Reviews
The Flaming Lips Return to Earth on Devastatingly Beautiful American Head: Review
The Lowdown: Looking back now, it feels safe to say that the ’10s represent something of a lost decade in the long, strange journey of The Flaming Lips. After ushering in the new millennium with a pair of unlikely mid-career classics (1999’s The Soft Bulletin and 2002’s Yoshimi Battles the Pink Robots) and closing out the ’00s with unexpectedly muscular rock fanfare (2009’s Embryonic), Wayne Coyne and his merrymakers spent most of the next 10 years getting into tabloid feuds, recording scattershot side projects, and cosplaying as Miley Cyrus’ acid-casualty uncles. The Flaming Lips records they did manage felt like dispatches relayed from a derelict space station, about sonic landscapes too grim (2013’s The Terror) or fried (2017’s Oczy Mlody) or daft (2019’s The King’s Mouth) to warrant re...
Big Sean Rediscovers Himself on Detroit 2: Review
The Lowdown: Since he first emerged on the hip-hop landscape, Big Sean has been recognized as one of the most talented MCs in the game. After displaying his skills in the presence of Kanye West at a local radio station, he was signed to G.O.O.D. Music in 2007, becoming one of the imprint’s flagship artists and continuing the legacy of Detroit hip-hop. With a frequent string of mixtapes and hit albums released throughout the 2010s, Big Sean garnered critical acclaim and commercial success, catapulting him into superstardom. It could be argued, quite convincingly, that Big Sean gave birth to a style that has influenced an entire generation of rappers, which brings us to the present. Taking time off to manage his mental health and discovering a renewed sense of inspiration, he makes his long-...
Angel Olsen’s Whole New Mess Redefines Familiar Specters: Review
The Lowdown: In October 2018, Angel Olsen and engineer Michael Harris stayed in the small town of Anacortes, Washington, for 10 days and recorded music in a legendarily haunted Catholic church converted into a studio. These were the sessions that ultimately unfurled into All Mirrors, Olsen’s darkly expansive masterpiece from just last year. Olsen returns now with Whole New Mess — a reimagining and reconfiguring of much of that same work, but through a far more restrained and personal lens. The Good: The tracks on this album are brilliantly haunting. The stripped-back production lets Olsen’s vocals shine through with breathtaking clarity on tracks like “Summer Song”, which feels like a siren song rising through the depths of a sea cave. The same effect surfaces on “Impasse (Workin’ for the ...
Metallica’s S&M2 Cleans Up Nicely for Home Release: Review + Stream
The Lowdown: Last September, Metallica reunited with the San Francisco Symphony for the two performances that would become S&M2 — the sequel to their illustrious symphonic metal collaboration from 20 years earlier. To commemorate the event, the band teamed with Trafalgar Releasing to screen the concert film in movie theaters across the world. The S&M2 shows took place on September 6th and 8th, and the film premiered on October 9th. In film production timelines, that’s an impossibly small window for post-production on a concert film and album. Nevertheless, the theatrical film was a box office success, though a trained eye and ear could tell that it might have been rushed to release. The initial edit of director Wayne Isham’s footage, though clean, had an unfinished quality to it. I...
Katy Perry’s Smile Makes Us Reconsider What We Want from Pop Music: Review
The Lowdown: Katy Perry has always seemed willing to be pop’s sexy clown: serving up effervescent anthems that don’t take themselves too seriously. When Perry did delve into her own a-woke-ening on 2017’s Witness, she was dismissed as politically tone-deaf and creatively off the mark. But on her sixth album, Smile, Perry manages to marry her “purposeful pop” with the big, uplifting production of her massive hit-making past. Perry is an entertainer who seems to sincerely want to make audiences a little happier; however, her album’s old tricks leave us wondering what we ask of pop music in 2020. [embedded content] The Good: This week, Perry marked two major milestones: She welcomed her first child, Daisy Dove, and celebrated the 10-year anniversary of her juggernaut album Teenage Dream. If y...
Nas’ King’s Disease Reintroduces the Legend to a New Generation: Review
The Lowdown: In 2018, Queensbridge-bred lyricist Nas released his 12th studio album, NASIR. In being a collaborative effort with Kanye West, this LP was met with high expectations. However, whether it was the album’s lack of cohesion, its poor timing, or the chaos surrounding its production and West’s antics, NASIR was deemed underwhelming by both fans and critics alike. After disclosing that he would be working with the Grammy-winning producer Hit-Boy on his upcoming project, some people were skeptical that this approach could help the rapper revert back to form and the high-quality work that had preceded NASIR. On August 21st, Nas and Hit-Boy succeeded in silencing critics and reintroducing the legendary emcee to a new generation of listeners with King’s Disease. By definition, “king’s d...
