448 items found for your search. If no results were found please broaden your search.
(08/06/20 6:00pm)
by Conner Tighe
This year has been full of surprises but nothing quite as crazy as the surprise release of Taylor Swift’s latest album Folklore. This is Swift’s eighth album, and it’s a great one for sure. Quarantine has been good to Swift, and she reveals her full potential once again with the follow-up to Lover — which was her greatest album to date. The cover art of Folklore is perfect with its ominous black and white forestry. There is nothing like an unexpected, album drop from one of the greatest female artists of our time, and album eight shows that surprises are worth waiting for. At last, the Swifties have been saved.
There is a grace and bravery that stems through this sad and grim album. With an echoed sound and lessons that only Swift could manage to convey through song, there is something here that Lover couldn’t offer. Folklore is more of a co-parent with Lover — not any better or worse — but simply touching on different topics of discussion proper for this sad summer of disease and unfortunate data. Folklore is a hero of our time, and it is doubtful that there will be anything like it for the rest of 2020.
The last hurrah for summer 2020
Folklore introduces a new side of Swift to her longtime fans. Her transition from country to pop was slow but worthwhile in her search for sound; now, album eight is introducing an alternative path for the singer. There is an indie appeal in many of her tracks like “The Last Great American Dynasty,” “The 1” and “August.” All create fresh sounds that Swift performs exceedingly well. The album is fantastic. It’s everything we need for this “cruel summer.” Speaking of cruel, there are some suggestions of hurt where the singer hints at the pain of breakups.
Swift has been happily dating actor Joe Alwyn, but Folklore might suggest that something has happened between the two. These lovebirds have been together for three years and have even been quarantining together — which is the new dating of 2020. It’s possible that Swift could be dwelling on past love affairs, but many guess the tracks like “Illicit Affairs” and “Mad Woman” have to do with her relationship with Alwyn. This is all speculation of course, but nothing is completely off the table — as we’ve seen in everything going on this year. Whether Swift and Alwyn are broken up or not, this album is a celebration of sadness and being together or apart during the year of COVID-19.
Folk in Folklore
Is it pop? Is it indie? Is it folk? Swift brings a variety of genres to her latest album. Light wispy echoes and harmonicas break up the pop appeal — which is unlike the singer’s usual sound — but its uniqueness is appreciated. There’s so much to dissect in this 16-track folktale. Secret messages and unfamiliar sounds are only pieces of the puzzle presented here; like the cover art, listeners will feel like they’re wandering through a forest of whispers and echoes of the past. It’s soothing to listen to. Swift is telling us that we aren’t alone in our fights within ourselves and with this year. We all have universal struggles and Swift shows she understands this.
Time for collaborations
Indie folk band Bon Iver lent its talent to track four, “Exile,” which is a wonderfully strong song. It’s a slow, melodic piece about relationship issues that everyone can relate to from their own lives. If nothing else, listeners should hear what “Exile” has to say as they, too, will become entranced in its beautiful message and sound. Rock band member Aaron Dessner from The National co-wrote 11 of the 16 tracks that are featured on Folklore. Swift has never had trouble connecting with others in the music business, and the singer once again demonstrates the possibilities that collaborations bring to the table.
Top Tracks:
Invisible String
Exile
August
Recommended if You Like:
Kelsea Ballerini
Selena Gomez
Ed Sheeran
Featured Image: Official Charts
(08/05/20 7:00pm)
by Conner Tighe
Neon Trees’ six-year break has paid off with the band releasing an innovative album full of quirky fun and frenzy that makes their sound unique. 2014’s Pop Psychology was a success, but album four shines with brighter passion. The Neon Trees have always captured that sense of youth and confusion as a young adult, much like Foster the People and The 1975. Many artists with a pop background discuss being young and unsure about life through their tracks, and Neon Trees are no different; however, they are doing better with differentiating themselves. Their new album I Can Feel You Forgetting Me is both a triumph for the quirky band and a blessing in this grim year we’ve all been living through. While Pop Psychology relied on simple pop physics and dance beats, this fourth album gives its listeners a new edge to the band’s sound with a familiar message of love and marauding life as we know it.
