Still, you couldn’t find a campus library cavernous enough to annotate “Can’t Tell Me Nothing,” in which Kanye attempts to satirically undercut his supposedly self-deprecating biographical exorcism and ends up in a deep confusion, or the swooping drama queenery of “Flashing Lights,” in which he compares his media experience to what it must’ve felt like to be “Katrina with no FEMA.” Eric Henderson, After a series of micro-evolutions, 808s & Heartbreak marked Kanye’s first hard pivot away from his soul-sample-heavy brand of hip-hop. It’s doubtful “New Slang” — or any Shins song for that matter — has ever really changed a person’s life besides James Mercer’s own.
On “Modus,” he seems to address the failures and numbing effects of antidepressants: “I don’t feel the way they programmed me today.” On the page, this lyric’s forthrightness could have the potential to draw blood, but Miller’s unexpressive delivery has a dulling effect. 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.
‘Simple Song’(cool video below) typifies the need for this; ‘It’s Only Life’, ‘For A Fool, ’September all shine bright.
she claimed the song New Slang would "change your life". Sufjan Stevens has never shied away from big ideas. Review: Shithouse Warmly Grapples with the Nostalgia That Never Was, Starring Joan Crawford on the Criterion Channel, Review: French Exit Is a Wry, Off-Kilter Comedy Undone by Sentimentality, Review: Totally Under Control Is a Damning Summation of Trump’s Covid Failures, Review: Over the Moon Is a Beguiling, If Obvious, Retelling of a Chinese Myth, Review: Annie’s Dark Hearts Dives Into the Past with Both Regret and Wonder, Review: 21 Savage and Metro Boomin’s Savage Mode II Is a Dark, Robust Sequel, Review: Blackpink’s The Album Feels More Like an Appetizer Than a Main Course, Review: Mariah Carey’s The Rarities Offers Too Few Peeks Behind the Curtain, Review: Shamir’s Shamir Charts the Conflict Between Isolation and Belonging, Review: Star Wars Squadrons Takes Star Wars Fans on a Ride They Deserve, Review: Ikenfell Has a Narrative that Considerably Out-Charms Its Combat, Review: Spelunky 2 Spit-Polishes a Familiar Formula to Near-Perfection, Review: Marvel’s Avengers Forces You to Run the Games-As-a-Service Hamster Wheel, Review: No Straight Roads Is Richly in Tune with Its Personal Themes, Review: The Good Lord Bird Infuses an Abolition Story with Wry, Dark Comedy, Review: Fox’s Next Is an A.I. But at a spare eight tracks, and in light of the years-long wait, it seems more like an appetizer than a main course. “September,” for example, is a shambling number consisting of gently tapped percussion, soft keys and guitars, and one of Mercer’s simplest vocal performances to date. His voice is as plaintive and captivating as ever; his lyrics are still literate, overstuffed with syllables; and his melodic approach, those ups and downs and sideway turns that are unmistakably his, is in top form. That’s a bit surprising, because the album actually has a strong thematic focus, and its lyrics, which often concern Mercer’s apparently blissful domestic life, are some of the least cryptic he’s ever penned. 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. Wincing the Night Away is old enough to start kindergarten. Discover releases, reviews, credits, songs, and more about The Shins - Port Of Morrow at Discogs. So a studio construct isn’t in itself bad news, even if it was like discovering The Smiths and Belle & Sebastian were merely interchangeable vehicles for their frontmen. From their gently angsty, indie beginnings, the Shins are becoming a more mainstream rock concern – albeit at a cost
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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.
“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. By petertabakis
Despite a tinge of melancholy on tracks like “Hey Mama” and “Roses,” or the outrage of “Diamonds from Sierra Leone,” Late Registration mostly captures the joy that can only be found in creative invention. Any fans of the Shins who adhere to this theory might feel pained by the arrival of Port of Morrow.
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The album reveals the interconnectedness of the singer’s view of both the world and herself. It’s Metro, though, who elevates 21’s stories to something approaching greatness.
Nectar largely feels removed from its inspiration in reality, so that it’s tantamount to the relatable but rote sadness of a Tweetdecked epigram, the equivalent of a half-hearted “it be like that sometimes.”, Label: 88rising Release Date: September 25, 2020 Buy: Amazon. Equally, quiet sophistication of the type Port of Morrow aims for – straightforward guitar rock subtly shaded with electronics, nothing to distract from the songwriting – is a tough thing to pull off, not least because one man's quietly sophisticated is another's deadly dull.
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On “Bet You Wanna,” Rosé’s belts distinguish her as the group’s most gifted vocalist, but the song sounds like it was unearthed from the world of 2010s pop, reminiscent of something from Katy Perry’s Prism. Mercer, as always, is The Shins’ central creative force. The familiar territory ends there.
