In Case You Missed It: January/February 2019

Even for the meticulous music aficionado, the slew of releases emerging on the periphery of one's attention can quickly become too much to keep track of, be it due to time constraints in real life, the more underground releases being off one's radar, or surprise hits that garner an unprecedented amount of critic attention. Despite the beginning of the year being a relatively slow period for new music, there is still more than enough to drown one's ears in, and anyone can quickly fall behind on the good, the bad, and the great alike. Presented here are simply some of the more prominent releases from well-known artists, underrated albums that did not get a proper review (either on this site or elsewhere), and a few personal picks, for your listening pleasure.

James Blake - Assume Form (Art Pop, Alternative R&B)
An incredibly mediocre collection of R&B tracks lies within; any quirks that helped James Blake stand out at his debut have long since evaporated, and Assume Form is maybe his most uninteresting release yet. Featuring hip-hop artists like Travis Scott is an odd decision that hardly goes over perfectly, though those tracks do at least provide a welcome break from the album's more monotonous moments. André 3000 is of course stellar in his contribution, easily the best part of the record and the sole highlight of an otherwise unremarkable venture.
4.5/10

Boy Harsher - Careful (Synthpop, Electronic)
For such a dark, eerie, and moody album, Careful's strangest aspect is just how catchy and accessible it is. After the first track's peculiar attempt to introduce the record, Boy Harsher pull the listener into the world of minimal synth with aplomb and eagerness, each successive cut working both as a groovy, industrial pleasure and a progression of the record's uniquely melancholic approach. Despite some average vocal performances and an overall hesitance between minimalism and overproduction, this is an incredibly enjoyable work that more than justifies one's curiosity.
7/10

Yugen Blakrok - Anima Mysterium (Conscious Hip-Hop)
Coming off of a very strong feature of the Black Panther soundtrack orchestrated by Kendrick Lamar and his label, it is somewhat disappointing that Yugen Blakrok's newest album is so lackluster. Her flow and lyrics are just as sharp as always, yet her lack of a distinct personality begins to dull the edge of her words the longer the album goes on, though what is most troubling is the noticeably poor, amateurish quality of the mixing all over this record. It has its moments, certainly, but Yugen Blakrok still has yet to fully capitalize on her obvious lyrical talent.
5/10

Nivhek - After its own death / Walking in a spiral towards the house (Ambient, Drone)
The newest album from Liz Harris, behind a new name despite already being known as the highly acclaimed Grouper, this release differs from much of her work under that moniker in how tedious it is. While the first half contains many interesting passages and ideas, it is somewhat hampered by slower, more uneventful moments of ambient chime playing which dominate the record's second disc. The result is a lengthy, repetitive project that somehow feels even more drawn-out than its hour-long runtime would suggest.
5/10

Jessica Pratt - Quiet Signs (Psychedelic Folk)
That this album is so short is both a blessing and a curse; by the time its meager half-hour of music is over, most will not have gotten used to Jessica Pratt's odd, high-pitched singing style, but at least the middling folk songs do not overstay their welcome. Fans of her prior work might be accustomed to her quirks, but even then what Quiet Signs offers is too insubstantial and short to feel truly satisfying. It's hard to imagine making too many new converts out this half-measure of an album, but folk music this inaccessible is hardly an easy sell even if Pratt's voice were any less annoying.
4.5/10

Lil Pump - Harverd Dropout (Trap Rap)
No one is expecting thoughtful, lyrical hip-hop out of Lil Pump; they just want more of the short, inane, and funny bangers that catapulted him to stardom in the first place. But Harverd Dropout cannot even offer that much, instead settling for a collection of songs too dull to feel off-the-wall and too manufactured to sound authentic. The eccentricity that made him such a character is largely gone (save for on truly hare-brained cuts like I Love It which features Kanye West's equally ridiculous antics), and in its place is the hollow husk of a man trying desperately to recapture his immature roots, and failing miserably.
3/10

Offset - FATHER OF 4 (Trap Rap)
After numerous projects from Quavo and Takeoff's mediocre solo debut last year, there was some excitement surrounding Offset, arguably the most talented rapper of Migos, finally releasing his own solo album. But while FATHER OF 4 does attempt to set itself apart due to its discussion of Offset's family life, the music itself is an overly lengthy collection of average-to-poor tracks that more than overstay their welcome. Many of the features here far outshine the main act, notably J.Cole and CeeLo Green among others, though even they cannot add enough charisma to make such an average record worth the time it demands.
4/10

The Claypool Lennon Delirium - South of Reality (Psychedelic Rock)
Considering this is the second project to come from the partnership of bass player Les Claypool (of Primus fame) and Sean Lennon (son of John), that this album sounds very much like a bootleg Sgt. Pepper's is not at all surprising. However, that album is a classic for a reason, and the duo have at least had the sense to shroud everything in a veneer of otherworldly atmosphere and eerie, psychedelic wonder. The blend of such a classic sound with more off-kilter, prog-rock instrumentation and lyrics works surprisingly well, and for any fans of that era of rock, this is a delightfully respectable throwback.
6.5/10