If you’re a steady reader of Fecking Bahamas, we’d wager a decent bet that you’re probably a musician. It’s essentially the norm when it comes to genres like prog or math rock that the prevailing point of interest in either camp’s audience, like it’s performers, boils down to nuanced appreciation of theory and instrumental prowess. So between all of the guitars, drums, software plugins, and recording processes… there is a lot to obsess over. And that’s not even getting into things like influences and FFO’s.

But for most of us this, this level of minutia isn’t a problem. In fact, it’s kind of a bonus. It’s like enjoying your favorite video game, but the software and tech behind it as well, making for a glorious, if somewhat complex, nexus of appreciation. And in that spirit, while this might be many readers first time hearing Ginji, it’s far less likely that this is their first time hearing the brains behind it, Nathan Gass.

We’ve followed Gass and his wildly melodic guitar playing and production for years now. Whether it’s with Ginji, Halfsleep, or his general social media, vibe-y, harmonic-laden licks abound, and Ginji’s latest single is no exception. It’s the pacing that really sets this one apart. The project has always kept things relatively relaxed with an emphasis on production and beats, but here we find some perfectly applied atmospherics and vocals. Check out the video for “Wither” below.

Dat juicy tremolo, though. Whether it’s some kind of Chase Bliss guitar pedal or a little bit of DAW magic, it’s authentically melty in all the right ways with that distressed VHS tape, warping vinyl kind of sound. All things considered, this is possibly Ginji’s chillest song to date, but also perhaps one of their most adventurous. Be it a space cruise through the forest or a walk on the beach, “Wither” will fit that exploratory groove just right, complete with a soaring, sexy saxophone passage.

It’s also a very pretty video, filled with the kind of mythological symbolism you might have latched onto with Baths “Lovely Bloodflow” and Animals as Leaders‘ “The Problem with Other Minds.” There is a clear aesthetic, and possibly even an underlying theme or message if you read into the choreography and imagery, but we haven’t deciphered it quite yet if so. If we were ten years younger, we could probably get away with telling you ‘it’s a vibe,’ but we wouldn’t exactly know. Like, what does that even mean?

Anyway, what we can tell you, without any misty-eyed vernacular irony, is that the song splits the difference impeccably between instrumental math rock and relaxing, almost-emo cloud-rap inspired vocals. Ginji saves it for the very end, and it’s a smart move because it almost starts to feel like a different song at that point, yet it’s certainly a highlight. One of our favorite things about Ginji as a project is that they always find an effective way to transcend the sort of gatekeeping that instrumentalist die-hards tend to put up for the casual math rock enjoyers. Whether you’re more into the guitar histrionics of Polyphia or prefer the laid back, groovacious tunes of Waxamillion or Ando San, you’re sure to find yourself immersed with Ginji’s latest single.

Seriously, though. It’s a vibe… or maybe it’s more of a bop? Either way, check out the Ginji Bandcamp for more goodness here, and keep our decidedly dangerous but highly effective intravenous caffeine drip flowing here, if you’re so inclined. Coming up we’ve got stuff from standards, Sorry, Kini, Paranoid Void and a whole lot more. Keep writing amazing music and keep sending it to us! We’re in a beyond privileged position when it comes to hearing new stuff thanks to you, and we are extremely grateful for it. Till next time!