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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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The rock star of rap has evolved once again, providing some of the zaniest, unconventional mumble rap in the game, this time with a darker, Slash-inspired edge.
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Your dad’s favorite songwriter adds another eccentric addition to his series of home-recorded albums; it’s the first truly good McCartney record of the 21st century and one of his best in decades.
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“The things that we want to do, we feel like we can just actually do now, as before it was this giant mountain we had to climb,” Kearsley said in an interview with The Daily Californian.
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With just an acoustic guitar, Pecknold traded in the songs’ grandiose studio recording arrangements for an understated and more intimate sound.
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In borrowing so much from the template of contemporary alternative and indie rock sounds, Foster The People sounds similar to but lesser than just about everyone, including itself.
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On “We Will Always Love You,” singer Blood Orange is an effervescent guide, a Virgil guiding the audience’s Dante into the underground.
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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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The album prioritizes camp and wit over vocal technique, boosting the plot of its film and, as a result, the morales of young queer listeners.
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Frankie and the Witch Fingers’ livestream was not only fun for the audience, but it was clear the band itself was thoroughly enjoying the performance.
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