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Kelsey Ferrell is a UC Berkeley junior juggling her passions for music and social justice, sometimes even intertwining the two. This past summer, she recorded her first album, Trauma Portfolio, which she released in October.
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Smino’s sophomore effort NOIR is a masterclass in idiosyncrasy that mostly delivers on the rapper’s enormous promise but is held back by confusing stylistic choices that impede its natural flow.
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KKB eschews bubblegum poptimism for an unhinged new sound on its latest two records, EP TOTEP and album Time ‘n’ Place. The band’s new influences are varied: Lobban credits acts such as Judy and Mary, Sweet Trip and Citrus.
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When Letissier performed Friday at Oakland Fox Theater to a packed crowd — one that was by majority white and by majority queer-presenting — fans received the show before them in a magnetic reverie as they danced to the electric beat.
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Six years since its forming, Greta Van Fleet is finally breaking the hard rock scene with debut full-length album Anthem Of The Peaceful Army. Its first two EPs were released last year, but this 11-song compilation contains a deeper look into the hard Americana rock base of the group.
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Tame Impala’s headlining set Sunday at Treasure Island Music Festival was a fitting end to the weekendlong spectacle. The band’s minimalist, charismatic stage design and live performance culminated in a trippy yet immersive event that tore down the confines of the stage and mesmerized the gargantuan audience.
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And when Kikagaku Moyo started its set, there was an immediate dive into a layered psychedelia. The band’s name translates to “geometric patterns,” which pairs nicely with the designation of psych rock as kaleidoscopic and trippy — music to be heard through a daze of fog, heads slowly bobbing side to side.
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After a prolific 2017 and a comparatively quiet 2018, Texas boy band Brockhampton’s RCA Records debut “iridescence” stays true to the band’s ethos while successfully executing on an ambitious push toward new musical territory.
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On his most recent album, WWW., Japanese-Mexican rapper Towkio jumped back and forth among different genres: soul-infused hip-hop to pop, R&B to trap. Given the blend of genres the rapper so fearlessly explored, it was disappointing to hear the rapper relegate his setlist to a series of repetitive, trap-inspired songs.
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On the Pinclout Stage of the Oakland-Alameda County Coliseum, the lights went dark and the outro speech to YG’s “Handgun” played over the speaker. “Now you’re ready for the world, yadidamean?” the anonymous man says, as if to initiate the entire audience. “Stay dangerous.”
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