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If you needed to define what makes an R&B group great, you would probably describe the Internet. Sublime production, inescapable grooves, laid-back atmosphere and the breezy seductiveness of lead singer Syd are front and center across every minute of their latest effort. Key Tracks: “Comer Over,” “Next Time/Humble Pie,” “It Gets Better (With Time)”
There has emerged a new wave of rappers who use aggression as a way to heighten the energy of their music. Many of Denzel Curry’s songs - including the viral “Ultimate” and this year’s “SUMO” - make great use of this hyper-aggressive streak. But “TA13OO” proves that Curry’s appeal lies far beneath a single gimmick. The beats are dynamic and consistent, Curry displays considerable technical prowess and the subject matter ranges from darkly humorous brag-raps to raw explorations of inner and outer turmoil. Key Tracks: “SUMO,” “CLOUT COBAIN,” “SIRENS”
There has emerged a new wave of rappers who use aggression as a way to heighten the energy of their music. Many of Denzel Curry’s songs - including the viral “Ultimate” and this year’s “SUMO” - make great use of this hyper-aggressive streak. But “TA13OO” proves that Curry’s appeal lies far beneath a single gimmick. The beats are dynamic and consistent, Curry displays considerable technical prowess and the subject matter ranges from darkly humorous brag-raps to raw explorations of inner and outer turmoil. Key Tracks: “SUMO,” “CLOUT COBAIN,” “SIRENS”
The beauty of this album is not just that Musgraves has seamlessly blended pop and country, or that the lyrics mine romance and emotion with such grace. It’s the warmth of the production and the gentle songwriting, even in somber moments, that makes “Golden Hour” a blissful, inviting, disarming experience. Key Tracks: “Slow Burn,” “Mother,” “Rainbow”
"Fan service" is a term used to describe when an installment of a beloved franchise is said to pander to its fans rather than artistically and creatively evolve said franchise. The best fan service might satisfy the most obsessive audiences but feel hollow to general moviegoers.
October is the month of Halloween movies, which often means the same thing as Christmas movie season: watching the same films for the millionth time just because it's tradition. This Halloween, I decided to delve beyond my scope of horror movies and watched a slew of movies that were entirely new to me. Here is a brief overview of nine fright fests right on time for a Halloween movie marathon.
This is the continuing story about how vinyl shaped my love for music. You can read the last part of this blog here.
Some films use jump scares, grotesque monsters, buckets of blood and chilling music to spook audiences. We actively seek out this type of self-torture, and will gladly pay to try and get nightmares.
"Best boy band since One Direction." "The world's best boy band."
If you've seen one schlocky horror movie, you've seen them all. This notion isn't quite true, but the mindset can help you decipher what makes the genre tick. Too many scary movies have featured creepy, ancient settings, doe-eyed female protagonists, daytime exposition and nights of increasingly intense frights, rooms filled with covered furniture that you know the idiot characters will pull off one by one and large, ominous shadows from which supernatural beings can pop to and fro.
On Dec. 25, 2013, my grandparents surprised me with the number-one item on that year's Christmas wish list: a record player.
Perhaps you know a vinyl collector that really likes talking about their records. Sorry -- I'm one of those people. In this column, I'll pull out some albums and discuss why I think they're important, interesting or just plain fun. To start, I'll take Frank Ocean's visual album-turned-valuable-vinyl "Endless" for a spin.
It's tradition by now: right before the release of a new record, Kanye West makes waves in the news. This manifests itself in his rageful tirades in interviews promoting 2013's "Yeezus" and in the incoherent, shambly rollout of 2016's "The Life of Pablo."
Songs of the Week