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(11/22/13 11:25pm)
Today we’re talking about work music. And I’m not talking about the Bruce Springsteen classics you and your dad blast out of yellow DeWalt speakers painting a doghouse in the yard (I don’t know if these moments really exist, but I saw it on a Lowes commercial once). No, by “work”, I mean the luxurious act of studying, for which the ear’s delicate palate prefers muted tones and hushed soundscape.
(11/08/13 7:53pm)
On why I don’t want to be a professional rapper anymore.
(10/25/13 4:00pm)
Are you devastated that you missed the MTV Music Awards? Have no fear— on November 3 a re-run will be aired. It’s called the Youtube Music Awards.
(10/04/13 2:53pm)
This week I want to dim the lights for 34st, and talk about the all-important, collegiate sex playlist. If two tweens passionately embrace without M83 in the background, did the tweens really embrace at all?
(09/21/13 11:19pm)
This column will turn a critical eye on the music industry, asking questions like: what authority does MTV actually have to bestow awards on recording artists? Is it weird to think that rap is the only exciting thing in music right now? Do we still care about authenticity in music? My goal is to facilitate discussion between everyone who enjoys music. Widespread accessibility (MCHG) combined with challenging ideas (Yeezus). Watch the Throne.
(03/24/13 8:30pm)
The crooner genre has come a long way since 2006’s "FutureSex/LoveSounds," and J.T. had some catching up to do. Relying heavily on production by Timbaland and J-Roc, 20/20 is a bombastic soul album woven from engrossing beats and epic, seven minute jams. From the Gatsby–esque string opening to the humid, jungle bump of “Don’t Hold the Wall” the production is multifaceted and exciting. This isn’t just a return for Timberlake—hearing Timbaland’s famous ‘wiki–wiki–break it down now’ on “Tunnel Vision” is absolutely nostalgia–inducing. Lyrically, the album offers typical R&B clichés (Justin fails to break ground in the sexy nickname department with “Strawberry Bubblegum”), but J.T. and his reliably polished voice only care about getting you moving.
(03/21/13 11:00am)
The crooner genre has come a long way since 2006’s "FutureSex/LoveSounds" and J.T. had some catching up to do. Relying heavily on production by Timbaland and J-Roc, "20/20" is a bombastic soul album woven from engrossing beats and epic, seven minute jams. From the Gatsby–esque string opening to the humid, jungle bump of “Don’t Hold the Wall” the production is multifaceted and exciting. This isn’t just a return for Timberlake—hearing Timbaland’s famous ‘wiki–wiki–break it down now’ on “Tunnel Vision” is absolutely nostalgia–inducing. Lyrically, the album offers typical R&B clichés (Justin fails to break ground in the sexy nickname department with “Strawberry Bubblegum”), but J.T. and his reliably polished voice only care about getting you moving.
(02/07/13 11:08am)
There’s nothing Mama Scogs likes better than donning her fluffy robe, kicking back with a glass of chardonnay and rocking out to Josh Groban. With an undeniably powerful voice, massive orchestral backing, and Hallmark–ready lyrics, he certainly appeals to a large audience. Yet, beyond his angelic pipes, there is little compelling material in the largely predictable "All That Echoes." The high production value is impressive, but there is a noticeable lack of feeling to the ethereal instrumentation. Not even covers of Stevie Wonder, “Falling Slowly” from "Once," or a Spanish ballad can stave off the formulaic shallowness of the effort. Josh Groban has a massively loyal fan base and this album will fly off shelves. I’ll be buying it too-—for Mother’s Day.
(04/19/12 9:38am)
If you’re listening to Neon Trees’ The Picture Show this summer, you’re probably being forced to drive your little sister and her friends to soccer practice in a minivan, and she’s just reached over your shoulder to ask, “Can you play track three again?” and you grind your teeth as you cue the radio single, while in the back they incant “Louder! Louder!” like a demon choir or a yapping Cerberus, and, as the suburban landscape passes you by, you repeatedly ask yourself why you didn’t take that internship in Bosnia and leave the U.S. for a good while.
