Tev'n - "MFY"

For all its faults and shortcomings, the United Nations does not possess any black helicopters.

Conspiracy theorists be damned.

Granted, the sequel to the failed League of Nations is not free from fault. Of note is water-based debacle on the island of Haiti; and recently a set of alleged dark atrocities in the heart of the African continent. But reckless new world order-type mercenaries the blue helmets are not. If UN is guilty of any criminal possessions, though, it is the hoarder sized set of acronyms in a backwoods hangar. The cryptic allusions range from mainstays such as UNICEF, IMF, and WHO, to more obscure bodies including ICAO (International Civilian Aviation Organization) and UPU (Universal Postal Union). But it was a Canadian named Lester B Pearson that said "We would have been in the soup if this force had been charged with the job of 'enforcing' anything;" presumably a reference to the general resolution on Campbell's alphabet.

Which is to say, mechanical black birds are not to be feared.

While not an international governing body, Tev'n has chosen to join in on the typographic fun. Just yesterday the London based artist shared "SLT;"  a track built around the first verse from the pre-Doris Earl Sweatshirt song "Drop."  One occurrence is a coincidence. A second case, however, marks the beginning of a trend.

Released Sunday night, "MFY" is less of an alteration and more of an original concept. But where "SLT" puts more emphasis of mood and melody, "MFY" is primarily concerned with rhythm and space. Heavily indebted to hip-hop, the 8-beat bars are built around hi-hat/kick/snare with two splashy cymbals providing some fill and depth. Melody is carried in equal parts by short electric guitar sample and vocal loop; a longer piano phrase is heard as well. Most intriguing though, is how Tev'n lays out the track. The first verse serves as the introduction, followed by a chorus, and then another verse. Then, the standard operating procedure is discarded. A section with semblance to a bridge, marked by some squeaky synth, is followed by a "screwed" section typically reserved for outro. Afterward, a reprise of the bridge is heard. Vocals open up and become more ambient with the drums - soft kick/snare - being pushed into the distance. An extended portion closes out the song an alternative take on the original rhythm and a new set of layered vocals.

Atypical and highly creative, the final result is a very strong song indeed.


Notable Mention: Noisdam. - "Waiting [Prod. by Lakim]"

The second selection is a much more relatable cut.

Perfectly ordinary, however, does not quite to the track justice.

A cross country effort, "Waiting" is a joint effort by Soulection producer Lakim and Chicago vocalist Nosidam (no-si-damn) released over the weekend. The R&B and neo-soul vibes are strong due in part to the economic nature of the beat. Each and every element counts. Including the vocals, just nine elements are heard throughout, beginning with the kick/snare rhythm. As promised, though, the sounds are not entirely typical. Hardly any bass is heard as quarter beats are left to the domain of a crash cymbal. The song's true beauty, however, is in the eurythmy of the melody. Every two bars a new synth is added. What begins as a light, fluffy harmonic synth, is joined by a high-pitched doing melody. Seemingly out of nowhere the sounds of glass harmonica appear with a longer phrase than the rest. And Lakim is not yet done, an eight stroked on an 8-bit synth lead toward a thick, LA funk bassline as the tension - both musically and lyrically - breaks and the rhythm turns into a something not unlike breakbeat.

None of which is meant to overshadow Noisidam's performance. Throughout the number the vocals are whispered. A sense of danger, like biting into the forbidden fruit, is given off. There is no over reliance on vibrato. Vocal runs are modest and effective. As previously mentioned, tension slowly builds only to crest; breaking not with power or volume, but with a minor change in the delivery. The flow alters and listerners are led into the sway of the evening that has been described.

No way around the obvious, just a very very good song




- J.N.

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