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Boasting an admirable diversity of production styles, Evil Twin has a song for everyone; each song is so distinct that it’s surprising that the EP manages to feel cohesive.
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“It’s going to change up a bit as I grow,” Dunbar said in an interview with The Daily Californian. “Hopefully, the people that support my music will follow along this journey and be open to any changes.”
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Balancing charming and mawkish just enough to be the right level of heartwarming, the exquisite chemistry between Condor and Centineo carries the film.
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While The Lucky Ones isn’t the quintet’s most creative or memorable project, this collection of feel-good pop songs has just enough heart to be an enjoyable listen.
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In her half-hour discussion with Capehart, Thomas explained her mission to humanize and normalize Black masculinity with “Concrete Rose.”
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“Hate Myself” is an ideal example of how Dodie has perfected her musical style; she sings as though she’s forcing a smile through sorrow, and with a refined balance of delight and melancholy, she manages to make her saddest songs warm and comforting.
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“Tiny Pretty Things” is far from polished, but its effective recycling of character tropes is sufficient to create a captivating first season.
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Evermore triumphs due to its authenticity — it isn’t a forced reimagining of Swift’s image, but a natural and true celebration of her craft.
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Sorely disappointing to say the least, Wonder serves as a vapid reiteration of Mendes’ most underwhelming works about love.
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Topping charts and stealing hearts one song at a time, boy bands have steadily carved out their niche in pop culture by defining our adolescent soundtracks.
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