As the Flaming Lips' album develops, the tracks become more opaque and, at times, completely impalpable. The Lips cultivate an impersonal, synthetic sound, never coming close to sounding like a rock band.
Ultimately, a few promising tracks can’t save “Machineries of Joy” from mediocrity. The album opens weakly with its title track, which under-performs both in lyricism and composition. Unfortunately, the most fitting way to describe the remainder of “Machineries of Joy” is as a cliché of indie rock.
The success of “Utopia, Limited” ultimately rested on the Players’ ability to translate and package the satire of Gilbert and Sullivan’s original work. The Players’ rendition of this satire succeeded through their convincing portrayals of characters while remaining immediately relevant.
Arts writer Se-Ho B. Kim revisits Elliot Smith's emotionally resonant album, "XO." "Although “XO” is an album that taught me the art of breaking up, it ultimately helped me put myself back together. At the very least, it helped me come to terms with the part of me that wanted things to fall apart and for me to forget."
Last Sunday, My Bloody Valentine released their first album since November 4, 1991, two days before the KGB officially became defunct. The release of "mbv" brought them back to immediate relevance, to the delight of their fans. MBV isn't the only band returning to prominence this year, though—here are five other artists coming out of hibernation in 2013.
A work of art is inextricably linked to its artist: the works of Richard Wagner would not exist if Wagner were not the man that he was, and Wagner would not have been that man without creating his art. Should an artist’s personal life and character inform our understanding of their art?