Modern Sorrow
RICHARD YOUNGS
Modern Sorrow
Boomkat Product Review:
Richard Youngs' followup to 2021's absurdly good "CXXI" isn't anything you could have possibly predicted. On 'Modern Sorrow' he tenders his answer to contemporary R&B and radio rap, contorting his voice with AutoTune and shepherding whirring bossa and caliginous samples. RIYL claire rousay, Klein, Coby Sey, Tara Clerkin Trio.
It's easy to get completely lost in Youngs' vast catalog,he's been recording and releasing tirelessly since the early 1990s and following his work feels like being subjected to his sprawling interests and obsessions. Ostensibly an experimental musician, he's never been shackled to one particular style or another, following loose threads and pulling on them until he's left with a basket of unravelled colors to work with. On 'Modern Sorrow' he stitches together one of his most unexpected patchworks yet, "embracing the accessible digital tools of contemporary music production just as at another moment he would pick up a kazoo," to quote the press release. Rap and R&B sets the stylistic baseline for the side-long title track, Youngs confronts the styles without resorting to appropriation or reductionism.
His use of sampling captivates, casually taking direction from early Mobb Deep (think 'Shook Ones, Part II') and DJ Shadow (think 'Midnight in a Perfect World') with its choppy piano and organ loops, here framed inside a slow, Bossa crawl. But Youngs' beatplay is very different - his icy, staccato rhythms lack the hard-swung funk of the boom bap era, instead peering south towards Atlanta and the 808-led syrrup that's guided almost a decade of pop music production. He takes a similar approach with his vocals, mutating each syllable electronically until every unrecognizable word becomes a cluster of combed oohs and aahs. Mimicking emo rap with its appealing and forced, digital emotionality, Youngs adds an outsider quality to its footprint.
On 'Benevolence I + II' he extends the view, retaining the palette but stripping away some of the elements completely. The piano and organ parts become plodding drones, and the beat is there for punctuation rather than drive. The snare that occasionally cut into Youngs' previous Black Truffle excursion "CXXI" is used in a similar way here as an exclamation point at the end of a phrase, leaving his voice to take the lead. Words are gone completely and phrases melt into pure expressions, linking the correctional AutoTune fluctuations to Carnatic music without removing its contemporary relevance. A voracious listener, Youngs can't help but reinterpret the sounds around him using his usual rudimentary set of instruments and processes, an unashamedly DIY and unapologetically expressive process. Just as on the legendary "Sapphie" when Youngs stretched folk pop into basement experimentation, he once again follows the same thought process, it's just the background image that's shifted. 'Modern Sorrow' couldn't be a more accurate title.
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Boomkat Product Review:
Richard Youngs' followup to 2021's absurdly good "CXXI" isn't anything you could have possibly predicted. On 'Modern Sorrow' he tenders his answer to contemporary R&B and radio rap, contorting his voice with AutoTune and shepherding whirring bossa and caliginous samples. RIYL claire rousay, Klein, Coby Sey, Tara Clerkin Trio.
It's easy to get completely lost in Youngs' vast catalog,he's been recording and releasing tirelessly since the early 1990s and following his work feels like being subjected to his sprawling interests and obsessions. Ostensibly an experimental musician, he's never been shackled to one particular style or another, following loose threads and pulling on them until he's left with a basket of unravelled colors to work with. On 'Modern Sorrow' he stitches together one of his most unexpected patchworks yet, "embracing the accessible digital tools of contemporary music production just as at another moment he would pick up a kazoo," to quote the press release. Rap and R&B sets the stylistic baseline for the side-long title track, Youngs confronts the styles without resorting to appropriation or reductionism.
His use of sampling captivates, casually taking direction from early Mobb Deep (think 'Shook Ones, Part II') and DJ Shadow (think 'Midnight in a Perfect World') with its choppy piano and organ loops, here framed inside a slow, Bossa crawl. But Youngs' beatplay is very different - his icy, staccato rhythms lack the hard-swung funk of the boom bap era, instead peering south towards Atlanta and the 808-led syrrup that's guided almost a decade of pop music production. He takes a similar approach with his vocals, mutating each syllable electronically until every unrecognizable word becomes a cluster of combed oohs and aahs. Mimicking emo rap with its appealing and forced, digital emotionality, Youngs adds an outsider quality to its footprint.
