@@@ Lily Kershaw ft Goody Grace: Now and Then (Nettwerk, 2020) A singer songwriter track from a Guardian overlooked 2020 songs. Most notable for what I deem the excessive reverb on her voice, it’s a bit not tasteful for me. It drowns out the sparse strummed guitar. It appears that this is an age where emotions have to be so over the top defined to have impact. Is that the case? It’s not the case for me so I kinda resist that this is the case. It would be sad if all the technology flooding into music making just turned out to be a way to make music cheesier and less impactful. Since no other instruments or sounds enter the mix except for a harmonium type sound in the chorus the voice sticks out even more. Ah well.
@@@ Henry Pope: Ngene (Tierra Sounds, 2020) Some retro dancefloor banging off an article about overlooked songs of 2020. It’s got a brief female diva appearance and dude goin’ hmmm, mmm, mmmm and most interestingly a thumb piano which I really like. It segues out of an intro to a thick bass centered classic unt sss techno thing. I like the rhythms more than the melodies. It’s got waves and build ups and ebbs and flows through its tight sections. I like it without feeling like it’s something super special — it feels a bit sanitized to me. Tight and uptight are two different things to me.
@@@ SUUNS: Fiction (Joyful Noise Recording, 2020) If you took a Radiohead track and blenderized it with a glitch track it would come out very close to this track. Outside of the drum beat which is crunchy rock all the parts seem to be processed, glitched, gated or percussified. I like the processing it’s a weird digital filter which seems to be everywhere right now. That seems relevant. It does drain the band energy and if you took off the motion introduced by the processing would it have suitable energy? I’m guessing no. I would have ramped the shit out of the tempo to break some brains and this sounds a bit halfway/conservative.