In The OOZ, his most extensive album yet, he colors a sunken and disturbed sleep that doesn’t quite fit into a specific music genre.
Full of swelling choruses and underdog stories, the record delivers on its promise that The Killers haven’t gone anywhere.
Through his songs about pain and struggle, the common theme at all of his shows is love; Bradley constantly embraced his audience with cries of “I love you! I love you!”
While it might be hard to laugh sometimes in a world full of pain, Lekman sets us all the challenge of leaning into our feelings and responding to the world with love.
What makes DAMN. most exciting, though, is that its release feels like part of music history.
An album as comfortable front to back as shuffled and left to play, Drake simply allows himself to take over, as curator of an eccentric musical experience.
Movie soundtracks become a way to reflect a generation, or establish the aura of a particular setting, or transform scenes into highly recognizable movie moments.
Calling this an album almost feels misleading—each track operates more as a confessional than a song.
There is happiness here, triumphant even through the bittersweet undercurrent.
When used properly, the glitch catches our attention, but only long enough to pique our curiosity.
Looking back at the past while still acknowledging that it's time to move on is a real show of maturity from a guy who was once considered the enfant-terrible-turned-drunk-uncle of indie rock.
In their previous work, Romy and Oliver’s airy vocals tended to merely supplement Jamie’s instrumentals; in I See You, they strengthen and build upon Jamie’s production.
Simply put, a good score can stand on its own even without the movie and be remembered indefinitely whenever it plays. This year’s nominees are no exception.
Culture is a letter from Migos to the rap game, stating, “We’re still here. And we never left.”
Resistance comes in many forms and it can be heard in the melodies and rhymes of this year’s music.
Some of the best things to take from 2016.
“You don’t want to go into that industry. They’re a bunch of nuts. Look at them. They all end up in rehab or have something wrong with them. Every single one of them is a mess.”
Dylan has and will continue to remind us that there is something so mystifying and intriguing about icons who have the courage to create mystery about themselves.
Originally totally unaware of their monumental influence on an entire genre, the group still seems surprised by the meteoric success of American Football (LP1) since their hiatus.
Andrew Taggart and Alex Pall, better known as the DJ duo The Chainsmokers, are arguably the hottest thing in pop music.
The drumming was incredibly tight, the bass rumbled, and the guitars crunched and consumed the room. Bolm’s voice sounds just as it does on record: powerful yet fragile and controlled when shouting, somber and bassy when singing.
While this album is definitely not for casual listeners of EDM, those who are willing to break free from typical house and trap music might enjoy it.
I can’t tell if it was a kind of shock—that this twenty-something, boyish, lanky kid could fill a room with a sound so otherworldly, unsettling, and precisely tender—but I did not want to move.
KAYTRANADA isn’t one of those “press play” DJ’s.
The glitched, warbling soft rock of 22, A Million still doesn’t really sound like much else out there.
Anyone who enjoys music will inevitably develop hierarchies and judgements.
Gone is their unsettling air, and gone is the subversive tone, and in its place is a sleek new coat of ‘auditory paint’ and only a superficial understanding of what made the original 4 albums so memorable. The clouds aren't so wild, and the quiets aren't so sinister.
Despite being an album that follows so closely to Solange’s personal life, much of it will sound and feel familiar to the right ear.
There’s a reason why America loves this kid so much: he has so much fucking fun.