On 'Benevolence I + II' he extends the view, retaining the palette but stripping away some of the elements completely. The piano and organ parts become plodding drones, and the beat is there for punctuation rather than drive. The snare that occasionally cut into Youngs' previous Black Truffle excursion "CXXI" is used in a similar way here as an exclamation point at the end of a phrase, leaving his voice to take the lead. Words are gone completely and phrases melt into pure expressions, linking the correctional AutoTune fluctuations to Carnatic music without removing its contemporary relevance. A voracious listener, Youngs can't help but reinterpret the sounds around him using his usual rudimentary set of instruments and processes, an unashamedly DIY and unapologetically expressive process. Just as on the legendary "Sapphie" when Youngs stretched folk pop into basement experimentation, he once again follows the same thought process, it's just the background image that's shifted. 'Modern Sorrow' couldn't be a more accurate title.
Boomkat Product Review:
Richard Youngs' followup to 2021's absurdly good "CXXI" isn't anything you could have possibly predicted. On 'Modern Sorrow' he tenders his answer to contemporary R&B and radio rap, contorting his voice with AutoTune and shepherding whirring bossa and caliginous samples. RIYL claire rousay, Klein, Coby Sey, Tara Clerkin Trio.
It's easy to get completely lost in Youngs' vast catalog,he's been recording and releasing tirelessly since the early 1990s and following his work feels like being subjected to his sprawling interests and obsessions. Ostensibly an experimental musician, he's never been shackled to one particular style or another, following loose threads and pulling on them until he's left with a basket of unravelled colors to work with. On 'Modern Sorrow' he stitches together one of his most unexpected patchworks yet, "embracing the accessible digital tools of contemporary music production just as at another moment he would pick up a kazoo," to quote the press release. Rap and R&B sets the stylistic baseline for the side-long title track, Youngs confronts the styles without resorting to appropriation or reductionism.
His use of sampling captivates, casually taking direction from early Mobb Deep (think 'Shook Ones, Part II') and DJ Shadow (think 'Midnight in a Perfect World') with its choppy piano and organ loops, here framed inside a slow, Bossa crawl. But Youngs' beatplay is very different - his icy, staccato rhythms lack the hard-swung funk of the boom bap era, instead peering south towards Atlanta and the 808-led syrrup that's guided almost a decade of pop music production. He takes a similar approach with his vocals, mutating each syllable electronically until every unrecognizable word becomes a cluster of combed oohs and aahs. Mimicking emo rap with its appealing and forced, digital emotionality, Youngs adds an outsider quality to its footprint.
On 'Benevolence I + II' he extends the view, retaining the palette but stripping away some of the elements completely. The piano and organ parts become plodding drones, and the beat is there for punctuation rather than drive. The snare that occasionally cut into Youngs' previous Black Truffle excursion "CXXI" is used in a similar way here as an exclamation point at the end of a phrase, leaving his voice to take the lead. Words are gone completely and phrases melt into pure expressions, linking the correctional AutoTune fluctuations to Carnatic music without removing its contemporary relevance. A voracious listener, Youngs can't help but reinterpret the sounds around him using his usual rudimentary set of instruments and processes, an unashamedly DIY and unapologetically expressive process. Just as on the legendary "Sapphie" when Youngs stretched folk pop into basement experimentation, he once again follows the same thought process, it's just the background image that's shifted. 'Modern Sorrow' couldn't be a more accurate title.
Boomkat Product Review:
Richard Youngs' followup to 2021's absurdly good "CXXI" isn't anything you could have possibly predicted. On 'Modern Sorrow' he tenders his answer to contemporary R&B and radio rap, contorting his voice with AutoTune and shepherding whirring bossa and caliginous samples. RIYL claire rousay, Klein, Coby Sey, Tara Clerkin Trio.
It's easy to get completely lost in Youngs' vast catalog,he's been recording and releasing tirelessly since the early 1990s and following his work feels like being subjected to his sprawling interests and obsessions. Ostensibly an experimental musician, he's never been shackled to one particular style or another, following loose threads and pulling on them until he's left with a basket of unravelled colors to work with. On 'Modern Sorrow' he stitches together one of his most unexpected patchworks yet, "embracing the accessible digital tools of contemporary music production just as at another moment he would pick up a kazoo," to quote the press release. Rap and R&B sets the stylistic baseline for the side-long title track, Youngs confronts the styles without resorting to appropriation or reductionism.
