Simplicity of style is naturally a stream of consciousness unfiltered and even unedited, as per the Vituia eclecticism – his devotion to freedom of speech and subconscious thought, from one song to the next.
This latest collection begins with a funky acoustic gutiar line, and the unmistakable human voice of Vituia, relaying a post-punk arrangement of X-rated words directed at a particular ‘bitch’. The song is aptly-titled, It’s Not Complicated, and that simplicity is inherent throughout the music of an artist who, by his own admission, has no control over the songs he writes.
On that note, Naked No More follows, the warped vocal style familiar, the mellow synth-pop set-up fresh amidst a seemingly more intimate and chilled approach to romantic longing and regret; reflection on a toxic situation, it seems. This track is hypnotic in its gentle looping, the structure and sentiments follow the nuanced sound of Vituia, and there’s something like vulnerability instead of sheer confidence at the forefront, which is refreshing.
That vulnerability continues throughout the diary-style poetry of Insecurity, another lo-fi groove making the perfect accompaniment, for what proves one of his most revealing and introspective songs yet. A definite highlight for drawing focus to the dark and light parts of the self in a relatable and unexpected way.
Next we get the first instance of a three-part harmony/polyphonic from the Vituia catalogue, as Down By The River gets topical, passionate, catchy yet still adlib-esque in its freedom, in its melody and conceptual thread. There are moments of gold scattered throughout songs like this, and the title makes for a strong metaphor both stylistically and in the storytelling. We move from profound to boldly simple yet again, and the song meanders from quiet and silly to impassioned and deeply reflective of the current state of the US.
This one is revealing, interesting, unexpected, and sonically unique, whilst holding closely to the beating heart of Vituia’s musicality. An emotional crescendo layers voices, sounds and melodies in a chaotic but calming, strangely satisfying way. Definitely a highlight.
Later we find something dark and ambient, atmospheric and unrelenting in its stream of consciousness. I Will Not Change My Name To Stan addresses an attraction or infatuation with the spiritual influencer and author Teal Swan. Then for Holy Cow, lush piano backs a striking juxtaposition of images that starkly remind us of the imagination and scornful observations of the artist. The song gathers psychedelic momentum as it rolls along, and the final quarter is chaotic, intense but heartfelt in its instrumental crescendo.
Finally, political inspiration takes precedence, as Well Said addresses with anger and creative chaos, the status and history of the current US president, Donald Trump. This swirling psych-pop downpour of multi-layered fragments is perhaps one of the most densely packed lyrical examples of using the ‘F’ word, and is quirky whilst still capable of capturing the frustration of the political leadership situation.
Raw and imperfect, unfiltered and free – an artist opposed to AI-made music and as such maintaining a certain human realism that’s all the more valuable for its timing. Vituia gets provocative, dark, poetic, reflective, and bold, throughout a growing collection of free-flowing original tracks.
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