Essential Songs — New Tracks You Need to Hear
1. Anti-popstars Bryce Bishop and Monto have come together on “Falling,” an insanely infectious collaboration surrounding being used by a past significant other. The songwriting skills of both artists have proven to be particularly apt, with hit after hit but something truly special has come out of the collaboration, with each independent piece of the greater picture standing out in its own way. Bryce’s deep voice and 2010s emo-indie inspired singing style contrasts nicely with Monto’s more traditionally alt-r&b voice, adding layers to the already strong composition. The intense rock buildup towards the end and quickly following acoustic arrangement both added powerful pieces that prove that Bryce and Monto, already two of the most unique artists in the microgenre, continue to be something far more than Aries-inspired artists.
2. Versatile genre-hopper fats’e has returned with a new song called “fallen leaves in my front yard” featuring contemporary and fellow “emo rap” pioneer Lil Narnia. With technical guitar playing and spacey dream pop atmosphere, the track is undoubtedly a fats’e production, though Narnia strengthens it further by bringing the gruff, intense side of his own midwest emo inspiration to the more melancholic stylings of fats’e himself. The instrumental itself is one of the most noteworthy from fatse, as the shoegaze production elements are intense and palpable, yet the math rock guitar shines subtly beneath. More than anything it feels like 2017, a slight nostalgia for the past of a relatively new genre. The songwriting stands out as well, with both parts being particularly memorable, even long after the song has ceased.
3. R&b up-and-comer koi is back with his new track “talk it out,” which begins with an uncharacteristic and pleasantly surprising jazz sample that transfers surprisingly effortlessly into the 808-centered instrumental and hip-hop tinged alt r&b flow koi is known for. In true koi fashion, the song is deceptively hedonistic yet deeply emotional, focusing more on nerves and brain chemistry than anything else. It’s about struggles in romantic relationships, an extremely relatable subject that is handled confessionally, no doubt an outlet for koi’s own emotions in the songwriting process. The jazzy samples are continued throughout the beat to support the vocals at times, which differentiates the song from the rest of the similar tunes and adds a slight sophistication to an already wonderfully catchy song.
4. Colliding With Mars, whose influences range from across the musical spectrum released two new songs for single “THE DREAMCATCHER,” also featuring B side “THUNDERBALL FISTS.” CWM’s tone of singing has become increasingly and excitingly spiteful in recent months, adding a palpable air of anger not often properly explored within the so frequently melancholic “anti-pop” world. The heavily electronic instrumental of “THE DREAMCATCHER” marches on nicely behind the pop-inspired yet upset and intensely confessional vocals as CWM recounts his experiences and hones in on what he truly desires. “THUNDERBALL FISTS” on the other hand, is a fast paced rock song and a bit of new territory of CWM’s music. “I wanted to make punk with jazz chords,” he said. While uncharacteristic, it is somehow intensely fitting to release a punk song, as perhaps no genre of music has been a better outlet for outrage since it’s 70s conception.
