It’s been a few years, but Baths (aka Will Weisenfeld) appears to have found the time among all the anime and computer games for another Anticon album. Led by affable, confessional songwriting, Romaplasm swings to the steps of camp, bubbly poptronica. It comes off as more lyrical, a touch lighter and more spacious than Will’s sidechain-core, L.A.-beat early material.
4 reviews. Add your own review.
Twitter’s darling anime fan Will Weisenfeld returns with his first Baths material since the electronic void emo of ‘Obsidian’, and while we’ve had his chiller, housier alt Geotic to tie us over, it sure is nice to see him back on his main account. Billing the record as pure escapism -- into a world of fantasy RPGs and sci-fi world-mapping -- he delivers his densest and most exuberant work, one full of colliding, overspilling pop music.
He belongs here. At his busiest, he shines, offering tunes like “Yeoman” where melodies can’t quite be contained in his sonic constellations, battling his endless lyrical treatises and glitching machines. Horns meet splintering beats; his layers of voice coalesce and converse like versions of himself crossing the borders of parallel universes. “Extrasolar”, with its mix of EDM slams and tranquil harp, sees him accelerating, booting up a rocket and shifting giddy gears. “Adam Copies” reminds me of Skrillex -- he screams his way out of reality.
In a way, this will appeal to the Baths fans adoring his glitch pop of old: while it’s more structured and songwritten than the AKAI patchwork of ‘Cerulean’, it nonetheless feels as constant in its twitching movements, offering the heavy levity of his earliest productions. ‘Romaplasm’ pines for a utopia that’s just video games and Crunchyroll marathons -- to such a degree that Weisenfeld ends up with his own magical fictions.
8/10 Joseph Customer review, 15th February 2018
For anyone who is already a fan of Will Wiesenfeld's music to point, this album should come at no surprise to them, that said I understand it could temporarily distant a scant amount of fans. The darkness in composition lifted and Baths imperceptible trajectory seems to have finally landed, on a new world, a place where not just shades blue inhabit but every colour, filled with explosions, fantasy, self affirmation and awareness.
Reminiscing to his Boiler Room in 2012 Baths performed a version of 'No Eyes' at the time forthcoming on his album Obsidian. Witness to the raw emotion flowing out over the microphone was a clear sign that there was another side to Will's music, not an alter ego though, something symbiotic, it sits next to him in perfect chaotic tranquility.
Romaplasm is as much a triumph as it is otherworldly, all of Baths' music has the impetus to transport you to a distant space; only this new album doesn't just take you on one journey it takes you on multiple.
10/10 Tim Customer review, 18th January 2018
I had to mull it over for a while whether this was a 9/10 or a 10/10. In the end I think it's worth the 10 as it embodies everything I have enjoyed about Will's music over the last 8-9 years ever since I imported a copy of [post-foetus] from Asia.
For me Baths makes interesting electronic pop music, and is really some of my favourite. I loved Obsidian just like everyone else did, but I actually think this is the superior record as the lyrics are much more details and have more depth to them. I think the fawning over Obsidian might be to do with the whole tortured artist: I was shocked to read all the mediocre scores for this album. In my mind this crosses a streamlined version of the interesting production elements of Cerulean and Pop Music/B-sides with a deeper lyrical interest than that on Obsidian.
The songs range through multiple feelings: from isolation and contempt born from Will coming to terms with his sexuality, to escapist jaunts referring anime such as Cowboy Bebop and Neon Genesis Evangelion, all juxtaposing each other reflecting a very human range of emotions: more so than the straight out depression shown in Obsidian.
Baths musical style is still as unique as ever: his tracks manage to hold more variation than previous albums, while the balance between the sheer amount of instrumentation and musical elements against the catchy refrains is done so well. It means that the album works well both in the car and in more intent headphone sessions.
Basically it's a album that first comes across as an catchy and easy listenable poppy album, but really opens up on subsequent listens, in terms of both lyrics and production values.
Baths has come a long way and I see this as the summation of not only his musical work but also his emotional maturity. By far my favourite album by Will and maybe my favourite from 2017. Also the vinyl pressing is a real gem!
6/10 Jack Customer review, 27th November 2017
There's a shift in tone here, which personally is not for me. This album is a little too chipper, happy and upbeat. Baths has always had somewhat of a bittersweet, beautiful sadness to his music and that is not really present here on this album. Baths has always been there for me when it was getting to be too much. The new direction here is just way too happy and upbeat. Some people may like that though, and that's cool, but there's nothing on here that is really giving me chills and goosebumps.
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