Riding a train powered by the gritty, imaginative imagery of street crime and new-age lyricism, Griselda Records member Benny the Butcher’s 2020 and 2021 albums have been consistently potent. 38 Spesh, one of Benny’s lesser-known yet widely accredited contemporaries, collaborates with Benny on Trust The Sopranos, an 11-track LP. To[Read More…]
Album Reviews
‘OK Human’ is sort of human, but definitely less than okay
Due to the indefinite nature of the pandemic, the subgenre of the “pandemic album” has become an increasingly large fixture. Although some, such as Taylor Swift’s folklore and Charli XCX’s how i’m feeling now, were massive critical and financial successes, Weezer’s latest album, OK Human, is not poised to join those[Read More…]
‘Positions’ never reaches its climax
Over the lightly plucked strings of Positions’s opening track, “shut up,” Ariana Grande sings, “All them demons help me see shit differently / So don’t be sad for me.” The self-assured lyrics swiftly address the emotional core of her two previous LPs, Sweetener and thank u, next, with a nonchalance meant[Read More…]
Chasing Thunder Road
Loss is hardly a new subject for Bruce Springsteen: Many of his most popular songs surround this absence from arena anthems like “Born in the USA”, to heart-wrenching ballads of dying dreams like “The River.” His new album, Letter to You, returns to this well once again, but with a[Read More…]
‘Only For Dolphins’ is excessively flavourless
Action Bronson is a man who wears many hats: As a chef, author, entrepreneur, and hip-hop musician, Bronson’s creative proclivities bleed across mediums. His most recent album, Only For Dolphins, reflects Bronson’s multifaceted artistry while remaining true to its identity as a hip-hop album. However, while the album is[Read More…]
In conversation with Gulfer
As a defining concept in popular music, teen angst has manifested in many different ways, from the mid-2000s emo pop-punk bands such as My Chemical Romance and Fall Out Boy, to the emergence of the sad-girl acoustic indie genre, currently spearheaded by Phoebe Bridgers. Emo music has never truly died[Read More…]
Embracing the new without abandoning the old in ‘Imploding the Mirage’
Imploding the Mirage sounds distinctly like a Killers album: The upbeat, new wave-meets-modern rock style is recognizable to longtime fans of the Las Vegas band. However, it’s impossible to ignore the album references to other artists, styles, and eras. The busy instrumentalism, coarse-sounding vocals, and reinvented ‘80s synth-pop sound is remarkably[Read More…]
The painfully beautiful storytelling of ‘folklore’
Taylor Swift surprised her fans on July 24 when she released her eighth studio album, folklore, which she wrote and recorded in isolation. Folklore is filled with tragically honest storytelling that blends confessional subject matter with fictional tales. While the song production of folklore is simpler than Swift’s past albums,[Read More…]
Pop as healing in Lady Gaga’s ‘Chromatica’
Lady Gaga has always been beset by her public image. Whether it’s the bombastic music videos and otherworldly costumes of her debut, or the earnest, style-shifted music of Joanne and A Star is Born, critics have always questioned the authenticity of Gaga’s persona. The long awaited Chromatica, released May 29, with[Read More…]
The unconvincing hedonism of The Weeknd’s “After Hours”
In his latest album, After Hours, The Weeknd appears as a 1970s synth-pop star overcome by his own dark side. He casts himself as the victim of his own fame—ashamed of his wickedness, but too far gone to change—and the ensuing identity crisis reverberates throughout the album. No matter how[Read More…]
