Foals is certainly creating a contemporary and puzzling experience for its listeners by feeding them with the half of their musical narrative.
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Frightened Rabbit’s seminal sophomore album The Midnight Organ Fight is a necessary, gut-wrenching work that has become a touchstone for many in the indie rock scene, and this album is perhaps the main reason Hutchison’s death has so dramatically impacted the musical world.
They’ve chosen to throw us all a party, hurting hearts or not, where they can engage meaningfully with their negative feelings, and their positive ones too. In a way, they’ve done what everyone wishes they could do after a breakup: take the chance not just to introspect, but to actually share how they feel about what they’ve found with the person to whom it’s most relevant.
It does what the Wombats have always done best – it paints a bright neon picture of a dark, sad life, full of substance abuse, toxic relationships, and existential misery.
The lyrics, rather than the music, are the strength on this record, painting a complete portrait of urban isolation and dissatisfaction.
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.
Calling this an album almost feels misleading—each track operates more as a confessional than a song.
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.