MoMA Ready - Untitled.

May 24, 2021 - Haus of Altr

From the cellars of Wyatt D. Stevens comes a transitional project, lightly matured in new oak casks with all the complexities of a spring-to-summer harvest still intact. The initial inspection of the packing leaves all (or nothing) to the imagination: the title, Untitled., complete with a superfluous period associated with a specific curtness or displeasure when used out of place (i.e. an SMS message—a sentiment that I am still working to move on from), and a stark black and white logo featuring a geometric rendering of Stevens. The tagline offers a bit more introspective mystery, with Stevens describing Untitled. as “a project that wouldn’t leave [him] be, so now it belongs to you.” It’s time to taste.

Popping the cork releases a cascade of effervescent synth plucks. A quiet voice, presumably Stevens himself, speaks out, “we love music,” the title to the track and perhaps a slight nod to this very publication—We Hate Music, the venerable Trojan Horse, a hollow title that contains naught but Those Who Love Music and Most Other Things. A tight drum machine pattern rides on top of the plucks, and Stevens picks up the pace of his words, weaving thoughts on the complexities of expressing emotion through sound together with the hard kick and syncopated percussive hits. 

The lighter carbonated notes of the first track give way to a darker, more complex approach on ‘Judgement Child.’ Stevens stretches his voice closer, growing slightly louder and more urgent. Quick-fire verses match the intensity of the metallic percussion, driving the energy to the brink of mania. The flavors here shift into the more ethereal ‘The Influence Of.’ The dark, tannin-filled notes remain, combining with manipulated samples floating around an echo chamber filled with a viscous mystery fluid. A delicately chopped Think Break dances amongst dissonant chords and airy chimes, stuttering at just the right moments to give pause without disrupting the flow. 

The next stop on our flavor journey, ‘Let It Go,’ offers a lesson in duality. The instrumental comes through bright and intense, with strong notes of red fruits and a pleasantly hopeful sweetness. The accompanying vocals contrast this at every turn, with a deep, bitter flavor profile. Stevens laments a past relationship, ruminating on the difficulties of letting go and the feelings that emerge after the trust has been lost. It’s a balancing act that Stevens has shown proficiency in before, the combining of two seemingly disparate flavor profiles. The instrumental is easy to get lost in, with dreamy pads and an infectious bassline, but the somber monologue keeps the mind grounded in the uncomfortableness of reality. 

‘Simple As A Song ft. Mina Thomas & Yunie Mojica’ takes the bitterness of ‘Let It Go’ and softens its edges, merging the contrasting moods into one singularity of soft sadness and deep longing. There is another contrast here though, one of time and place. The crooning vocals of Mina Thomas feel pulled right out of the 1930s, with poison-laced-honey-dripped lyrics I was certain were sampled. Yuni Mojica’s saxophone lines solidify the mouthfeel of the piece, hauntingly beautiful and elegantly trailing around the walls and corners. Stevens places these elements against a backdrop of high-energy drum & bass. Thudding chopped kicks and faster-than-life crash cymbals clash with the rest of the flavors, suspending the listener right in the middle, slowly swirling around without control, weightless amongst the cold darkness of space and the intense heat of the stars. 

Things plummet back to Earth on ‘Flashbacks ft. Tamy Stevens.’ Flavors begin to open up, with peppery notes pairing up with the slightly salty taste of the air right after a summer thunderstorm. The production takes a turn, settling into a more laid back groove than the 140+ BPM realm of the previous tracks. Singer/songwriter Tamy Stevens slips into this zone, setting the mood with layered vocals before jumping into the swift waters. Tamy sifts through emotions, weaving together lyrics on life and love, on her experience as a Black woman, on looking back at the past while moving on into the future. Her voice mixes together on several octaves, flowing upward and outward until it dissolves into the night sky. 

The pepper and salt notes of ‘Flashbacks’ fade away to make room for the final track ‘Peach Rings.’ Though the title brings with it a pretty clear mental image complete with prominent taste memories, ‘Peach Rings’ does not taste of peach rings. Instead it piques the taste buds while softening the stomach, like a bittersweet aperitivo. Tired, dusty chords play out amongst a more energetic drum loop, ebbing against a simple, tight fitting bassline. It’s a palate cleanser, one that works well playing softly in the background, looping for hours on end. It also works to draw attention back to the start of the tracklist, getting the senses ready for another round. It’s clear why this project wouldn’t leave Stevens be. The best things in life are those shared. 🍍