While the first three minutes of are mystical and memorable, the song quickly begins to meander, sinking into repetitions of the title and, eventually, a pulsing, nonverbal coda.

Sal Cinquemani, Who says rap can’t be insecure and hopelessly neurotic? The opener "What Kind Of World" is great. The most interesting of Alicia’s copious collaborations are the ones that diverge from Keys’s usual style. The fanfares tend to fade after your first few records, even if the quality doesn’t.

The combination of therapy session lyrics and deeply controlled perfectionist pocket symphonies has really cultivated a sound that feels like being inside Benson's head, jittery place that it may be. When the results of his introspection sound so nice, we can only hope he takes as long as possible to sort out his issues. Album.

“I grew up ‘round drugs, sex, and violence,” he tosses off on “Slidin.” (He’s suffered a number of untimely losses of people close to him, often in his presence, including brother Taylor “Tayman” and close friend and associate known simply as Larry, both of whom are eulogized on Savage Mode II’s ornate album art.) “Are things better or worse the second time around? Thu 19 Apr 2012 21.30 BST

Jimmy Newlin, Insisting, on whatever grounds, that My Beautiful Dark Twisted Fantasy is one of rap’s great milestone’s doesn’t do the album justice, at least insofar as doing so invites impossible challenges (is it really better than Fear of a Black Planet or Illmatic?

As the album plays out, this feels less like a fluke and more like a trend; too often, the tracks stretch out far longer than seem necessary.
The closest the album gets to a dance-floor filler is “The Bomb,” whose anxious mantra of “S.O.S.” and samples from the 1988 apocalyptic thriller Miracle Mile are backed by a shuffling breakbeat and Angelo Badalamenti-style synth washes. By NME. "On The Fence" is a good type piano shuffle.

Album Review: Brendan Benson – What Kind Of World (Published @ Gigwise.com – April 2012) While Brendan Benson may be more widely known for standing in the shadows of Jack White during his time in The Raconteurs, he has been popping out solo albums long before the collaboration was ever thought of. The principal focus of Savage Mode II is Metro Boomin’s production. Label: Accidental Popstar Release Date: October 2, 2020. In Mariah Carey’s new memoir, The Meaning of Mariah Carey, the singer reveals that she secretly recorded an “alternative” album in 1995 under the moniker Chick. "Well here it goes again, another losing streak," he sings over the gorgeous 70s AOR piano melody of Bad for Me, "I guess I'm on a roll."
This is a strong album that for sure proves he's not Jack White's sidekick. The unexpected highlight of The Rarities, though, is the previously unheard original version of 2001’s “Loverboy,” reworked after Jennifer Lopez dropped a song using an identical sample of Yellow Magic Orchestra’s 1979 hit “Firecracker.” While there’s no denying the campy splendor of the official Glitter track, the original mix slaps hard à la 1997’s “Honey.” A melodic nod to “Loverboy” can be found on 2012’s “Mesmerized,” on which Mariah cracks, “I’m testing the microphone because the regular folk went home,” a sentiment that’s unfortunately reflected in too few of the selections here.

More neurotically autobiographical and self-analyzing than narcissistic, the singer's hyper-personal inspection of himself and his struggles with the world are reflective of the meticulous magnifying glass he applies to his winding power pop compositions. Skip to main content.ca Hello, Sign in. But while Stevens often reaches great heights on The Ascension, he almost as often seems to get lost in his big ideas. Blackpink’s greatest talent, for better or worse, is making toxic love sound glamorous. Only in country and western can a casual reference to knife crime sound so jolly. Sufjan Stevens has never shied away from big ideas. “Stronger” is one of the more galvanizing moments of contrast to the filtered soul of “Through the Wire” and “Touch the Sky.” Instead of trying to placate his oft-mentioned elders with Curtis Mayfield and Chaka Khan, the menacing Vocoder samples of Daft Punk cut through the hazard tape of “Stronger” and, if nothing else, form a much more appropriate match for Kanye’s blustering hubris. To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. That Alicia is at once her most accessible and forward-minded album in years seems fitting for an artist who, until recently, has made a career out of playing things straight down the middle.

West’s magnum opus, My Beautiful Dark Twisted Fantasy, would only have half a title if things were otherwise; the Black Power lingua franca of Yeezus wouldn’t be nearly as galvanizing without the juxtaposition of base carnality that shocks its politics into a realm of raw human expression; and The Life of Pablo, West’s most uninhibited and soul-baring album, reaches its highs through knotting grace and grotesquery into a mercurial self-portrait that’s rarely flattering but always magnetic.

Yandhi is also far from Ye’s worst album, thanks to the indelible earworm “New Body”—which features a salacious and table-turning verse from a prime-form Nicki Minaj and a beat by Ronny J that sounds like a tin whistle—along with “Hurricane” and “City in the Sky,” which both do more interesting things with their gospel influences than just about anything on Jesus Is King. Despite the demo-quality sound of almost all of the tracks on the album, Shamir is surprisingly skilled at fleshing out narratives that richly describe the perspectives of various narrators. The hooks weren't as immediate. Like the most effective political pop, Alicia Keys’s seventh album, Alicia, couches its socio-political observations in a personal context, unspooling to reveal the interconnectedness of its subject’s view of both the world and herself.

The K-pop industry aims to groom idols like flawless demigods, leagues away from the mere mortals who consume their music.


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