experimental noise R&B

Klein runs with and expands on the direction of her last EP, building everything around all sorts of manipulated loops of piano and her voice. There's still a noticeable 90s R&B influence (and you still have to look hard for it behind all the noise manipulations and arrangements). This one is maybe a bit chillier on average, but still has some warm moments. There are longer stretches of intelligible/narrative vocals, but it's mostly still pretty abstract. Also, more percussion than her prior EP, but not so much or so regular that I could cross-file this as "D". Actress may have coined the term "R&B concrète" for himself, but Klein could easily claim that moniker too, despite the very different approach.

RIYL: Levantis crossed with Oa; Brandy, if she got way into tape music and started selling her new material on Bandcamp

recommended: 4, 3, 2, 6, 8, 7, any

FCCs: 6, 7

1 - pries bisghhintro - 6:35 - preacher talking about love and faith overcoming pain, threaded with all sorts of shifting vocal snippet loops of klein's voice, shimmering lo-fi piano fragments, preacher fades into background, becomes hard to hear, comes back to the fore briefly at times, but sticks around for the duration at some level. melodies go a bit bassier and richer at the midpoint. kids talking trash at the end, then horse hooves clopping and crowd sounds.
2 - collect ft. diamond stingily - 3:00 - ambient city crowd noise, chilly swelling string loops with harp pulses low in the background. impressionistic recounting of childhood memories, a bit of reflection on growing up, then a modest hope for the afterlife. strings fade away leaving crowd noise, something quick and unintelligible over a PA.
3 - slipping - 4:00 - duet of tumbling piano and vocal loops, fragments rotating, flecked with static. starts overcast, lightens just a bit as things progress, more wordless vocal fragments and harmonies flit through the background. vocals eventually leave, piano gets a bit more envoloping and smeared, off-kilter locked-groove feeling to close.
4 - stop - 2:44 - bass pulses like a beat for just a bit, and low metallic scrapes, ebbing and flowing yelling sample way low in the mix throughout. beat leaves to clouds of undulating piano, but then something like a very slow beat comes back, and then ever shifting/changing beats with brief injection of chiptune and pinball sounds. for a while there's a very slow 4/4 pulse at the end, but that gives way to tumbling shifting loops of drum kit.
5 - born - 2:51 - high-pitched pulsing "oooh", intermittent static pulses. intermittent backup oooh'ing of various pitches. static gets rhythmic toward the end. punctuated twice (middle and end) by gun cocking and brief/soft crying/sniffles.
6 - explay - 4:00 - many FCCs (fuck, bitch; safe-harbor only) - shimmering pitched up vocal loops background defiant rap fragments, vocals mostly intelligible and in the foreground, but not always. like a grime MC stuck in a disorienting ambient whirlpool. does a little fall-apart-and-reassemble-differently at the mid-point, introduces some off-kilter drums that you can follow, but calling it a "groove" might be a bit strong.
7 - apologise - 4:48 - FCCs? (maybe a couple "fucks" at the end) - wind rising, breath ragged, looped "sorry" and other apologies. becomes static-y cloud of wind and breath and quiet vocal loops. intermittent percussion enters, loops eventually rise and overwhelm and turn into crunchy machine noise, though the hard edges dissipate before the end, and loops slow and evaporate a little. quiet sung harmonies toward the end, and maybe a buried "fuck" or two in unintelligible background chatter.
8 - last chance - 2:52 - built seemingly out of loops of "i can't take it" sung in a few different ways, run through some effects, and paired with subtle chimes and crowd sounds way low in the mix.
9 - klein@spiral - 0:23 - brief clip of klein singing into her phone. super short, but if you're looking for a sample to manipulate or something weird to place over some other music...