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.
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?
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.
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.