In places on Savage Mode II, the rapper succeeds in breaking out of his typical stable of themes and narratives around gunplay, drug deals, smoking weed, and sexual trysts. What’s more, Miller’s presence on these songs doesn’t display the range of a chameleonic workhorse so much as relegate him to second-in-command. It’s to the great credit of indie-rock fans that they’ve stayed on good terms with the Shins for all these years. The most interesting of Alicia’s copious collaborations are the ones that diverge from Keys’s usual style. It's the first Shins album without keyboard player Marty Crandall and drummer Jesse Sandoval, fired by frontman James Mercer after the band's 2007 tour; bassist Dave Hernandez seems to have got the heave-ho at some point during the album's recording. The Shins’ last album, 2007’s Wincing the Night Away, was largely recorded by commander-in-chief James Mercer alone, just as it was when he first developed a side project from his day job as Flake Music’s frontman.
These songs are sharper, more succinct representations of what The Ascension seems to be going for—a fully realized electronic reimagination of Stevens’s detailed and maximalist songwriting. With a scant 13 songs to their name over the course of four years, however, Blackpink’s approach has been at odds with K-pop’s prolific comeback-centered business model, as the group’s slim output attests to their prioritization of production quality over quantity. 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. The clip, which was shot at White Sands National Park in New Mexico, takes a turn for the heavy-handed when the music cuts out and Gaga begins to tearfully wail straight into the camera. But the thing is, amplification is Kanye’s art: Sounds are always getting bigger and sharper, production progressively more expansive and diverse, and emotional honesty is taken to the most vivid of extremes.
With its thinly veiled innuendos, the playful, Selena Gomez-assisted “Ice Cream” attempts to channel Red Velvet’s oddball exuberance, but the song’s reluctance to expand on its three-note hook quickly becomes tedious. I think that has covered the basics, oh, wait the album cover art was created by Jacob Escobedo. In fact, one of the album’s flaws is that its most emotionally resonant tracks—like the hazy devotional “Run Away with Me” and the dreamy, starlit ballad “Tell Me You Love Me”—are frontloaded.
But contentment and commitment, powerful as they feel on the inside, are difficult to translate into the inherently melodramatic language of pop music. James Mercer has overhauled The Shins’ lineup, but the switcheroo goes unnoticed. Mercer, as always, is The Shins… The principal focus of Savage Mode II is Metro Boomin’s production.
Review: The Wolf of Snow Hollow Is a Swan Song Worthy of Robert Forster.
While The Ascension, as a whole, falls short of Stevens’s best work, there’s still plenty to like here.
Zachary Hoskins, The music on Jesus Is King is as impeccably produced as that of just about any Kanye release to date, but the shift toward gospel, while occasionally captivating and even convincing, more often proves that it’s more difficult for Kanye to apply his particular narrativizing gifts to faith than it is to the exploits of outsized celebrity caricatures, or the episodes of his own tabloid-baiting life.
But the catalogs of artists like Jonghyun, BTS, and late-era 2NE1 prove that shows of vulnerability are quite possible, even refreshing, amid K-pop’s manicured perfection.
He’s heavy-hearted and thoughtful, a register he’s confidently grown into since arriving on the scene as primarily a horrorcore rapper. It's tempting to say that the only lives Port of Morrow will to change are the band members who lost their jobs during its making. You can add or edit information about Port of Morrow at musicbrainz.org .
Album Rating: 3.5It's not aoty but just something nice to listen to, I definitely enjoyed this.
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For all the press lauding this as the comeback of one of modern indie’s more venerable acts, Port of Morrow sounds strangely suspended in time, caught in between the ghosts of its past and a far more promising future. So it’s disappointing that The Rarities, the quasi-soundtrack to Mariah’s memoir, gives us few peeks inside her brain. An addictive Balkan whistle and an explosive trap coda infuse “Crazy Over You” with the bombast of YG labelmates Big Bang. Arriving five years after Wincing the Night Away, Port of Morrow was the first Shins album to appear on James Mercer's Aural Apothecary imprint (also home to Broken Bells, his collaboration with Danger Mouse) and the first without the rest of the band that appeared on the remainder of their discography.Instead, Mercer assembled a revolving cast of supporting performers that included …
Bait and Switch’s rich uplift and spangly guitar and the shades of brass coating Fall of ’82 are equally gorgeous, while For a Fool’s irresistibly languid gait is matched by 40 Mark Strasse’s velvet touch. The K-pop industry aims to groom idols like flawless demigods, leagues away from the mere mortals who consume their music.
The Shins made their name with introverted angst. Producer Stefan Storm outfits Annie’s bittersweet reveries with big, bellowing drums and textures derived from pitch-affected vocals. For me, their inherent blandness has intensified with age. It will be released jointly on James Mercer’s own Aural Apothecary label and Columbia Records.
The last we’ve heard from Mercer was via Broken Bells, his interesting but ultimately unsatisfying collaboration with Danger Mouse.
Opener and "For a Fool" are amazing, even though the review disses the latter song. Still, I’m sure even Natalie Portman was just a bit disappointed by the album at the time.
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