Little Simz - "Drop 7" (2024)

 

Little Simz is back with another EP in her Drop series, which sporadically intersperse her main LPs and are generally used as a place for her to experiment a little without the perfectionism and burden of expectation that is a common theme within her music. This one comprises of 7 tracks that incorporate techno, trap and grime with a bit of Latin and afrobeat rhythms - a stark contrast to the soul and funk instrumentals of her past few main albums. 

These tracks are all pretty short, with much less attention to detail than the lush instrumentals of SIMBI and NO THANK YOU. They're repetitive and somewhat hypnotic, and Simz' vocals and lyrics feel much more off the cuff and frankly background-y than the commanding presence she usually has. It's all a bit vibey and unfinished. I've had the pleasure of seeing Simz live a couple of times now, and I just can't see any of these tracks penetrating her live set the same way a couple of the tracks off Drop 6 did.

The opener, Mood Swings is definitely the most complete song on the EP, and midpoint SOS is quite a nice Latin meets deep house track that I can vibe to. The closer, Far Away, brings back some of the jazz and soul that Simz is more known for and I vibe with that also, even if its a lot more lightweight that I'd expect from a Simz track. 

Drop 7 is perfectly listenable but on the whole it just doesn't leave much of an impression. I would have rather this had spent a bit longer in the oven and had more of its own identity, because it is a significant step below everything Simz has put out since 2018 and I'm definitely going to forget about it within a few weeks.

Top Tracks: Mood Swings, SOS, Far Away

5/10

Massive Attack - "100th Window" (2003)

Continuing on with Massive Attack's discography into the 21st Century, 100th Window makes a unique stylistic shift for the group. The record came after a period of tension within the group, with only Robert Del Naja (aka 3D) and producer Neil Davidge working on the record, with no involvement from Andrew Vowles or Grant Marshall. As a result, the record is far less indebted to the sounds of dub, soul and hip hop than the group's previous albums, instead heading of the direction of ambient and minimal techno. The record is still just about trip hop, but as a sign of how different it is, the album contains zero samples.

What results is a an incredibly low-key album that feels very serene and measured. The tracks fade together, all occupying similar tempo, sonic pallets and tones. The Vocals in particular have much less emphasis on them. All the tracks have them, yet the only track where they really draw attention is Special Cases. Most of the time, they float about in an ethereal fashion, almost as if their purpose is to be an additional instrument rather than a lyrical focus. The tracks also feel very synthetic, with their emphasis on rigid techno beats. Take for example Butterfly Caught, a track which has these flourishes of strings as additional layering, but the core of the track (the repetitive beat and 3D's vocals) feel so mechanised and sterile. The best tracks have something to grab you're attention, for instance the aforementioned more intense vocals on Special Cases. Everywhen has a more organic feel to it; and A Prayer For England has a prominent, much more groovier bass guitar line which feels like it gives the track some more heft compared to some of the other cuts

The record has been great to have in the background while working, the tracks are busy enough to not feel like droning, but ambient and minimal enough to not be distracting. But unlike the rest of the group's records, I don't really want to listen to it while not doing anything else. It feels so sterile and passive. The cover represents the album well, clean, glass-like, varying shades of grey. It's like a brand new skyscraper in a world city; impressive and elegant, yet characterless and unremarkable. I'd say only check it out if you're really into checking out the group's entire discography, although the record still maintains a decent quality and the best moments are pretty good. It just feels a bit one note and uneventful compared to the genre-sprawling of Massive Attack's 90's work.

Top Tracks: Everywhen, Special Cases, A Prayer For England

6/10