In the case of some artists, streamlining can work remarkably well. Sharon Van Etten and Local Natives expanded their palette and streamlined their sound without sacrificing the qualities people loved about them (all thanks to producer Aaron Dessner as well). Mumford & Sons, on the other hand…

Painting of a Panic Attack is the sixth record from Frightened Rabbit. Their previous album, Pedestrian Verse, saw them streamline their sound into something more palatable for mainstream taste. This record sees them streamline it even further.

The influence of Aaron Dessner is pretty clear: Painting of a Panic Attack sounds like The National. The two bands have always rubbed off on each other as touring friends and label mates, so this doesn’t come as a surprise. But Dessner’s focus on minimizing the extraneous instruments and sounds that Frightened Rabbit bring to the table results in a record that isn’t very different from his own band.

Death Dream and Little Drum are great examples of that style: staccato-like drums that serve as accent pieces, simple piano chords that are allowed to ring out, and clear focus on the morose vocal work. The album closer, A Lick of Paint, represents the sound that the band is going for at its best I think: several instruments working together, but all of them working as smaller parts of a whole.

Simply put, under the helm of Aaron Dessner, Frightened Rabbit has become much more restrained.

Should it be surprising? No — the band has been moving in this direction for years. In a lot of ways, this makes Frightened Rabbit better: the band’s morose vocal performance has always been its highlight, and the scatterbrain instrumentals haven’t always been on the same page.

If anything, Painting of a Panic Attack and Pedestrian Verse marry together well as complementary records. But Panic Attack sounds more cohesively depressing. It’s a National record from another band, perhaps, but it’s also one that marks where Frightened Rabbit is at emotionally. It’s a powerful record that shows the band maturing, even while they remain as morose as we’ve always known them (perhaps more so). And undoubtedly, these songs would sound even better live.

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Alcoholics, the first single, comes out of the gate strong with a clear attempt at sounding like a vintage Lamar single. Songs like Recognize and Burn Bridges are familiar radio staples with a fresh rapper laying down his tracks overtop of them.

So what makes all this work? It’s not like Mars is that original. But his style is uniquely laid-back and remarkably cohesive, considering that he’s earned the nickname the Lonely Stoner. He’s not different from the rest of us, and he’s making hip hop that sounds like something we can all relate to — unlike many of his contemporaries.

In an interview with XXL, Skizzy told them he’s “going to be the next kid to revolutionize music” and compared himself to Kanye West. In an 808s & Heartbreak, way he’s not very dissimilar, and they clearly share a similar ego. And the music feels a little manufactured, but at the same time, it feels like Skizzy has something to say.

Maybe it’s his laid back style, or maybe it’s the way he raps about his loneliness and search for tangible love. He’s a perfect hip hop complement to BJ the Chicago Kid, another one of the new soul-influenced generation who feels like he’s struggling with the loneliness that comes with our digital age.

The album highlight Girl on a Train is captivating, and an easy way to sum up what makes the album great: familiar without being comfortable, with a unique flow, Skizzy says something we’ve all heard before in a pre-packaged way that, thanks to his unique flow, feels entirely magical. And at the end of it, after observing the girl, after seeing her on the train, musing about her, missing his chance, Skizzy goes home alone. And he captures that profound sense of missed opportunity beautifully.

Skizzy Mars is making popcorn music, but he’s better than a lot of the other popcorn music out there. And it might be his age that gives him a bit of his edge — I’m Ready feels like a real edgy blues-influenced hip hop track that could only come from an angry, loveless 22-year-old — but I hope that Skizzy Mars matures well. Alone Together marries a lot of familiar elements with a strong and fresh new voice.

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This EP is reportedly approved by Justin Timberlake, who seems to think Francesco is the new king of R&B. I don’t doubt it, actually. His voice is great, full of power, and his song material feels much older than he is. If Yates never puts out another record, that’d be sad, but this is enough to say he’s a rare talent.

Others have noticed his voice as well: the record was produced in part by Pharrell, and he’s already signed to Atlantic. The stars seem bright for this kid, and his debut EP is full of promise and innocence. I’m looking forward to what’s next from him.

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