“New” best thing
Much of I Can Feel You Forgetting Me is upbeat with a sense of pride and accomplishment in who they are — no matter what the band is talking about. “New Best Friend” and “Nights” take a pop approach to hard lessons in life and feel exceptionally honest; their perseverance and youthful sound in a world full of mixed-up noise is tasteful. If music enthusiasts were to dig a little deeper into the songs, they might discover something amazing; not only listening to the lyrics but also processing them is important for understanding any album. “When the Night is Over” and “New Best Friend” will hype anyone up.
The band is not afraid to mix up their sound with tracks like “Mess Me Up” that address painful pasts, specifically evil exes. It’s safe to say we all have those toxic pieces of our pasts, and — like a puzzle — we come together again once we sort through the mess. Neon Trees produce a fresh sound which opens a gateway to fresh opportunities — for both the band and their listeners. We wanted something new from the band, and we got it.
Single and singing
The 10-track album mainly talks about being single and living with that as a tough learning experience. “Living Single” and “Going Through Something” touch base on this and separate themselves from the rest of the pack. These two are fast-paced and talk about living single and having fun. Society encourages us to always be searching for love rather than learning to be independent. Neon Trees counteract that statement to create an enjoyable and beautiful message in song.
People tend to appreciate something that goes against the norm, especially in the music industry. This album is what we all needed this year. This is not the time to be looking for love, but a chance to learn more about ourselves. COVID-19 is something that we never could have expected — but we’re adapting — and Neon Trees give us a prime example of that adaptation. I Can Feel You Forgetting Me is a strong album with a message of independence and a fun frenzy of emotions that many young people will find extremely relatable.
Skeletons of a past life
I Can Feel You Forgetting Me has shown the world that Neon Trees may have finally reached their full potential in sound and overall message. The album is invigorating and devoted fans can see pieces of past music etched into the songs with each track differing from the last. While six years may not seem like a long time, it has been a lifetime for this band’s sound and talent. New listeners need to follow-up their listen of this album with the band’s discography to see the journey Neon Trees has gone through, as there is a great deal of growth revealed. 2014 is long gone and 2020 has shown a lasting positive message from these musicians.
Hidden gem
There is plenty to enjoy in I Can Feel You Forgetting Me, but the true gem of this album comes right after track one. “Used to Like” is easily the best of the 10 tracks. It’s a fast-paced song that stays true to what Neon Trees are all about: total confusion and fun as young adults. Inspiration from old tracks like “Sleeping with a Friend” and “Animal” shine through six years later in this song. Neon Trees are shying away from what they once were, but they still aren’t afraid to hearken back to their roots through sound. This album is a definite upgrade.
Top Tracks:
Used to Like
Nights
New Best Friend
Recommended if you like:
Foster the People
The 1975
Walk the Moon
Featured Image: Vevo Songs
(07/21/20 4:00pm)
by Trevor Sheffield
Throughout the history of cinema, there’s always been an obsession with attempting to recapture the past. Whether it’s films like Ben-Hur, All the President’s Men, or even movies that twist history like Inglorious Basterds, these movies often try to contextualize their stories as being more than just the “true” stories they’re based on in order to draw eyes. They sometimes claim accuracy despite drastically altering history in the name of entertainment. However, in a time when we are actively reckoning with our history, it begs the question: how do we channel our feelings about this history and how do we react to what has come before?
The subject in question is Hamilton, released this July 3rd on Disney+ (after initially being slated for a theatrical release in October 2021). Hamilton is a 2016 recording of the Broadway musical phenomenon written by Lin-Manuel Miranda, following the life and demise of the titular Alexander Hamilton (Lin-Manuel Miranda). Taking place during the American Revolution and continuing through Hamilton’s final fatal duel with Aaron Burr (Leslie Odom Jr.), we see the orphaned Alexander cross paths with George Washington (Christopher Jackson), make enemies with Thomas Jefferson (Daveed Diggs), and fall in love with Angelica Schulyer (Renée Elise Goldsberry) but marry her sister Eliza (Phillipa Soo), all the while contemplating his own legacy and reckoning with death itself. Liberty, hot rhymes, and shenanigans ensue.
