MJ Linckoln experiments with taking vaporwave further on Mannequin.
It's no secret that MJ Linckoln's releases of last year were among my favourite vaporwave/webwave EPs and albums, moving from epic-zombie-groan-nostalgia-80s-skrew to intimate instrumental pieces that evoked spending a gentle night camped in the forest, by the fire, with the Sun Araw band set to sloooow burrrrrn.
The best part of those latter recordings -under the Malibu Locals Only moniker -was the use of extended concrete samples: trains passing, crackling fires or just wintery atmospherics. Never foregrounded, these backdrops provided grit, sensation and texture to the charmingly understated keyboard flights that sat atop them.
MJ takes this technique further on Mannequin, a split with new-to-me Public Spreads The News (PSTN), by applying it to traditional vaporwave tracks (if one can use words like 'traditional' when discussing vaporwave...). The effect, best heard on At The Gates of Macy's, the EP's opening track, marks a development in vaporwave that I've been hankering after for ages: juxtaposition! The track begins with some clanking, like locks or chains with a hint of rust and age, and what sounds like chanting monks or a voice choir (slowed slightly). A bright, yearing and cloudy vaporwave tune (tweaked, chopped, meddled and fucked-with around the edges) barges sensationally in, its blurry sentiment seemingly at odds with the ominous rattle and dolorous voices. The two continue side by side, independent but providing a revealing and satisfying contrast.
Biggs' Rash pulls the same trick, though less jarringly, as the background textures buzz and hum along behind a slow, syrupy synth-funk that smoothly unwinds, coughing and spluttering as it goes (the induced stammer creates a neat textural grinding effect on the sample), with a kind of Gothic breakdown in the middle.
The effect is one not dissimilar to a car stereo, or wearing headphones with poor noise cancelling, where the outside world bleeds into the central tune, adding to it or keeping a gentle hand on your chest to stop you falling forward into total immersion. It helps that the vapor tunes are expertly done, neat chops and manipulations that keep things glam and exciting.
Each on of MJ Linkcoln's tracks glimmer with bright smiles but, around the edges, the seam is breaking and the machine is exposed.
As for Public Spreads The News, each track is bright vaporwave in the best sense, foggy loops and vocals pitched to a braindead slur; pop re-imagined as a sinister block party for the undead, all smooth movements rendered grotesquely jerky or disquietingly lifeless. Fine examples of the genre.
When I investigate PSTN a bit more I'll maybe add some bits as the artist seems to have some great looking releases, I just need time to digest 'em.
You can get
Linckoln Public Library here.
