro section. Isaac blesses us with some slightly crazier fills during this section to really drive home the catharsis of this moment, and I love Tomas's guitar parts during this section, as he layers nicely-voiced seventh chords and pseudo-melodic passages. The extended outro also sees Tomas let the vocals rip a little, as he gifts us a couple of descending falsetto passages (which represent the only times he leaves his baritone chest voice on the entire EP) and one particularly beautiful belted high note. As great as these vocal moments were, I only wish we'd gotten more of them!

Pictured above: Tomas Della Torre plays his Telecaster-type guitar live in concert.

With that being said, wanting more seems to be a recurring theme when evaluating my overall thoughts on this EP. It's evident that The Plastic Eyes are a very tight, technically skilled band, made up of saavy musicians who know their way around their respective instruments, complete with a skilled vocalist in Tomas. However, because of that, my chief subjective critique is that I find myself wishing that the band were a little more audacious and bold with their creative choices. It's very clear that The Plastic Eyes have absolutely no trouble pulling off this faithful rendering of '70s classic rock, but I'd love to see them get a little wilder and dirtier, with crazier riffs, more innovative sounds, and an ethos that commits itself a little more to breaking the established mold. Similarly, Tomas is a very skilled singer with a great vocal timbre, but I almost find myself wishing he sounded a little less polished & put-together at times. With the exception of the outro on "Next Day's Diary", Tomas doesn't give us a whole lot of moments where he really lets the vocals rip, and I'd love to hear a vocalist of his caliber truly unleash his voice and let it soar and let some more rawness and passion shine through. I have similar thoughts regarding the mixes, done by Dave Poler at Isaac's home studio. The mixes are clear and polished, and everything sounds rather professional while maintaining the project's retro spirit, but at the same time, I wish the project embraced a more striking aesthetic with regard to its sound, and threw more sounds at me that grabbed my attention more strongly, even if that means creating a final product that's a little more rough around the edges. Maybe this is too much to ask of a band that has only just released its debut project, but in my own humble opinion, this band and its members have a veritable ton of potential, and I would be very excited to see them lean into that potential and make something undeniably off-the-wall, crazy, and massive in scope.

However, please don't mistake my desire to see The Plastic Eyes innovate some more for an intrinsic dislike of the band, because I do really enjoy this EP at the end of the day and I think there's a lot to love about these guys. As I mentioned earlier, the whole band is super tight, and they boast an impressive level of cohesion in their playing with each other. A word that I keep coming back to in describing The Plastic Eyes is "economical"; nothing feels overstuffed, and it feels clear to me that each member has an understanding of and is committed to doing what serves the song as a whole. Pedro's bass playing makes for a strong foundation for the instrumental landscape of each track, Isaac's drumming provides a solid, driving rhythm complete with fun spot cues and moments of rhythmic variation that the rest of the band follows to a tee, and Tomas's guitar work is neatly layered and performed with focused precision. The spirit of the 1970s absolutely shines through, and the band has definitely captured the heart and soul of the music of this period to create something that feels like a faithful tribute borne out of genuine artistic respect and love. The main thing I wish for is that The Plastic Eyes take their '70s sensibilities and use them as the jumping-off point for new, exciting, and innovative sounds as they forge their own distinct artistic path. Whatever that looks like, I'll be very excited to see what The Plastic Eyes do next, and I'm certain their next project will be truly something wonderful to behold!

Personal enjoyment score: 7.5 out of 10

Standout tracks: "Next Day's Diary" was my personal favorite, but all three tracks deserve a listen.

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!

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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.