Multi-instrumentalist Vituia has written over 700 original songs, all from a vehemently anti-AI lifestyle over years of commitment to the craft. More recently, however, production tools have allowed the at-home creative to present his works under an unrivalled light of professionalism, and the result is a notably more polished sound.
To highlight this, some fiercely different songs. In example, an upbeat happy-electro pop-punk anthem called The Gay Parade, and an old-school shoulder swaying jazz-pop groove that’s joyfully conversational and both dark and romantically unfiltered, in the form of Lady Parts.
Unfiltered is key, Vituia’s songs don’t adhere to the rules, don’t care what the industry big wigs think, nor even the average listener. Both Lady Parts and The Gay Parade, while starkly different styles and seemingly hard to connect as the work of one artist, still hold closely to this uninhibited freedom with which Vituia writes songs.
No filter, no editing process, just ideas and rhymes, stories and scenes, on paper then straight through the airwaves.
The Gay Parade is fast-paced and clean, crisp and catchy – an electronic rock arrangement celebrating the energy and dancing of Mardi Gras. Then if you consider other songs from Vituia’s recent collection, a mellow but theatrical mood lets the likes of Eleanor: God Sings suddenly grip for its outlandish blend of religion and darkness. This is one of the most shock-factor heavy songs from the catalogue, and that juxtaposed approach also hits hard for Lady Parts.
Then bringing a slick soulful groove to the scene, My Favourite Color is Teal offers something sultry and intriguing. A definite and clever highlight, despite the familiar AI voices that are swamping the scene of late. The switch to passionate and gritty distortion makes for a brilliant peak that would be intoxicating if a live performance.
After this, I Wish I Didn’t Know – an ache of introspective folk-pop, with female vocals rising through a mysterious storyline of turmoil and the burden of truth; likely regarding our very existence. Then to flip the script back to the absurd and striking once again, Vituia delivers a catchy funk-rock anthem in the form of the again unfiltered and fearless bravado of Sex Puppy.
Other recent highlights include the acoustic intimacy and imagery of a memorable I Love Elvis and Your Mom Too, and in contrast as ever, They Win The World turns attention towards the disgraced billionaires of our time, with a folk-pop bounce to counter the heavy disdain of the songwriting in a clever way. It’s another song that sharply and smartly holds your attention, partly for the topical relevance, and partly for the sheer unpredictable nature of Vituia’s lyrical journeying.
To flip the coin as ever afterwards, we get a joyous folk-rock bounce of a dance-song, in the form of Show Me What You’re Shaking, a light and airy capture and a personal favourite, before the implied heartfelt ballad of My Gift injects something again completely unpredictable, but musically simple, topically poignant, and fiercely divisive.
Vituia addresses Americans directly, builds a wall of hatred for the mighty Taylor Swift, and loses himself in the anthemic anger and scorn of a song that’s absolutely not family-friendly. If you share his disdain, this one’s an earworm, but it feels like this level of passion and volume could have been directed at just about anyone of impact in the culture – another billionaire under scrutiny makes sense though. That’s the Vituia voice – uninhibited, unafraid, unfiltered, and My Gift is a bold starting point if you’re new to his music.
Find Vituia on TikTok, Facebook, Instagram, Reverbnation & YouTube.