(03/29/12 9:35am)
[liveblog]The Swedish electronic–pop trio Miike Snow creates music that camps out in your ears longer than caffeinated undergrads on the walk for Tiesto. With an arsenal of instruments that rivals that of your middle school band class (including a flugelhorn), this album is just as catchy as the first, but more spacious and better–paced. The mysterious and intimate vocals keep the sound grounded, and even sometimes hint at dark themes beneath the playfulness of the music. Songs like “Paddling Out” and “Pretender” will definitely keep you grooving around campus this spring.
(03/22/12 9:40am)
OFWGKTA returns with a self–congratulatory victory lap. Unfortunately, its pricetag raises expectations above a “kids–just–havin’–fun” mixtape. Tyler is frontman for his mesmerizing absurdity and advanced rhythms, but Hodgy is clearly gunning for prominence and even Domo garners attention. The diverse production leans toward heavily weeded–out R&B, and it usually works except for missteps like the fiasco “50” or the lazy “Snow White.” Ultimately, the 18–track behemoth from the talented crew suffers from a pervasive mediocrity that weighs down the instant–classic material (“Rella” or “Hcapd”). It’s predominantly disappointing, but the standout cuts will make this a likely addition to any fan’s catalogue.
(02/23/12 10:19am)
It is unbelievable that Visions, a phenomenal and complex pop album steeped with lush electronica, is a solo project. Montreal–based Claire Boucher was widely buzzed about after two of her prodigious tracks, “Genesis” and “Oblivion,” found early web exposure. Boucher's production of inorganic robo–beats hollows a deep space for her unique voice that is somehow both childlike and prophetic. A wide range of influences are at play, from Madonna to K–Pop, but Boucher is certainly no copycat. The eclectic ways she manipulates, loops and layers her vocal tracks convey true talent. This is the most exciting album yet to come out in 2012.
(02/16/12 10:44am)
On Tramp, Sharon Van Etten drones in the best way possible. Her full soundscapes and haunting voice will sink you into a reverb–induced state of mellowness. Embrace it. Given the acts she's worked with (The Antlers, The National), her expertise in slow–burning tracks is unsurprising. On standout track “Serpents,” hazy guitar riffs and big drums provide a lush cushion for her barbs: “You enjoy sucking on dreams, so I will fall asleep with someone other than you.” Her lyrics on accepting hard truths often get lost in the haze, but her elegant voice conveys a stunning depth of emotion. Although at times the mood becomes tiresomely heavy, this album will satisfy a broad audience, from fans of Cat Power to The Walkmen.
(02/09/12 10:28am)
There are times on Of Montreal’s album Paralytic Stalks in which the sonic assault is so unabashedly irritating that you pray desperately for those few moments of catchy bliss. Unfortunately, Paralytic Stalks is not only the band's most bitter record of late, but it is also its most experimental. Kevin Barnes still produces awesome lyrics like, “Once more I turn to my crotch for counsel and it won’t disappoint me.” But, unlike past records, he dwells on frustratingly cryptic topics of psychosis and loss with the musical dissonances to match. The few decent cuts don't make up for the unlistenable “Exorcismic Breeding Knife” and others that ultimately make this record an irritating listen.
(11/10/11 4:07pm)
Depending on your tolerance level, knowing that Noel Gallagher is the man responsible for Oasis’ “Wonderwall” is either a deal–maker or a deal–breaker when approaching his solo work. It’s true this mixtape–regular is unbearably overplayed, but it is undeniably good. Besides, Oasis’ award–winning catalogue of music extends far beyond this single, and the band reigned supreme in the 90s U.K. rock ‘n’ roll scene, with a wild lifestyle to boot. In 2009, one of the many well–documented fights between frontmen Noel and his brother ended in break–up, and Noel’s solo career took flight. It’s unsurprising that the talented writer of “Champagne Supernova” and singer of “Don’t Look Back in Anger” craved full attention, and the self–titled debut from Noel Gallagher’s High Flying Birds leaves no question as to who’s in the driver’s seat this time around.