Forgoing the intricate, symphonic compositions of some of his earlier work, Stevens alternatingly aims forgiveness and bitterness at his mother’s ghost on “Carrie & Lowell” through some of the barest lyrics and instrumentation he has ever used.
“If You’re Reading This It’s Too Late” is Drake internalizing his and trying to balance his widespread fame with his longing for a sense of identity
Though the Wachowskis may yet release a movie that rivals their previous filmography in complexity and mesmerism, “Jupiter Ascending” is an unoriginal attempt to release a more palatable film, which, to Wachowski fans, may be the hardest part to stomach.
Sure, I can claim with confidence that it’s wrong to exoticize Japanese girls. But is it wrong to admit that sometimes you hate yourself because you find yourself doing it? And is it wrong to find that kind of relatable?
The Crimson presents the most anticipated feature of the year. Who makes the list this time?
"minipops 67" showcases Aphex Twin’s often overlooked ear for harmony while breathing life into an upcoming album that now promises to stay true to his discography.
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.