In a couple of brief years, New Zealander Connan Mockasin has confirmed himself recreation for all method of chameleonic collaboration. With just some days in Marfa, Texas, he cooked up a little bit one thing with Blood Orange’s Dev Hynes, wrote for and served as Charlotte Gainsbourg’s backing band, and apparently performed round with Vince Staples and James Blake on a not-released challenge. However most tantalizing was a protracted alluded-to collaboration with Sam Mud, previously of the British dance-punk Late of the Pier. For the entire rapidity of these different connections, Mockasin and Mud first started smushing collectively their bizarre Play-Doh pop songs again in 2009. That means that nicely earlier than Mockasin proclaimed Eternally Dolphin Love and busted out a FreekiLeaks sluggish jam and Mud’s band imploded, Mushy Hair was slowly rising.
Hinted at seven years in the past and plenty of mixing delays later, Mushy Hair lastly seems. And for these tantalized/ perplexed on the thought at Mockasin’s creepy castrato set in opposition to the heavier, tweaked beats that Mud made as LA Priest will as an alternative discover him hewing a lot nearer to the previous’s sound. The soggy pretzel logic of Pod-era Ween informs songs like opener “Relaxed Lizard,” most pointedly with that band’s obsession with early Prince. It’s a great match for Mockasin’s squeaky voice—which might twirl as much as “Camille”-like heights with out having to hurry up the tape—but additionally for Mud, who can dip into Prince’s vibrato with conviction. “Lizard” nearly passes as a helium-voiced attractive little quantity, till the come-on of “I’d like to fuck you” has to share house with the admission “once you discover she’s seventeen” deflates the balloon fully.
The waterlogged skank of “Jealous Lies” is a drunken ditty that replicates the form of lo-fi weirdness that everybody from Paul McCartney to Aphex Twin has doodled of their residence studios. The sluggish rise and fall of distant ocean waves and flanged-out guitar traces retains “Mendacity Has to Cease” from being any form of standard seaside monitor. It’s sluggish bubble could possibly be seductive, apart from Connan’s discomfiting come-on “I like to look at you run/However I’ll by no means contact your bum.” Mud’s dramatic over-emoting on “In Love” stands out, however it’s the croaked refrain of “in love with the Japanese ladies/in love with the Chinese language ladies” that turns the tune irredeemably creepy.
From time to time, the album strikes that difficult stability between queasy and cute. “Goood Signal” is unusual and charming in equal measure, Arthur Russell mumblecore on downers, set atop a slo-mo ’80s Italo horror synth soundtrack. The drum machine could also be set to ‘somnambulant’ on “Alive With out Medication,” however it makes for a lazy groove that syncs nicely with Tremendous Mario water world bloops. Mud finds a rubber boot beat halfway via, solely to have Mockasin’s voice break the spell and have the monitor resolutely meander off target. “l.i.v.” is a gentle, languid nearer, however it’s not arduous to assume that after seven years spent cooking, Mushy Hair’s outcomes come out half-baked.