So, the first song I ran into was this one, "Worth It":
https://www.youtube.com/watch?v=-JeSL44Rrfw
I'm really... I connect to Moses's lyrics a lot as a trans person, weirdly. Oh and I should preface this all by saying as a extreme music person who is also into art music and electronic music, I frequently go to read lyrics and get backstories for understanding context. I think that's an essential element for all of his work, despite his vocals being very clear and easy to understand (imo). Reading them has a really nice level of depth I don't often find outside of extreme music.
Stylistically, the minimalism is very nice. It really let's his lyrics be the prominent expression. Here they are:
```
You give me all of you
I recognize my heart as black and blue
You accept all I do
But I don't know if that is wise
You offer all of you
I recognize your hand as a budding bruise
You reject solitude
But I don't know if I am worth it
I don't know if I am worth it
I don't know if I am worth it
Worth it
Tepid and taciturn
Isn't enough to make you learn
You're not afraid of burns
But I don't know how to light my fire
I don't know if I am worth it
I don't know if I am worth it
I don't know if I am worth it
I don't know if I am worth it
```
In retrospect, this song is such a beautiful piece for relationship aversion, specifically as he calls out doubt because the other subject is rejecting solitude (I absolutely love how much value he gives to solitude). But there is also this deep emotive response of not really being worth that kind of love. Which gives me a complex palette of responses because I feel like the underlying conclusion which isn't reached is the assumption of needing to be "worth it" at all.
I appreciate the way he writes as being very experiential and typically not asserting moral values (my biggest gripe about any lyrics ever).
====
Next is "Proud to Be". Again, weirdly meaningful as a closeted trans kid, though maybe more generally as being... anomalous.
https://www.youtube.com/watch?v=MvutzZ7k9Ww
```
A black bunk bed
Once belonged to me
Body built of sticks and stones and potential energy
I laid alone
On the bottom sheets
So I kept a sense of absence above me when asleep
Singing oh
When I grow
The legacy left to me won't leave me low
Sweet seeds I sow
So memory's remedy's a crumb of hope
I'll be proud to be
Part of me
Probably proud of me
Proud to be
Part of me
Probably proud of me
As a grown clone
Can I be beautiful
Beige as Cali suburbs
Sameness is fatal
Sleep with no doubt
Of who's forgiven you
But can I forgive myself
For being myself, too?
Now
That I've grown
The legacies kept from me have left me low
My only hope's
That younger me is hungry for a sick joke
He's not
Proud to be
Part of me
Probably not
Proud of me
Proud to be
Part of me
Probably not
Proud of Me
Proud to be
Part of me
Probably not
Proud of me
Proud to be
Part of me
Probably not
Proud of Me
```
I think something I don't need to reiterate is how much tragedy I have relating to legacies. It's... a lot, from the standpoint of wanting an immediately blood family involved in my life and from wanting to have connection with my ancestry and a complex cognitive relationship with having a kid.
====
So, I heard these tracks and dug into some others from Mid-City Island. Stylistically, I can be a little averse to music that relies on genre-specific timbre/texture for value however, I think his minimalism and jazz-born sensibilities were strong enough early on that it all feels really nice for me.
And then he released his first full album, "Aromanticism".
I should preface this by saying I didn't identify as aromantic at the time, nor had I heard the term, nor had the concept really occurred to me in a meaningful way.
It was nice to get a whole album offering for the first time. I really enjoy albums that are experiential and well ordered: that flow is really my favorite thing in popular music offerings.
I'm a vocalist and I've always loved falsetto vocals. Again, part of trans validation internally but also I just love how those pitches feel for my ears, typically. He leans really hard into it but this album felt like a slight step away (not much). It's hard to pick favorites here. It's also amazing that at the time, I was still masking romantically and in a relationship with someone who didn't like too much romance so it felt natural at times. But I had an ongoing struggle with her about being polyaffectionate.
It was something I was really clear about early on but I was also given myself to compromise/accommodation of any sort if someone pushed me to it because I was still running under the assumption that a romantic relationship is something that I needed and was supposed to have. There was some co-dependent abuse bonding things going on in that relationship I think but the album was an affirming breath of fresh air that someone else was trying to live in a world as someone whose value set is accused of being... contrived and opportunistic.
It was around this time that I coined a term for myself of "platonic romance", trying to figure out how to express my desire for having deep friendships as well as identifying my natural disposition that intimacies of any sort deserve freedom from being exclusive to romantic relationships: "Let friends be friends" is my sort of take away catch phrase.
Musically, I FUCKING LOVE the way that Quarrel leads to a full instrumentation after being very committed to be minimal instrumentation: percussion comes out of nowhere and it glorious. My range is almost exactly where Moses's is though I have a couple more notes I've never heard him produce but its all very much in my exact comfort spaces which gives me a personal attachment to it as a singer.
