Stripped of these thematic threads or Storm’s inventive studio tricks, Annie’s wisp of a voice can easily float away from the listener. The Funkadelic-inspired “Time Machine” is simultaneously retro and futuristic, alternately sexy and darkly atmospheric, while “Underdog” and “Love Looks Better” update the “No One” template with an island vibe and swooning synths, respectively. Discover releases, reviews, credits, songs, and more about The Shins - Port Of Morrow at Discogs. The path from “Jesus Walks” to Jesus Is King has been a willfully discursive one, a journey from hip-hop’s hard beats to gliding electro-rap, from 808s & Heartbreak’s Auto-Tune croon to the industrial rave soundtrack of Yeezus to, ugh, the #MAGA hat. Kanye proved the possibility of this kind of finicky introspection without losing a hint of swagger, hopping from big issues to self-involved bluster, always with one eye on the mirror, second-guessing himself all the way to the top. Album Rating: 3.5It's not aoty but just something nice to listen to, I definitely enjoyed this. Mariah’s vocals on the album, layered with those of her friend Clarissa Dane, boast a distinctive lilt reminiscent of Courtney Love’s—no surprise given that Mariah was reportedly a big fan of Hole’s breakthrough album, Live Through This, and even performed a spot-on impersonation of Love during a 1998 interview with Rolling Stone. So it’s disappointing that The Rarities, the quasi-soundtrack to Mariah’s memoir, gives us few peeks inside her brain. Before the ego-infused outbursts, before the anti-academic motifs became hopelessly stale, The College Dropout found Kanye as a relatively blank slate, as well as the first rapper to score a hit single with his jaw wired shut. What follows is a surreal dreamscape featuring a bride adorned with a red cross symbol, a woman cradling a mummified body, and Gaga performing jerky choreography while dressed, of course, in a series of elaborate costumes. Album Rating: 3.0pretty good though in reality, Digging: Bendrix Littleton - Deep Dark South, Album Rating: 1.5 | Sound Offno you just like every queef album released, Album Rating: 3.0hey just b/c this doesn't have shredding doesn't = shit, Album Rating: 1.5 | Sound Offhaha good one you got me there! Norwegian pop singer Annie’s Dark Hearts is, per the artist herself, “a soundtrack to a film that doesn’t exist.” Throughout the album, her first in over a decade, Annie paints nostalgic, richly detailed narratives filled with road trips, fairgrounds, and idealistic young love—all set to jangly, atmospheric soundscapes that feel like they were lifted from some imaginary teen drama co-directed by John Hughes and David Lynch. All hyperbole aside, that scene from Garden State that everyone remembers doesn’t seem so crazy to me. Thu 15 Mar 2012 11.30 EDT A trio of tracks from the Music Box era—two of which, the slick “Do You Think of Me” and the dramatic “Everything Fades Away,” were previously released as B-sides—embrace R&B and new jack swing more overtly than anything on the album itself, but removed from the fog of nostalgia, it becomes clear just how steered toward the middle of the road Mariah’s early-‘90s output was. Kanye doesn’t seem to have quite figured out how to translate his spiritual awakening to his music as confidently as he has nearly every other experience in his life on previous albums. His voice is alluringly androgynous and demonstrates a wide range that anchors each of his songs, allowing it to crack and falter delicately in key moments. PMA used to be a daily publication. Indie-rock in 2012? A decade on, Mercer is a married father of two: tellingly, the only time angst gets a look in, it's either swept aside by his children's unquestioning affection – "I've got a good side to me as well, and it's that she loves," offers September – or viewed retrospectively through the eyes of his long-suffering relations on Fall of '82. The last we’ve heard from Mercer was via Broken Bells, his interesting but ultimately unsatisfying collaboration with Danger Mouse. There are striking touches, like the almost country-western jaunt of “Other Side,” and the way 808s kick in and then speed up with menacing effect on “I Wonder.” But the combination of scuzzy guitars butting up against cleaner strumming and less distortion and reverb than on Shamir’s past releases lend tracks like “Diet” a palatability that doesn’t jibe with his conflicted subject matter. In short, thinking of latter-day Kanye West albums as fluid is more than appropriate. The album is a ratification of “bigger and better,” an example of steady improvement through impeccable craft. “You sure must be strong,” he sings as if he were a late-period Michael Stipe, “and you feel like an ocean being warmed by the sun.” Funny. At times, Keys’s optimism about the state of the world feels naïve, like an echo from an era when “hope and change” felt attainable, as on the dreamy “Authors of Forever,” with its persistent refrain of “it’s alright.” But that sense of displaced positivity is offset by the directness with which Keys sings about police violence on “Perfect Way to Die” and so-called “essential workers” on “Good Job,” whose sense of hope is tinged by deep despair.
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