How the Sausage Gets Made
Going into Hamilton on Disney+, the most experience I had had with the musical (aside from seeing Miranda perform cuts from the original concept album at a presidential dinner and watching the infamous “Hamilton Polka” later on) were a few of the big numbers from the show. In the immediate wake of Hamilton’s success on Broadway, I admit that my interest in the show was somewhat shallow, partially due to a relative lack of interest in the theater beyond high school productions I had participated in (and my own clearly unrefined tastes). Regardless of this, I can now say without hesitation that it lives up to all the hype. Every aspect of Hamilton, including the music, the performances, and the overall style of the show, absolutely works. Directed for the stage by Thomas Kail (who collaborated with Miranda prior to this on the musical In the Heights), the story is staged in such a way that the action feels up-close and personal to the audience along with the folks at home. The cinematography used to capture the show blurs the line between theater and film, often juxtaposing shots of the entire stage with close-up shots of the actors during the show’s more emotionally resonant moments. Speaking of the actors, the sheer amount of talent the cast displays is awe-inspiring. While Miranda does an excellent job as the titular character, the two performances that absolutely steal the show are Odom’s and Diggs’s. With Diggs as Jefferson, you get an enjoyably cartoonish foil to Alexander’s hubris. In turn, you get Odom as Burr, whose pseudo-narrator role elevates every single sequence he’s in. It’s hard to explain without giving away the highlights, but Hamilton goes to great lengths in giving depth to “the damn fool that shot him.” Ultimately, what ties the piece together is the sheer humanity on display, through numbers like “Satisfied” and (in the case of the aforementioned Burr) “Wait for It.” The ensemble cast is also incredible, managing to not only flesh out the interior world of the piece through movement and interaction with the main cast, but bring to it all a sense of life that is palpable throughout the show’s runtime.
Saying No to This
However, despite the piece’s dedication to portraying the key figures in play as flawed, human characters, there’s undoubtedly some blind spots that are especially apparent given the current national situation. The biggest issue at play here is ultimately in how Hamilton tries to humanize its core cast. Throughout the show, the biggest flaws these characters display concern things like pride, selfishness, and even adultery (I’m not lying when I say that The Greatest Showman, another historical musical that came after Hamilton, shares a practically identical turning point regarding the main character cheating on his wife). However, like the aforementioned Showman, Hamilton chooses to largely ignore arguably the biggest issue surrounding its entire cast of historical figures: slavery.
Now, I’m not saying that Hamilton made this choice out of a place of malice (Miranda recently addressed this issue via Twitter, and the Disney+ release includes a roundtable discussion with the cast that touches on the racial aspect of the show), but speaking from a historical context, the choice to shy away from truly acknowledging it beyond a few barbs Hamilton spits at Thomas Jefferson mid-rap battle just feels off. It’s not so much a matter of negligence in that case, but rather a sense of willful side-stepping that comes off as the show trying to have its cake and eat it too—being able to tell the stories of “complicated” men without requiring the audience to truly question the irony of their complicity in slavery when conducting the American experiment. This is especially so considering the piece’s sense of patriotism and belief in the greater morals of the Founding Fathers. Overall, these portrayals are concerning in that they could be (given the show’s prominence in popular culture) used to brush off or otherwise ignore the genuinely terrible things some of these historical figures did, and justify it based on the show’s historical “accuracy.”
Living, Dying, and Telling Stories
All things considered, Hamilton is two things. On one hand, it’s an utterly astounding and ambitious piece of musical theater that attempts to reframe the kindling of our country in the voice of the then-voiceless. It’s an actively engaging piece whose greatest triumphs lie in its lyrics and performance, as well as the fact that it is willing to be more open about the faults of the figures metaphorically taking center stage.
On the other hand, despite the problems it does acknowledge, it largely presents a rosy picture of the Founding Fathers, all but ignoring the issue of their relationship to slavery. Again, I wouldn’t claim this to be willful denial or ignorance on part of Mr. Miranda’s writing. However, it’s undeniable how people could see the show’s attitude toward our country’s founders (especially in 2020) as being almost naively optimistic toward the characters and intents of those in “The Room Where it Happens.”
With that being said, I still wholly recommend giving Hamilton your time. Regardless of the rose-colored glasses it may wear regarding history, the musical is still a genuinely engrossing masterpiece of music and choreography that feels impossibly solid, presented in one of the best filmed theatrical pieces I’ve ever seen, if not the best. As historical theater, it is by no means perfect. However, as a musical, it is downright historic.
