(Orange Milk, 2017)
If channeling your inner Everybody was a thing that somebody could do, then Austin’s Marcus Maurice, aka More Eaze (homonyms!) has us all beat and all wondering if we can ever even catch up. For example, I’m channeling my inner Juan Valdez right now, but that’s because I’m drinking coffee and enjoying it, and I’d sure as heck like to encourage you to drink coffee as well. But that’s only a fraction of what Mr. More Eaze is doing because he’s not just channeling his inner Juan Valdez (he’s doing that too), he’s also channeling, wait for it, Everybody Else, ever, and getting away with it.
That just means that firesid3 ch@t r00m is filled to absolutely the breaking point with nugget after nugget of absolute goodness, seven (only seven?!?) tracks of exploratory sonic manipulation that trigger myriad instant synaptic responses from the central nervous system, very few of which (probably none, actually) causing any sort of delay from reception to reaction. And before you go thinking that I’m some sort of neuroscience authority (I’m not … yet?), you have to understand that it’s not really me spouting off these dense terms, it’s actually the pleasure centers of my brain taking over the rest of the functions of my body while listening to this More Eaze jawn.
Because firesid3 ch@t r00m packs a ludicrous amount of production into one tiny cassette release, you may think it would be difficult to find your footing, what with the rug of the song structure getting pulled out from under you more often than you’d expect, but I’m here to tell you it’s almost easier to keep your balance than you anticipate. I mean, track one, “DGAF,” is a master class in accessibility despite the rug pulling, because a second rug of accessibility replaces the first – that’s two entry points, at least. And, if you can believe it, “DGAF” unravels as an acronym as More Eaze intones “Don’t give a fuck.” See? It’s eazy for ol’ Maurice, because he DGAF! And yet, through a choir of electronic voices, chords building, the AutoTuned titular line, electric pulses, ambience, more vocal chords, and finally a spare trap beat that builds and freaks out and stops, he offers a transcendent experience that a) leaves you (actually me, since I’m listening right now) breathless and b) expects you (me) to beg for more, which I (you) do, gladly. And this is only track one. And remember, More Eaze DGAF. Too easy.
The intense marriage of vocal construction and electronic flourishes and arrangements of synthetic strings and recognizable and head-noddable beats and utter pop bliss at points make firesid3 ch@t r00m one of the easiest releases in recent memory to be able to fully invest yourself in. Even when “Buck It” ends the tape with a vaporwave nosedive, stretching a pop slow jam birthed at a crawl from the center hole of a skipping CDR before exploding into a crystal quasar pulse, its elements are as unrecognizably exotic as they are inviting. The results are as weird as the concept of a virtual fireplace providing warmth and comfort, but no less intoxicating. Hey, if you’re gonna be condensing the influence of everything and everyone in your life (including me and you, maybe? We are the consumers, we do imprint ourselves upon the music as we listen) into a whirlwind of sonic context and regurgitating the digitized outcome into a magnetic platform, you better make it pretty enticing if you want to grow your audience. Welp, More Eaze, meet Planet Earth. I think we might actually need you at the moment.