Rich, deep, full of wit, rapid fire lyrics and fantastically unusual production, it’s Danny Brown proving yet again that he is one of the most exciting rappers working right now.
With ‘Atrocity Exhibition,’ Danny Brown cements himself as a hip-hop great.
In the end, Campaign is true to its name: It’s appropriate of the time, full of filler, and runs just a bit too long. It’s not polished, but neither was any other campaign in 2016.
Natural Causes is comforting and luscious, the sound of an artist coming into her own.
Some of the hyper-syllabic loose-lyric delivery of “Norse Truth” drags baggy, some of the mixed political/personal imagery of “Suicide Bomber” bogs down what the song wants. Like want and love and bodies, songs won’t always feel good.
There’s still more Cindy than Surfer Rosa here, but it seems like they’re now inching towards being the best version of today’s Pixies rather than a diluted version of yesterday’s — a welcome step.
If the wandering hodgepodge of 2014’s Indie Cindy hinted at the band’s final metamorphosis as a mostly by-numbers proposition, Head Carrier essentially – sadly – confirms it.
‘Head Carrier’ pulls together the group’s experiments with surf pop, country, hard rock and noise to create an album that is something approaching a greatest hits, at least in stylistic terms.
There’s not enough adventure to make this truly feel like Pixies; it lacks the sense that the wheels might come off any minute.
Songs stray so far from the raw energy of Surfer Rosa that Head Carrier could easily be mistaken for any number of hair-product soaked '80s metal, inhabiting, at least musically, all of the grotesque trends Pixies originally bucked.
While Head Carrier may right some of the wrongs of Indie Cindy, it still remains a distinctly average affair from a band once considered the best band on the planet. Too often this sounds like a younger band's best impression of Pixies, or worse, a parody of themselves.
Head Carrier is trusty yet imaginative without pretense, bursting with newfound self-assuredness bolstered by decades of experience.
Ape shares Mala’s wispy, low-stakes coziness. Despite the chilled-out atmosphere, however, Ape is a much darker listen, and its best moments are a reminder of why Banhart touched a nerve in the first place.
Ape In Pink Marble may not quite measure up in quality to Mala, but it is definitely a fruitful album by one of the most respected musicians in the business.
It’s their most musically ambitious record ever and their best since Buhloone Mind State way back in ’93, eclectic with the beats and gnomic with the wit, and it serves as a heartening rejoinder to the emotional and intellectual thinness of most of even the best current hip-hop.
It’s a good comeback for De La Soul, and there’s plenty to really enjoy here, but there are too many occasions where tracks loiter for too long, not outstaying their welcome as such, just not doing a great deal with it.
It’s a collaboration that works as there’s a sense of longing for the past from both parties, be it lyrically throughout from Leithauser, or musically in the retro styling brought by Rostam. A solid debut then, full of yearning and barstool tales.
The production ranges from icy to neon. And yet these tracks all clearly feel cut from a single cloth. The Healing Component evolves Jenkins’ worldview boldly, keeping his messages easy to digest but bursting with meaning.
Part of the beauty of what Hval does is the way her art takes you to a place you didn’t know existed, but in a way where you don’t notice the journey.
Hval’s latest is a complex, disarming listen that delves into new, foundry-pushing territory with the enthusiasm of an overzealous Pokemon Go player exploring new corners of the neighbourhood.
There is something for everybody here. That he seems to pull off every style he tries his hand at with such assurance is a testament to his talent.