I was really looking forward to this album. I thought it would be a disco and electronic dance music banger, as powerful as a lot of the popular club music these days. But the final result was just bland and boring, with only sparse disco elements, and the synths overall had no memorable character at all.
Hardly anything stuck with me except the last two songs and a few scattered moments. It felt like I didn’t even listen to it. I also didn’t expect Aperture—which I initially ... read more
After the truly phenomenon-level impact of Brat, what kind of music can Charli XCX offer next? In her companion studio album for Wuthering Heights, she sinks into the emotional terrain of the film and enters a world that feels more primal, feral, sensual, gothic, and direct. She “takes off the sunglasses,” steps away from the frantic swirl of dance floors and club spaces, and returns to the source of her musical sensibility—the gothic pop and gleaming, pure synthesizer sound ... read more
The first three tracks were pretty good, but by the time I got to the sixth and seventh ones, my excitement had completely faded, and I had almost no interest in listening further. Her ability to craft melodies has clearly declined, and the behaviors that fans engaged in because of those so-called diss tracks are even more extremely offensive.
Big Thief’s sixth studio album, *Double Infinity*, retains the intimate warmth that has long defined their sound while venturing into broader, more expansive musical territories. This marks their first work as a trio following the departure of bassist Max Oleartchik. Rather than retreating into the familiar framework of indie folk amid this change, the band chose to collaborate with a collective of musicians at New York’s Power Station studio. The additions of Laraaji, June McDoom, ... read more