![]() ![]() The reason I note that she’s a full-grown woman is because GFOTV’s “songs” sound as if written by a 6-year-old fantasizing about high school love (and Spongebob). It accurately defines current experimental hip-hop’s beautiful mess of ideas, an artistic method unlikely to fade any time soon.Īs more experimental, fragmented music (JPEGMAFIA, recent Earl, Jack Stauber’s Micropop, etc) slowly attracts increasing attention, so does the terrible “music” masquerading as high-level “art.” Such is the case for “synthpop” “artist” GFOTY (an abbreviation of the name Girlfriend Of The Year), a full-grown British woman whose latest “album,” GFOTV, lasts a mere 11 songs over 12 minutes. All My Heroes Are Cornballs, while not as immediately explosive, is far more nuanced and melodic than Veteran. “Jesus Forgive Me, I Am A Thot,” much like Kanye’s Yeezus opener “On Sight,” opens with a barrage of pure noise - you aren’t just entering any album, you’re entering a work that from the very beginning tests your patience. ![]() After the first few tracks, Cornballs turns into an ideas showcase rather than a conventional “album” of “songs” but in this music consumption age, does it matter? Do people actually pay more attention with less structure? JPEGMAFIA, whether or not he thinks about these questions, consistently challenges listeners. The addictive opener and lead single “Jesus Forgive Me, I Am A Thot” serves as a display of Peggy’s versatility it’s at turns angry and satirical, noisy and melodic. #BECK HYPERSPACE REVIEW SERIES#He jumps from one idea to the next within seconds, never allowing his audience to grasp his artistic identity - does he even have a comprehendible artistic and stylistic identity? Like many albums of its type, most of AMHAC’s songs have little form, acting more like a series of sketches rather than a finished painting exhibit. A year after his breakout success Veteran (Deathbomb Arc DBA 189 cassette, vinyl, and download), experimental Baltimore noise rapper JPEGMAFIA returned this September with All My Heroes Are Cornballs, a 45-minute collection of abstract, mostly fragmented musical ideas. “You think you know me,” but we really don’t. When the kids of 2040 ask about 2010’s pop music, this record will be considered the ultimate document. “Gone,” about lovers who turn their backs against one who afterwards falls into depression and alcoholism, perfectly sums up Charli: the grooves are simply so catchy that it actually takes effort to focus on the often emotionally dense, sometimes indirect lyrics. “White Mercedes” is simple pop perfection: its melody reminds me of another song that I irritatingly can’t recall, and backed by tight production its lyrics detail an on/off romantic relationship and the associated longing, self-doubt, and self-medication. ![]() If you’re not yet convinced, listen to “Shake It,” whose experimental vocal processing, minimalist beat, and features (CupcakKe on a pop song?!?!) wouldn’t come from any other current pop artist (although Charli’s underwhelming early-career sales freed her from prioritizing commercial success). Structurally and stylistically overall, Charli’s songs aren’t out of the ordinary, but the utterly weird production twists and high execution quality make it truly special. Similarly, Cook and Lotus IV anchor “Cross You Out” with a warped synth bass that oscillates in and out of tune, with other electronic sounds unexpectedly popping out. Following the relatively normal and upbeat Troye Sivan-featuring “1999” (no relation to the iconic Prince song, but Charli’s track holds its own) comes “Click,” which thanks to Dylan Brady’s production, in the last third takes a noisy, abrasive left turn. #BECK HYPERSPACE REVIEW PC#Cook (known for running the PC Music label) make often surprise the listener. Blown out, hyper-compressed production, glistening synths, giant drum machines, and digitally-stressed vocals are in abundance on Charli, yet the choices that she and executive producer A.G. On her latest proper album Charli, British pop star Charli XCX creates a work that epitomizes, with an artsy bend, all of 2010’s pop music’s hallmarks. ![]()
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