A massive, sprawling mess of styles and genres, all rooted in Stickles’ wordy lyrical catharsis, Tragedy reflects the wild mood swings associated with those suffering from bipolar disorder; raging one moment, euphoric the next before settling into a seemingly bottomless depression.
Shamir might not be the most conventional of vocalists, and Ratchet might not be the perfect pop record “On the Regular” hinted it could have been, but this is still one of the most dazzling debuts of 2015.
Despite such strong highlights dropped in the album’s middle section ... Beauty ends up having a strange beast of a failing: none of the guest spots really add to the album’s overall vibe.
She’s as huge and commanding as ever on How Big, How Blue, How Beautiful, the third album under the Florence and the Machine name, but the music that surrounds her is coupled with hints of restraint, making the record her sleekest and most gorgeous yet.
The effect of the album is soothing and challenging all at once; full of complex messaging yet equally suitable as backdrop for studying; worthy of lingering concentration on each and every note or dozing off to on an airplane.
Some minor, targeted deviation from the formula would have pushed Depression Cherry to an unprecedented level of novelty for the band, but as it stands, the record falls into a creeping, achromatic daze far more ambitious than it is visionary.
The Blade is her first album that can’t be construed as a debut. It’s also the first that doesn’t feel like a debut. It’s coming from a place of confidence in talent, of assurance in what she’s doing.
In its least engaging moments, Platform feels more like a homework assignment geared to some equivocal set than an album. In its better moments, it’s electronic music for the fourth-dimension.
Never in any danger of overstaying his welcome, Kgositsile shows an overall maturity on Outside that suggests great things in his future.