His use of sampling captivates, casually taking direction from early Mobb Deep (think 'Shook Ones, Part II') and DJ Shadow (think 'Midnight in a Perfect World') with its choppy piano and organ loops, here framed inside a slow, Bossa crawl. But Youngs' beatplay is very different - his icy, staccato rhythms lack the hard-swung funk of the boom bap era, instead peering south towards Atlanta and the 808-led syrrup that's guided almost a decade of pop music production. He takes a similar approach with his vocals, mutating each syllable electronically until every unrecognizable word becomes a cluster of combed oohs and aahs. Mimicking emo rap with its appealing and forced, digital emotionality, Youngs adds an outsider quality to its footprint.
On 'Benevolence I + II' he extends the view, retaining the palette but stripping away some of the elements completely. The piano and organ parts become plodding drones, and the beat is there for punctuation rather than drive. The snare that occasionally cut into Youngs' previous Black Truffle excursion "CXXI" is used in a similar way here as an exclamation point at the end of a phrase, leaving his voice to take the lead. Words are gone completely and phrases melt into pure expressions, linking the correctional AutoTune fluctuations to Carnatic music without removing its contemporary relevance. A voracious listener, Youngs can't help but reinterpret the sounds around him using his usual rudimentary set of instruments and processes, an unashamedly DIY and unapologetically expressive process. Just as on the legendary "Sapphie" when Youngs stretched folk pop into basement experimentation, he once again follows the same thought process, it's just the background image that's shifted. 'Modern Sorrow' couldn't be a more accurate title.
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Boomkat Product Review:
Richard Youngs' followup to 2021's absurdly good "CXXI" isn't anything you could have possibly predicted. On 'Modern Sorrow' he tenders his answer to contemporary R&B and radio rap, contorting his voice with AutoTune and shepherding whirring bossa and caliginous samples. RIYL claire rousay, Klein, Coby Sey, Tara Clerkin Trio.
It's easy to get completely lost in Youngs' vast catalog,he's been recording and releasing tirelessly since the early 1990s and following his work feels like being subjected to his sprawling interests and obsessions. Ostensibly an experimental musician, he's never been shackled to one particular style or another, following loose threads and pulling on them until he's left with a basket of unravelled colors to work with. On 'Modern Sorrow' he stitches together one of his most unexpected patchworks yet, "embracing the accessible digital tools of contemporary music production just as at another moment he would pick up a kazoo," to quote the press release. Rap and R&B sets the stylistic baseline for the side-long title track, Youngs confronts the styles without resorting to appropriation or reductionism.
His use of sampling captivates, casually taking direction from early Mobb Deep (think 'Shook Ones, Part II') and DJ Shadow (think 'Midnight in a Perfect World') with its choppy piano and organ loops, here framed inside a slow, Bossa crawl. But Youngs' beatplay is very different - his icy, staccato rhythms lack the hard-swung funk of the boom bap era, instead peering south towards Atlanta and the 808-led syrrup that's guided almost a decade of pop music production. He takes a similar approach with his vocals, mutating each syllable electronically until every unrecognizable word becomes a cluster of combed oohs and aahs. Mimicking emo rap with its appealing and forced, digital emotionality, Youngs adds an outsider quality to its footprint.
On 'Benevolence I + II' he extends the view, retaining the palette but stripping away some of the elements completely. The piano and organ parts become plodding drones, and the beat is there for punctuation rather than drive. The snare that occasionally cut into Youngs' previous Black Truffle excursion "CXXI" is used in a similar way here as an exclamation point at the end of a phrase, leaving his voice to take the lead. Words are gone completely and phrases melt into pure expressions, linking the correctional AutoTune fluctuations to Carnatic music without removing its contemporary relevance. A voracious listener, Youngs can't help but reinterpret the sounds around him using his usual rudimentary set of instruments and processes, an unashamedly DIY and unapologetically expressive process. Just as on the legendary "Sapphie" when Youngs stretched folk pop into basement experimentation, he once again follows the same thought process, it's just the background image that's shifted. 'Modern Sorrow' couldn't be a more accurate title.
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