The Mars Volta and At The Drive-In’s Omar Rodriguez-Lopez serves up a platter of sweet, softly-spoken indie ballads on Is It The Clouds?
I consider the opening and closing tracks on The New Abnormal to be two of my favourite songs of all time, but I just didn’t get much out of the rest of the album, save for the also pretty amazing Not The Same Anymore. I might be due a re-listen, honestly.
Regardless, the three aforementioned tracks being as great as they are (and they are great) really increase my opinion of the album as a whole.
An odd one. Anarchist Republic Of Bzzz are an experimental rap supergroup (of sorts) led by French producer Seb El Zin of the band ITHAK. The music on their debut album is very much avant garde, drawing heavily on no-wave- and features some really impressive guitar work. It’s sinister and aggressive (especially in the excellent intro track) but also very wayward. It also has these off-kilter, freestyle raps on certain tracks which I quite liked. My big complaint, however, is that I think ... read more
Beacon- though perhaps a little smoother and better produced than TDCC’s debut album Tourist History- shows the Irish group gradually losing steam over 39 minutes of samey, occasionally solid indie rock. It advances the sound of the band, but nothing more than that.
Run The Jewels 1 might have been an exciting start to the rap duo’s career but Run The Jewels 2 goes that much further. EVERYTHING is taken up a notch- the beats, the performances, the lyrics (especially on tracks like Love Again and Close Your Eyes and Count To Fuck where the duo totally immerse you in the album’s chaotic, brutal atmosphere) This is is an amazing step up from an already amazing debut.
Taking elements from baroque, indie and glam rock and fusing them together seamlessly, Prelude To Ecstasy proves The Last Dinner Party to be one of rock’s most exciting and thoughtful new acts.
THEODORE & ANDRE sees acclaimed producers Hit-Boy and The Alchemist team up to not only produce but also rap, over some solid, quite luxurious beats. It’s a pretty fun time!
The more I hear of the singles the more apprehensive I am about the new Everything Everything album. The End Of The Contender is hooky and bright… but EE have done hooky, bright songs before and this one doesn’t seem to stand out among them. It just feels a bit like retreaded ground.
Nothing But Thieves continue to sound like a combination of The Weeknd and Royal Blood (as they did for most of Dead Club City) on Oh No :: He Said What?
People Who Aren’t There anymore gets a little repetitive towards the end but for the most part it’s a nice little synth-pop record with captivating vocals and a reflective tendency.
The first song on Pick-Up Full Of Pink Carnations is pretty good! It’s then repeated 9 more times. I’m being lenient in my score here because I like and have always liked the bright, 2010s indie pop sound used by The Vaccines and many other bands of that time (I grew up listening religiously to FIFA soundtracks after all) but… it still takes at least a little more variety than this to win me over.
All Is Yellow has its moments but the majority of the album is just very ho-hum beats with the occasional solid feature.
Wall Of Eyes’ scattered, almost sinister undertones frequently give way to moments of pure beauty.
Against all the odds, When We Die (Can We Still Get High?) was not only an actually decent song, but YUNGBLUD also gave the better performance!
Mars To Liverpool is only marginally better than the lead single, but hey it’s an improvement.
You can just ignore Think U The Shit (Fart) after Ice Spice says the line. There’s really not much else to it.
6ix9ine’s BLACKBALLED is a bad EP. It is a very bad EP with very bad songs and it’s bad. I didn’t like anything about this EP and I liked everything not about this EP. It’s bad!
I went into INSANO expecting the 21 song track length and over-an-hour runtime to turn this record into an exhausting affair and… yeah I was pretty much right. This album- the midsection particularly- is a chore to get through. Track after track of generic beats and unnecessary collaborations (what was he thinking with X & CUD) and songs that just really needed more time in the oven certainly takes its toll and I don’t think it’d be too controversial to say INSANO did not ... read more
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