A monitor which testifies to the stressed ennui of recent life, Ithys’ upcoming single “Love All Evening (Fashionable Walks)” is one thing of a misnomer. A collaboration with producer Jordan Lewis (Travis Scott, Drake), it represents a stressed reconciliation for Ithys, in an try and work by means of prolonged battles with melancholy and homelessness.
Divided into two components, the primary half of the tune (or, “Love All Evening”) is impressed by Nana, a Japanese manga strip which revolves across the coming of age of two younger adults who transfer to Tokyo in the hunt for fame and romance. For Ithys, this was a case of rendering the visible aesthetics of comics throughout completely different media: “I attempted to painting the feelings and melancholic but peaceable imagery of the comedian by means of my lyrics and sounds.”
The transition into “Fashionable Walks” within the monitor’s second half is extra alien and futuristic. Dense lyrical flows oscillate between Korean and English and weave a patchwork material of defiance and irreverent swagger, reflecting not the tender inside of a lovesick self however the chilly and calcified exterior of a person hardened to the risks of emotional give up. A sampling from Sophia, an AI humanoid interviewed on the future Funding Panel in 2017, may be heard over the bridge, and provides an extra ingredient of alienation.
Ithys’ tone on the monitor is prickly, braggadocious, and stuffed with darkish pleasure. Fragmented lyrics journey alongside to a crisp, pulsating entice beat which precludes time for pause: “Let’s discuss development / It may be the style or symbols, ambition, no matter you deal with / I gained’t give a shit about your imaginative and prescient / No causes.”
“I considered [trend] as a broader class,” states Ithys, “as a result of many traits are labeled by way of one single modernity.” What little may be gleaned by the use of didacticism on this monitor is an energetic affront to self-discipline and authority. Pleasure, energy and magnificence take priority, because the inflated ego runs riot. Repeatedly, the “you” is dismissed, and the “I” positioned on the fore.
The result’s a heady concoction of self-affirmed narcissism and weary anhedonia; a uniquely modern-day model of hedonism which sighs on the anatomising excesses of late capitalism. Whereas costly manufacturers are casually referenced, there’s a repeated allusion to the assumption within the dream of self-betterment to get out of the rat race: to “drink and love all evening” but additionally “keep and work all evening.”
Ithys acknowledges how the volatility of his sound makes univocal interpretation tough: “interpretation can fluctuate primarily based on private experiences, and I respect all experiences, so I hope that the picture drawn from every individual’s expertise turns into the interpretation of my music.” Now out on the planet, it’s as much as the listener to resolve for themselves.