Danger Days is an homage to fast cars, rock n’ roll and American culture. Half of the album is a blitzkrieg of blazing guitar driven songs that are meant to evoke a sense of speed.
Nothing ever clashes; the varied elements of these songs don’t compete but rather harmonize, working together to emanate an effortless, dreamlike vibe, a “chill” record if ever there was one.
They’re refining their craft, producing some of their most bewitching material yet, but the rest of it feels like they’re merely spinning their wheels while they wait for more interesting ideas to come along.
On her new album, Have One On Me, she lays on a couch in a glamorised setting with peacock feathers, exquisite lamps and animal statues around her. All these items on these covers have their obvious symbolic connotations but as Newsom pointed out in an interview, these items are also not as objective as they may appear.
At this point in The Roots’ career, a falter would be far more surprising. How I Got Over continues the group’s tradition of quality records even as the band expands its horizons to television and beyond.
Words such as “experimental,” “bloated” and “different” will be thrown around, but the truth is that despite the new angle The Age of Adz does nothing but solidify Stevens’ position as indie rock’s most beloved and foremost purveyor of orchestral chamber-pop.
Recovery finds Eminem at the top of his game, roaring back to life.
Treats is a smart, quirky debut that’s as punishing as it is melodic, and wholly satisfying.
While This is Happening isn’t as wall-to-wall brilliant as Sound of Silver, if it is indeed his last record with this project, he’s leaving his legacy in just as good of shape as Jay-Z left his with The Black Album before his (unfortunately temporary) retirement.
Should I be so surprised that High Violet ... represents their most, self-serious, dour and morose release yet?
If Shallow Grave had Matsson ready to jump, The Wild Hunt is a resolute plunge. But rather than being bummed, Matsson stays unabashedly confident throughout.
This anything-goes approach makes Plastic Beach equally enjoyable on the surface level and rewarding of closer attention.
There’s no shortage of the group’s usual flag-waving stadium rock ... but this time around, they are balanced out by hushed, pensive ballads.
A frequently astonishing, no-holds-barred tour de force that not only eclipses his previous four albums in scope and creativity (no small feat), but also makes everything else on the radio sound positively amateurish by comparison.