Artist of the Month Awich’s Partition EP Flaunts the Rapper’s Talent and Resolve: Review
The Lowdown: Trying to sum up the complex existence of Japanese rapper Awich is a losing game, but here are some basics: Born Akiko Urasaki, her moniker is short for “Asia Wish Child,” and she grew up on an island off mainland Japan called Okinawa. There, she grew up observing Okinawa both struggle for independence from Japan and the removal of American marine bases. It’s also where she fell in love with hip-hop — and learned English — with the help of Tupac’s All Eyes on Me. Entranced by the record and its depiction of struggle, she quickly began making music herself at age thirteen. Now in her 30s, Awich has no shortage of lived experiences to pull from for inspiration. In the years since, she moved to the US for college, got married, and had a child with an American man — who was then m...
The Killers’ Imploding the Mirage Goes All in on a Better Tomorrow: Review
The Lowdown: The Killers have always sounded like a band born to run. Living in the desert of Las Vegas will have that effect. For 16 years, Brandon Flowers and company have been running away down highway skylines, on the backs of hurricanes with Springsteen-like abandon. However, until now, they’ve always seemed to be running from what plagues them — fears, depressions, and the oppressive trappings of Small Town America — instead of toward what inspires them. Despite Flowers’ advice on Wonderful Wonderful single “Run for Cover”, The Killers have always seemed to have one eye looking back over their shoulder as they blow across an expansive wilderness, seeking some sort of escape from it all through romantic, heartland lyricism and rock and roll bombast. 2017’s Wonderful Wonderful caught T...
Bright Eyes’ Down in the Weeds, Where the World Once Was Dances Through Grief and Love: Review
The Lowdown: It’s been nearly 10 years since Bright Eyes released an album, and somehow everything and nothing has changed. Gone, this time for good — as Conor Oberst once declared — is the “rootsy Americana bullshit” that colored career-defining records like I’m Wide Awake, It’s Morning. Sonically, the reunited trio’s newest work has one foot in the stylized hyper-production of their last album, The People’s Key, and another in the Gothic, orchestral sweep of Lifted or The Story Is in the Soil, Keep Your Ear to the Ground. Sure, some of the old emblems remain: the cryptic overture, the half-sentimental, half-ominous soundbites, Oberst’s brooding and beautiful lyrical histrionics. And yet, the album isn’t an outright gloomy one. In the past decade, the members of Bright Eyes have grown up....
Beyoncé’s Black Is King Seeks to Change the Way We See Ourselves: Review
The Pitch: “I can’t breathe.” These were some of the final words uttered by George Floyd, an African American man killed in Minneapolis, Minnesota, as a result of police brutality. Due to the frequency of its usage by countless others during similar situations in the past, this phrase has come to be synonymous with the Black Lives Matter movement. While the self-worth and regard for the life of a person of color has continuously come into question, the healing power of art (particularly music) has always been used as remedy in times of despair. Historically, the slaves residing on various plantations would receive momentary comfort by harmonizing hymns of perseverance, hope, and religion. To this day, artists are still sought out to deliver a message that is reflective of the times through...
Disney Plus’ Muppets Now Survives on the Strength of Classic Characters: Review
State of The Muppets: It’s been a minute. That might sound strange to those who have tuned in to the recent mini-Fraggle Rock revival on Apple TV+ or binged last year’s critically acclaimed Dark Crystal reboot on Netflix. While it’s been wonderful to see these properties get new treatments, it’s worth noting that those productions have flown under the banner of the Jim Henson Company, which controls certain archival content and owns rights to some of the more “cult” properties left over from the entertainment empire that Henson created. The Muppets that multiple generations around the world grew up on, including characters like Kermit the Frog, Fozzie Bear, Miss Piggy, and Gonzo the Great, are currently owned by Disney. That distinction may not matter to most, especially with Henson produc...
Alanis Morissette’s Such Pretty Forks in the Road Shines Light into the Depths: Review
The Lowdown: Alanis Morissette is back! After an eight-year hiatus, one of the ’90s pinnacle pioneers of alt rock is sweeping back into the spotlight with her ninth studio album, Such Pretty Forks in the Road. After four years of work and a three-month delayed release due to COVID-19, the album applies a trademark Morissette treatment — cutting lyrics and a voice that howls and croons and whispers as deftly as an arrow — to questions of adulthood, responsibility, and creativity to greater and more complete effect than what we’d last seen from her. The resulting album is extremely haunting, immaculately polished, and complexly kind. The Good: Such Pretty Forks in the Road finds Morissette exploring the tenuousness of fame, youth, and passion but in a way that thwarts that tenuousness in its...