Featured Image: IMDb
Images: IMDb
Sources: Bustle, YouTube
(06/04/20 5:05pm)
by Conner Tighe
(06/03/20 5:10pm)
by Arianna Sergio
(05/28/20 3:00pm)
by Conner Tighe
(05/27/20 8:55pm)
by Arianna Sergio
(05/20/20 6:58pm)
by Arianna Sergio
(05/16/20 9:42pm)
by Conner Tighe
(05/14/20 1:06am)
by Brandon Carson
Every time I see Five Finger Death Punch (FFDP) release something new, I remember a time when I enjoyed their music: I was a middle school teenager with pent-up rage and had three FFDP albums that channeled it. The first two of these were pretty good. The Way of the Fist is their first record that brought them some fame. Songs like “The Bleeding,” “Ashes,” “Salvation,” and “Can’t Heal You” feature brutal screams, killer riffs, and fast tempos that still manage to fit in melodic choruses. Their next album, War is the Answer took those features to new heights. With the help of “Hard to See,” “Walk Away,” and their cover of “Bad Company,” the band was on every metal and hard rock radio station. Unfortunately, with their third release American Capitalist, they start pandering to a specific audience, and started to fall into a repetition that continues with their eighth record F8.
From American Capitalist to now, all their albums have followed the same flow, featured the same cringy lyrics, had the same guitar solos, and contained an overproduced metal sound with questionable musical choices. After American Capitalist, their two-part Wrong Side of Heaven albums were an embarrassment and did nothing to differentiate from other artists and themselves. Got Your Six buried them deeper in the hole of not trying anything new, and And Justice for None further cemented them as one of the most boring bands in modern metal. They found a formula, a never-changing recipe I like to call the Five Finger Formula. Before I get into the album, allow me to explain the Five Finger Formula. Every FFDP album:
Sounds like the last album
Has a big ballad or two (including at least one crowd-pleasing, patriotic ballad)
Has atrocious, cringy lyrics that feature the same topics as the last album
Has boring filler tracks
Has a bridge with quiet vocals reciting the chorus you have heard three times already
Has the same guitar solo at least six times
Has a heavy song that tries to fool longtime fans by saying, “See? We are still heavy!”
Has verses with the same melody
Every FFDP album since American Capitalist has followed this formula. Now don’t get me wrong; every album has had a song or two that I find pretty good. Also, good on them for getting so big that they can write the same album every two years and still remain relevant. Unfortunately, on F8, they don’t do anything to change this formula. Instead, they made the same album for the eighth time.
Same songs, different titles
There isn’t much to talk about on this album because there is nothing new, fresh, or interesting that it does. There are a few songs that are heavier than the others, but they still don’ t stray away from the Five Finger Formula. “Inside Out” contains the same angry, loner-y lyrics that singer Ivan Moody writes all the time, with screamed verses and a big hook like all their big singles. “Living the Dream” just gives the album another song to fill time; nothing is memorable about it. “To Be Alone” features a chorus that is too similar to their hit “Coming Down” from American Capitalist. There also these weird moments where they seem to be ripping off Slipknot’s live breakdowns, especially at the end of “Bottom of the Top.” Then the mandatory ballads come into play as they do on every album. “Darkness Settles In” just follows the same footsteps as the ballads on their other albums. It’s incredibly boring and at this point carries no emotional weight whatsoever. “Bright Side of Grey” is the foretold ballad with patriotic tones at the end of the album that feels formulaic (no surprise there) and cheesy with more bottom of the barrel lyrics.
Cringy, cheesy, and bland
I understand that the lyrics for FFDP songs have never been the best, even on the first two records, but if they are going to keep making songs with these big hooks and a lack of instrumental variety, then the listener is going to pay attention to the lyrics. “Full Circle” begins with whiny lyrics and bland rhymes, “That's it, I f*ckin' had it, I can't take it anymore/Yeah, I know now why I'm losing, well, just look who's keeping score” Moody screams. “This Is War” might have the award for Worst Chorus on the Album with, “You want it?/You got it/Take it/This is war.” The vocal melody for “A Little Bit Off” gets old really fast with cheesy “Hey Yeahs.” I was fully taken out of the song by the second verse when Moody solemnly sings, “I'm a little pissed off today and there ain't nothing you can do about it/I'm a little bit put off today and I could not tell you why/Got a really short fuse today and everyone around me's f*cking crazy/I'm a little ticked off today, a little pissed off today.” For this album, I think the lyrics are easily the worst aspect. They take me right out of a song with their bottom of the barrel rhymes and word choice. The instrumentals don’t add anything new or interesting to the tracks, so naturally I will gravitate toward the lyrics more, but unfortunately, they are just as boring.
