Illustration by Raya Deussen
This column highlights music worth listening to that has been released between issues of The Pioneer Log. All genres and artists are considered and generally, four of five albums are chosen.
O3 Greedo and Kenny Beats – “Netflix & Deal”
Much of “Netflix & Deal” was made in the weeks before 03 Greedo began his 20-year prison sentence. This album does not sound rushed despite his time crunch. If anything, this comes off as Greedo’s farthest-reaching album, in terms of its concept. Most songs allude to, either explicitly or implicity, Greedo’s favorite movies: “Blow,” “Paid in Full” and “Maria Full of Grace.” These movies, and the album itself, all revel in the glory and grit of being a successful drug dealer. It is no coincidence that they were all released during Greedo’s late-teens. Their exploration of the drug world helped define the self-assured don Greedo plays in his music. Kenny Beats’ instrumentals along with Greedo’s catchy and off-kilter autotune melodies ensure that any song on this album could work as a single. It would be too easy to put these songs under the umbrella of trap. Sure, Greedo raps about drugs over bass and hi-hat triplets. But Greedo separates himself through wise and soulful demeanor, and Kenny’s mixes allow him to explore farther reaches of the genre, even interpolating disco on the track with Freddie Gibbs.
Vegyn – “Only Diamonds Cut Diamonds”
Vegyn has already proved himself to be a fresh and charming producer in his songs with Frank Ocean, A$AP Mob and JPEGMAFIA. On “Only Diamonds Cut Diamonds” Vegyn is working fully on his own terrain. These 16 shorter tracks maintain a bouncy energy all the way through. His music has a clear sense of humor and joy that comes across in the drums and synths. The choice of sounds seems to come from Vegyn’s amusement in how exciting, glitchy dance elements come together to create well manicured electronic music. The punches from the percussion are satisfying, the synths are lively and unpredictable and the samples are all artfully woven in.
FKA Twigs – “MAGDALENE”
FKA Twigs is a virtuoso in transforming pain into beauty. “MAGDALENE” explores the separation and alienation Twigs experienced in the interim between this project and her last. This separation, both from a former romantic partner and the world, forced her to strip down her sound to its barest essence. There is not a second of wasted space on this album. Twigs herself said that she agonized over making this album perfect, as she knew that anything less than that would be ripped apart. The flow of each song and the entire album compel the listener to submit to the music. Both silence and intense noise are used studiously; the pacing is masterfully well done. The instrumentals are harsh and expressively cold. Hard drums, glitchy accents and distant synths accompany Twigs melodically beautiful voice. Although her voice is melodious, it does not act as a reprieve from the instrumentals; instead, they are hopelessly intertwined. FKA Twigs is surviving on her own terms, creating music that gracefully pushes the boundaries of pop music and albums about departure from others and the past.
Arthur Russell – “Iowa Dream”
Arthur Russell was a trained cellist, who studied composition and traditional Indian music, and was an important figure in the experimental music scene in New York City in the 1970s. Since his premature death in 1990, his estate has allowed for the formal release of songs and demos left behind by Russell. “Iowa Dream” is one such posthumous compilation of demos, mostly recorded in sessions in 1974 and 1975. Russell is no stranger to playing between the genre lines. Like his diverse yet short-lived career, the album seamlessly moves through genres like folk, pop and disco. Compared to his previous releases, “Iowa Dream” contains a higher proportion of folk sounds. These folkier instrumentals fit beautifully with Russell’s halcyon yet poignant delivery. Songs like “Words of Love” prove that Russell is just as gifted and gripping with his voice accompanied by just a guitar or piano as he is with his usual experimental sounds such as those found on his 1986 classic “World of Echo.”
About the Author
