Se-Ho B. Kim
As far as collaborative albums go, “The Space Project” is a fairly disjointed one, but the album revels in this multifaceted soundscape, turning its diffuse style into its greatest strength.
In a way, DeMarco has found his comfort zone. The 11 tracks on “Salad Days” serve as mile markers on a circular track, marking musical growth and exploration but ultimately lacking the dynamicism to capture the listener’s attention for any significant period of time.
Arts Blog presents a pretentious analytical examination of the Housing Day videos, complete with stylistic comparisons to famed directors.
Cibo Matto founders Miho Hatori and Yuka C. Honda sat down with The Crimson to talk about their band, their influences, and their new album.
Incoming Music executive Se-Ho B. Kim discusses New York City, "Evan Almighty," razed sculptures, and your lips. Art or not art?
As always, Eminem is furious and unforgiving, taking pride in his willingness to spit lines that other rappers wouldn’t dare say. But on “The Marshall Mathers LP 2,” he begins to move away from lyricism in exchange for wordy tripe and shock value.
Remember mixtapes? Crimson Arts does. Welcome to our biweekly feature, where we create mixtapes for every emotion and every season—for breakups, breakdowns, and breakdancing. This week our mixtape is a two-part feature dedicated to all the creepy crawlies you may encouter this Halloween.
The biggest misstep of “Fade Away” is moving away from Best Coast’s formula for success. This seems to be a conscientious decision on the part of Cosentino and Bobb Bruno. However, it bogs down the carefree spirit that marked their earlier work.
Six years after its opening, the SOCH recording studio has fallen into disuse. Despite its goal of unifying campus musicians, the musical community at Harvard is as incohesive as it was when the space first opened. What happened to the studio and the vision that inspired it?
Upon his return from Samoa, Earl tweeted that “I anticipate a loss of fans [upon releasing ‘Doris’].” Earl Sweatshirt's sincere approach to “Doris” is enhanced by his usual astonishing lyricism. The internal rhyme schemes and relaxed delivery that helped made “Earl” so mesmerizing become the foundation of “Doris.”
Arctic Monkeys have reinvented themselves four times, once for every subsequent album, each time attacking the same themes and ideas from slightly different angles. “AM” is a logical next step in their development.
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.