Who are they trying to fool?
F8 is full of filler and unmemorable tracks like “Living the Dream,” “Mother May I (Tic Toc),” and “Scar Tissue” (which is thankfully not a Red Hot Chili Peppers cover). These tracks all cover the same ground as the one before with boring riffs and vocals followed by a bland guitar solo. They’ll sometimes throw in a heavy riff to try and prove that they can still write a good riff (which they can; listen to the beginning of “This Is War”). But this appears as a mere illusion because once the vocals come in, it’s all downhill from there. There are also these really weird production choices in a lot of the songs that just feel jarring, like a static voice filter. F8 is just another FFDP album to get them touring again. It has a big ballad and two driving singles they can play, along with their back catalog of the same sound. The only thing they did differently on this album was not including an emotional cover, which I am perfectly fine with. I’m sure if they did a ballad it wouldn’t differentiate form anything on the record.
Best Tracks:
None
Recommended if you like:
Breaking Benjamin (speaking of bands who make the same album every time)
Disturbed
Mudvayne
Featured Image: Loudwire
(03/21/20 5:00pm)
by Arianna Sergio
After Lauv’s debut album I Met You When I was 18 released in 2018, it was an immediate smash hit and had one of the top charting songs of the year with “I Like Me Better”. He returned two years later with his second studio album titled ~how I’m feeling~, which was released on March 6, 2020. This was the perfect way to begin spring. Lauv partakes in the typical ‘spring cleaning’ by detoxing himself of all the feelings in his mind through what he does best: music. In this album, he addresses his issues with mental illnesses such as anxiety and depression, along with tackling the trials and tribulations of falling in love and the heartbreak that often comes with it.
(03/05/20 3:47pm)
by Baylie Clevenger
The sun is bright and happy; almost seeming to foreshadow the night ahead. The road is bumpy on the way out of Muncie, but we don’t mind.
250 miles. 100 miles. 50 Miles until we reach our destination. Zero miles. We’re here—only a few hours until the lights, laughs, and loud sounds. We’re in Detroit and we came for the music.
(02/25/20 9:00pm)
by Blake Chapman
After arising from the ashes of former YouTube notoriety, Joji has taken the alternative R&B and lo-fi scene by storm. Ever since he joined Asian rap collective 88rising, Joji has made a lasting impression on the Billboard charts culminating in his sophomore album Ballads 1 debuting at No. 1 in 2018. In the time after that impressive showing, he has been working primarily with 88rising on their second full album "Head in the Clouds 2" along with another single that released last June, titled "Sanctuary." After the former had time to gain traction, he posted on Twitter that he would be returning to his own projects and fans should get ready for what is next.
The three months of work since that announcement have resulted in his latest single "RUN." While the complications of love and loss remain a steady theme in this new track, Joji does little to advance the overall quality of his work as he has done in the past and leaves fans wanting more.
(02/25/20 6:00pm)
by Olivia Weinzapfel
After what seemed like a wait of a million years, the Aussie psychedelic rock band, Tame Impala, finally released their fourth studio album after a painstakingly-long wait. The album, The Slow Rush, was released in full on Feb. 14, 2020, and it was inarguably the best Valentine’s Day present anyone could have asked for.
Thankfully, however, none of us had to wait until 2020 to get even the slightest taste of new music; we were gifted with the single "Patience" in late March of 2019, the first work of musical art from the band since Currents in 2015. Although not on the album, this track alone gave us a great taste of what new to expect from the band that put out three full-length albums prior, all distinctly different in sound and character. Listening in retrospect, "Patience" introduced us to some of the themes covered in the new album and gave us a decent introduction for the “feel” of the music we would later get to experience in The Slow Rush. This sampling trend continued on with the release of the single "Borderline"—not long after "Patience"—and then so on and so forth with the releases of "Posthumous Forgiveness," "It Might Be Time," and "Lost in Yesterday," all featured on the album. A little bit at a time, we were drawn into the album and the ideas that fueled its creation before it was even released. With all the single releases—and later with the full album—we received everything we love about the old Tame Impala but with a new, fresh twist.
