Usually when labels get me to listen to a new pop entity, they bombard me with Paragraphs Galore of inane waffling about their past achievements, collaborators and ‘influences’. It’s all incredibly unncessary and often when you finally get to the song that information becomes irrelevant because the song is shit or good and that’s all that matters.
Matthew Young was sent to me by a label at 5:30pm on Friday afternoon, in the most perfectly understated way possible. Not even any colour!
I clicked the Soundcloud link and here we have four polished nu-pop jams, coloured with guitar solos and complex harmonies, and an aesthetic I can certainly fuck with. Coming towards the end of a music year that was visually defined by Trainor’s pop pastels, Matthew Young gives us a glimpse of the slightly darker yet refreshingly simplistic look that 2015 will entail, at least for him. Matthew’s dark palate backs a reverse portrait of the rear of his head. A good hairline if I do say so myself.
He’s elusive in the most peculiar of ways. I can’t find a single thing about him on the internet except for a Facebook following of just 350 at the time of writing this, a two-digit Twitter following (although that does include Troye Sivan after I showed him the guy the other day) and mere allusions to his location- through time-stamping his releases – as being noted hit capital New Zealand. I got really stalky and looked in the source code of his website and the description is “matthew young new music new zealand alternative hip hop” so that seems to confirm suspicions.
Musically, everything has a confident yet emotionally open feel to it. He’s vulnerable but he knows how he wants to tell his stories and that’s a very good combination. This is very good pop music and Matthew Young is a very exciting pop thing that encompasses all that is excellent about a modern approach to releasing pop music.