Safer live albums attempt to have it both ways, presenting a slightly loosened-up version of a band’s sound while clinging to the standard strictures of studio recording. However, Under Great White Northern Lights was worth the wait: While nothing can really replace seeing the band live, this set captures most of their riveting on-stage presence. “Lamentations,” meanwhile, is less straightforward and better for it, with an off-kilter beat that incorporates garbled vocal sounds, recalling the adventurousness of Age of Adz. Yet there’s a certain joyous quality to hearing a band so completely wreck their songs. 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. A cascade of piano arpeggios and clouds of sentimental violin shore up ruminations such as “Teach me to love just to let me go” and “I can’t believe that I’m not enough.” “Gimme Love” is as pleading as its title suggests, while on “Run,” Miller confronts an evasive lover, smoothly shifting between morose belting and light-as-air head voice. Equipped with a couple of 16mm cameras, and a few other documenting devices, the band and crew all headed north. From 2005’s massive, baroque opus Illinois, to 2010’s bombastic Age of Adz, to 2015’s achingly personal Carrie and Lowell, the singer-songwriter never seems afraid to go all in on a sound or feeling.
Kanye West has come back from the precipice of what feels like certain career suicide more than just about any other popular music artist. From the Label A good quality hardbound book. Clearly, Miller doesn’t balk at transporting listeners to his lowest moments through his lyricism, but his placid performances and dime-a-dozen soundscapes fail to do the same. 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.
You Save 3%. The film documents the band playing shows all over Canada; from local bowling alleys, to city buses, and onward to the legendary Savoy Theater for the 10th Anniversary show. 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? So, ironically, Stevens’s turn toward an almost entirely electronic-based approach with The Ascension, his first album in five years, doesn’t come as a shock. But while Serpentine Prison may invoke familiar accusations of dullness, it’s refreshing to hear Berninger’s disaffected songwriting style take on a more grown-up perspective. Enthusiasm for “911” seems to stem mostly from the transition, but the song itself, which is reminiscent of past Gaga singles “LoveGame” and “G.U.Y.,” touches on the timely topics of mental health and pharmaceuticals. And in recent years, ever since West’s bipolar diagnosis became public knowledge, every volatile career move that he makes is necessarily met with an earnest concern for the man’s mental health. 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. Lets Shake Hands 02. The album’s narrow aesthetic boundaries—including minimalist keyboards, steely string passages, and, of course, tribal 808s—highlight Kanye’s limitations as a vocalist. It also puts into stark relief the thinness of her vocals on the album’s new cuts, “Save the Day” and an acoustic rendition of the Butterfly deep cut “Close My Eyes.”. My Beautiful Dark Twisted Fantasy allows Kanye a thematic palette broad enough to confront his pride and anguish. A new version of Last.fm is available, to keep everything running smoothly, please reload the site. These songs easily fade into the background, not unlike those found on so many adult contemporary-influenced singer-songwriter albums.
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.
Looking back at the emotional exhibitionism that defines the rapper’s work, it’s starkly clear how much of himself he’s put into it. Mariah’s itch to experiment—whether with hip-hop or, apparently, grunge—was infamously stifled by Columbia Records under the direction of her then-husband, Tommy Mottola. Age of Adz, after all, incorporated programming and synthesizers into its explosions of impressionistic noise, but the expansive electronic soundscape that Stevens goes for here is a more complete transformation from his established sound.
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