3 track album
Robin Hilton describes the album as ‘future pop’s:
Charli XCX makes wildly warped, genre-bending songs that are artful and adventurous but can still top the charts. On the English singer’s latest album, Charli, she collaborates with Troye Sivan, Lizzo, Haim and more for a sound that moves pop firmly into the future.(source)
While Debbie Carr suggests:
Charli may be laced with all the screeches and squelches of everyday life in one giant sensory overload, but at its core the album is a snapshot of the experimental era pop is moving into.(source)
For me, this album has the feel of speculative pop. It is true that many of the elements of pop are still present. However, the speculation comes in the way of form and production.
Nailing her distinct brand of art pop, Complex is the second album for Montaigne.
Place between Megan Washington and Bjork.
Flitting between melodies drenched in sadness and slap-in-the-face wake up call drum fills that have become her trademark, G Flip stretches her wings and flies from falsetto to direct yearning.
Place between Lorde and Maggie Rogers
Lover is the seventh studio album by American singer-songwriter Taylor Swift. It was released on August 23, 2019, by Republic Records. As executive producer, Swift worked with producers Jack Antonoff, Joel Little, Louis Bell, Frank Dukes, and Sounwave on the album. Described by Swift as a “love letter to love”, Lover celebrates the ups and downs of love and incorporates brighter, more cheerful tones, departing from the dark sounds of its predecessor, Reputation (2017). Musically, it is a pop, pop rock, electropop and synth-pop record that contains influences of country, dream pop, pop punk, funk and R&B.
The album weaves love songs for self-destructive poets, psychedelic jam sessions, and even a cover of Sublime’s “Doin’ Time” through arrangements that harken back to the Laurel Canyon pop of the ’60s and ’70s. Throughout, Lana has never sounded more in tune to her own muse—or less interested in appealing to the masses.
In an interview with Joe Coscarelli, Del Rey provides some insights into the choice of Jack Antonoff and why it is time for protest songs. There is something ironic about Antonoff’s inclusion. Some may call out another failure to present anything original, yet Del Rey’s raw honesty seems prime for collaboration with the ‘superproducer’ (what is a superproducer?) As Antonoff once stated in an interview with Zane Lowe:
I want to work with people because they think that they are geniuses, not because I want make the albums that they have already made
Ann Powers provides a more critical take on the album and Lana Del Rey.
“The Centre Won’t Hold”, their ninth studio album, is their most experimental yet
I would place this album between Depeche Mode and St. vincent
9 track album
Liminal, both live and locally, takes the listener to a place neither here nor there; a “liminal” space.
Of Monsters and Men are clearly so capable of creating glorious tunes that are brimming with life, yet they seem to have resorted to mimicking a sound because its fashionable. Their clear talent is masked by trendy production and unimaginative writing. That’s not to say the album is bad, just disappointing as it feels like they have so much more to give. ‘Fever Dream’ is perfectly listenable, but missing the magic spark that made them smash successes when they first emerged.
On first the use of electronics and distortion feels uncanny, but after a few listens it finds its place. I had a similar experience with The National’s I Am Easy To Find.
Across the board, it’s a drastic step-up from 2014’s Monsters EP and the folksy strumming she uploaded to Unearthed back in 2012. But it isn’t a complete departure, it’s an evolution, you can hear traces of her earlier work in the songs that deal, like those releases, with love that’s not gone right.
For something different, here is Plum covering Bruce Springsteen’s Dancer in the Dark:
In her ongoing quest to both pay homage to a black cultural history and contextualize herself within it, she took advantage of her role as Nala in the super-CGI remake of The Lion King and hired a swath of African artists and producers for a new album inspired by the movie. The Gift is an extension of Beyoncé’s work and its themes of ancestry, self-love, spirituality, and family. But its main purpose is to showcase today’s African musical stars, putting their sound on an enormous platform using the commercial reach of one of the world’s biggest pop titans and Disney’s highest-grossing franchise.
Similar to Kendrick Lamar’s Black Panther-inspired album and other recent globe-trotting works like Drake’s More Life and GoldLink’s Diaspora, The Gift is thrilling because of the diasporic connections being made through collaboration.
While the brooding pop singer can’t always shake the anodyne songwriting that plagued her past work, III is still Banks’ best album to date.
Place between Carly Rae Jepsen and Lorde.
Ten long, beautiful songs that show that Art Of Fighting have plenty left to give.
Place between The Triffids and The Panics.
When discussing the making of Covers, Ronson once stated that his intent was to make music to DJ to. This album is a continuation of that. In some ways it is a set in its own right. Although it isn’t as blended as something like Madonna’s Confessions on a Dancefloor, moments like the bridge in Late Night Feeling or the constant of the bass throughout give the DJ feel.
Place between Stuart Price and Robyn
‘Art should be amoral,’ says Callinan. But after a few controversies – including being charged with obscene exposure – he’s thinking hard about where to next
Place between Client Liaison and Pulp
Find album reviews, stream songs, credits and award information for The Road: Part II (Lost Highway) – UNKLE on AllMusic – 2019 – The reanimated UNKLE’s second album in three…
Place inbetween Massive Attack and DJ Shadow.
Run Fast Sleep Naked is the result of Murphy’s four-year spiritual journey of self-discovery and musical evolution.
Sure, if you’re looking for the simpler seductive pleasures of a ‘Talk Is Cheap’ or ‘I’m Into You’, prepare to be disappointed. Run Fast Sleep Naked is more spiritual than it is sensual, and while it demands more of you, Nick Murphy’s evolution from the slinky electro-soul that first gained him attention is part and parcel with his own journey of self-discovery since ditching the Chet Faker stage name.
Two years on from their breakthrough hit ‘Ubu’, Methyl Ethel return with their third album, Triage.
With a group behind him that recalls the electronic jazz splatter of ’90s New York, Dave Harrington’s guitar work becomes a psychedelic, soft-hued quest for transcendence.
Read Jesse Jarnow’s review for a further breakdown of the album.