Lonely World gives the same gift of being minimal and picking up into thick instrumentation and sudden percussion. I really enjoy all of the jazz 7th motions, I'm a sucker for that shit.
Lyrically, these are all so damn lovely. Plastic stands out for me a lot in a number of ways: as a person who uses neopronouns, as a person who has learned to perform as a life skill, as a person who has needed to be more grand than they are to survive, as a person who needed an alternate reality to endure the true one... as a person who has been making their own escape for the majority of their life.
https://www.youtube.com/watch?v=YpvBlhdrqz8
```
I know what it is to be broken and be bold
Tell you that my silver is gold
Though we're much too old for make believe
And I know what it's like to behold and not be held
Funny how a stomach unfed
Seems satisfied cuz it’s swell and swollen
And you caught me
Shooting cross the sky like a star
But nobody told me
To never let it get too far
See my silhouette, so you’re standing scared of me
Can I tell you a secret?
My wings are made of plastic
My wings are made up
And so am I
```
====
A side note is just how great Self-Help Tape is. I don't care if its true but I swear to god, it's simply a chorus "meow"s and that's exactly how I sing it every time and it feels so lovely :3
I listened to that album pretty much every day for quite a while. He started to have more live showings including the NPR tiny desk concert: https://www.youtube.com/watch?v=C4-0Q8W8Nb0 . There is this really deep and pure musicianship that is very much self-designed. Obviously, he has roots but the style and expressions are more inventive than they are homages. I think we are fortunate to have a successful musician who has something very personal invention that they are deeply committed too. I have a lot of respect for him purely based on the honesty and personal nature of his music. I am enamored with and relate to how completely he commits to the dream of a moment.
I still pull from "Aromanticism" but ultimately "grae" is a masterpiece.
This is not the album version but holy fuck it is a brilliant live performance. I feel like for the first time on this album, Moses shows that he isn't really a musician with a vocal gimmick: he is insanely talented and has incredible control of his voice. Granted, this is also after several years of performing professionally and having the opportunity to achieve that refinement. He did not waste a moment, it seems to me.
CW: this may be sensitive or triggering for folks re physical harm/masochism. I happen to have a lure to it for my sadomasochism, though I don't think that's really the substantial contribution of the lyrics, more of the vehicle of expression.
https://www.youtube.com/watch?v=O0dLpnLBcKk
```
When I'm weary
And so worn out
Ooh, when my mind's clouded and
Filled with doubt
That's when I feel
The most alive
Masochistic kisses
Are how I thrive
A stiffness
(In) Side my neck
(And) Bangin' my head
(A) Gainst the desk
(Woah) If there's no pain
(Is) There any progress
That's when I feel
The most alive
Endurance
Is the source of my pride
Might not be healthy for me but seemingly I need
What cuts me, cuts me, cuts me, cut me, cut me, cut me
Guess I'm a true immigrant son
No vacancies, no vacations
Sure, I could do better than this
But I don't, I won't, I don't
Might not be healthy for me but seemingly I need
What cuts me, cuts me, cuts me, cut me, cut me, cut me
Might not be healthy for me but seemingly I need
What cuts me, cuts me, cuts me, cut me, cut me, cut me
Hurt me, hurt me
Hurt me, hurt me
```
I feel weird to really get deep on one of the album favorites just cause it doesn't often happen for me but this song is clearly a banger. Damn. I dunno.
There are a lot of lyrics and beautiful timbral things in this album. It's so much more expansive and generous (its 20 fucking songs). There is also quite a bit of collaboration on this album which is really cool.
This album gave me some new lenses for plural, agender, and genderqueer people and prompted some further digging, which I definitely needed to do for my own edification. One of the most important pieces to this album is the myriad of collaborations from an author named Taiye Selasi who has a number of really poignant musings on plurality (they use the term "multiplicity" which I've always found used interchangeably). It is a moment I've tried to achieve for so fucking long in my life as a queer person, summarized in a loose yet perfectly unmovable assertion: "Anyone wishing to meaningfully engage with me, or my work, must [recognize my inherent multiplicity]". I take this for myself as a larger statement: if we wish to meaningfully engage with each other, we must be aware of and recognize each others' experiences and identities.
They have a number of writings throughout the album that are deeply meaningful as well. I'm so grateful for this album as a collaborative platform for these queer experiences. I could dig into every song but I think my assertion is that this album was a focal point for expanding my feelings towards my community into something more diverse, wholesome, and aware.
And it helped me find my own expressions, some of which I share. "Sometimes I want to kiss my friends" too. Sometimes.
BONUS: (Fav tracks from grae are Conveyor, Colouour, Keeps Me Alive, and Cut Me... I think. It's hard to pick any hehe)