(02/20/20 7:00pm)
by Brandon Carson
The 2010s was a rough time for Green Day. 21st Century Breakdown released before the 2000s ended, starting the decade off on a high note with its great concept, moving melodies, and fantastic instrumentals. But soon after, they decided to release three albums in 2012, Uno, Dos, and Tré. Three long, drawn out records full of filler, with one or two great tracks thrown in. These albums caused a decline in Green Day, not just in relevance, but in quality. Four years later, Revolution Radio hits the shelves. While the album was still plagued with bland tracks, most of their fans ate it up, and Green Day found themselves back on the map. So, is Green Day going to kick the new decade off with a solid album? Well, Father of All… is yet another bland rock record with barely any worthwhile songs and redeeming qualities. Not even Green Day’s pop punk fun can bring this back.
(02/20/20 4:19pm)
by Conner Tighe
In 2009, Justin Bieber released his first album My World, which sold 137,000 copies within the first week. Flash forward 11 years, Bieber is now married to model and TV personality, Hailey Bieber (formerly Hailey Baldwin) and has five studio albums including Changes. His music has gotten better over the years and there is a positive jump from his last album Purpose to Changes. Bieber is different now with both his music and his personal life. Changes is Bieber’s most unique album to date and possibly his best.
Bieber hinted that he would release a new album in 2020. The album features several collaborations and a whopping 17 songs. His music is more unique now than what it once was; Changes is a blend of R&B and pop, while his previous albums seemed to be more pop. It’s euphoric and not molded to fit society’s standards of what his music should be, breaking away from the “cutesy” man that we all know. With Changes, he has established who he is as both an artist and a human being.
(02/19/20 5:24pm)
[embed]https://soundcloud.com/user-519363288/remixed-s5e4-anti-love-music-for-this-post-valentines-day-season[/embed]
Welcome back to another episode of Remixed! Since there was love in the air last weekend, we talked about love songs and anti-love songs in the music industry today. Plus, some albums that have been made out of the notion of love. What have been some of our favorites? How have they shaped the notion of love in music? Find the answers to these and more in this week's episode of Remixed!
Hosts: Jack Gillespie, Tanner Kinney, and Katherine Simon
Edited by: Tanner Kinney
Graphic by: Katy Szpak
(02/18/20 9:00pm)
by Conner Tighe
This year has had a great start with music. Selena Gomez returned with her best album yet. Justin Bieber will release Changes on Valentine’s Day. Adele is even rumored to return to the music world this year. Although not entirely new material, Poolside is not afraid to maintain its genre: disco. The daytime disco band is background music, and Low Season proves to be no different this time around. It’s assumed that this band would hope to rise above this. Poolside is not hoping to strive to be different or even better this time. According to member Jeffrey Paradise, the album was not formed for a Grammy but more for a way to pass the time.
Paradise also states that “this album expresses all the ups and downs and highs and lows of life, love, loneliness, success, failure and the beauty in searching for something more.”
(02/14/20 6:00pm)
by Baylie Clevenger
Every year, Feb. 14 rolls around to provide the world with a very particular feeling; the feeling of pressure, love, disappointment, and a certain capitalistic expression of love and devotion that we cannot seem to shake. No matter what the 14th brings you, at least we have love songs. In particular, the industry has recently been booming with queer love songs that deserve recognition and could accompany you and a loved one or significant other this Valentine's Day.
(02/14/20 6:00am)
by Emily Worrell
Once again, Valentine’s Day is coming around, and whether that excites you, terrifies you, or makes you want to hit something, there is no denying that Valentine’s Day is the perfect day to watch a romantic comedy. Unfortunately, the quality of films in this genre is incredibly hit-or-miss, and it can take hours of scrolling through Hulu or Netflix to find one that even sounds halfway decent. To save you from that fate, here are the top three romantic comedies from each streaming service (Netflix, Hulu, Amazon Prime, Disney +, and plain old Blu-ray/DVD), with honorable mentions included.