In the wake of their highly praised sophomore album Sprinter that was released May 5th, Mackenzie Scott and her band TORRES will perform at the High Noon Saloon Jan. 14 as part of the FRZN Festival.
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Electrifying pop hooks. A dreamy voice of smooth gold. The vibrations of pulsating synthesizers. All are recurring themes on Garrett Borns’ first studio album, Dopamine.
One person’s trash is another’s installation at the Chazen Museum of Art as nature, art, light and time combine.
After releasing Depression Cherry less than two months ago, Thank Your Lucky Stars is coming as something of a surprise to the many fans of Beach House and alternative music. Sub Pop has again partnered with the dream-pop band out of Baltimore, Md., to release the band’s sixth full-length album.
With strong guitars and percussion reminiscent of The National, Detroit’s post-punk aficionados, Protomartyr, present the listener with a 44-minute project titled The Agent Intellect. Although difficult to digest at times, The Agent Intellect contains rewarding moments that delve into the deeper, more emotional side of punk rock.
Let me start off by saying that this album is most definitely not what I was expecting. Instead of a parody album with all lyrics replaced by cat sounds (as I expected), Meow the Jewels is an album of Run the Jewels 2 remixes done by prolific producers featuring the original lyrics over crunchy, minimalist, dark tracks with a few cat sounds methodically placed within the productions.
On the near east side of Madison, Gallery Night was alive and prosperous, despite the biting breezes sliding down connoisseur’s jackets. On the extensive list of art galleries participating in the Madison Museum of Contemporary Art’s Gallery Night this past Friday night, ArtSpace Twenty-Two Eleven, on the quaint and artistic Atwood Avenue, provided an intimate art viewing experience that attracted a continual stream of excited Madisonians.
In a style popularized by Chance The Rapper and Mac Miller, Mic Kellogg delivers an atmospheric album that channels the vocal styles of many up-and-coming rap artists while giving Milwaukee producer Charles Mammyth Forsberg a proper introduction to a larger audience. While Mic Kellogg’s name is on the cover, Mammyth deserves a heavy amount of credit for mixing this magnum opus of an ear pleaser.
Record Routine: With smoky, sexually charged music, The Weeknd’s Beauty Behind the Madness offers the perfect mix of pop and PBR&B
The Weeknd – Beauty Behind The Madness
“Sound & Color” is the opening, eponymous track on Alabama Shakes’ recently released second studio album Sound & Color and could be considered the best song released this year. An eclectic mix of soul, beach rock, Motown and classic rock ’n’ roll, Alabama Shakes present a pleasing, full-bodied sound to contemporary American music by combining sounds from every decade since the 1950s. “Sound & Color” is a perfect representation of Alabama Shakes’ ability to pull at your heartstrings with the power of soulful lyrics and minor keyboard riffs. Opening with 40 seconds of slowly building, aesthetically pleasing keyboard, ethereal noise and calming percussive elements, Alabama Shakes have created what is possibly the greatest opening track to any album in the past five years.
Mick Jenkins follows in the tradition of this year’s Revelry Music and Arts Festival headliner, Chance The RapperThe Social Experiment, as a hip-hop artist from Chicago. Having released “The Water[s]”—his most recent mixtape—last August, Jenkins will have a fresh bundle of songs available for his set this coming May 2.
While likely known most in the United States for their collaboration with Disclosure on “White Noise,” this duo from London has been making waves overseas ever since their debut album Body Music was released in 2013. As EDM, hip-hop, alternative rock and folk have their respective representatives this year at Revelry, the rising prominence of electropop and R&B will be expressed at the festival by a duo cut from the same cloth as Sylvan Esso and CHVRCHES.
An unlikely collaboration, a Toronto-based alternative-jazz trio and a longtime Wu-Tang affiliate come together to create a relaxed LP that is reminiscent of the calmer records in the Wu-Tang catalogue. Ruled by laidback jazz instrumentals and the fast-paced, aggressive lyricism of Ghostface Killah, Sour Soul challenges the current trend of individual producers garnering credit for a record’s production with an actual band creating the music in the tracks.
A grungy journey through dizzying guitar licks and unapologetic percussion, A Place to Bury Strangers’ new LP follows in the footsteps of Nirvana and Neutral Milk Hotel. Lo-fi production and mesmerizing refrains hark back to the garage rock of the ‘90s, while the heavy hitting metal interludes pay tribute to underground grunge of the 2000s.
Afraid of Ghosts represents every good aspect of folk and country–vivid storytelling, heart-melting acoustic instrumentals–while leaving out the annoying twang and boisterous party themes found in today’s radio country. Walker transcends the expectations of a modern day small label country release, joining the company of folk and country modernists such as Bon Iver and Sturgill Simpson.
“The Year is a concept album … and it takes you through a relationship for the entire year,” Tim Myers said in a press release regarding his second studio album, released on Jan. 6.
Anthony Sanders and Hailing from Iceland, Björk is the original “melancholy hipster singing chick,” a group of artists also inhabited by such stars as Lana Del Rey, FKA Twigs, and SZA. Her most recent release, Vulnicura, takes a page out of the book of modern pop music by arriving on the doorstep of many fans without much warning.
There is only one word that may sum up the hip-hop performance in The Sett Saturday evening: positivity. It was the type of Sett show to which I have grown accustomed. A small attendance for an up-and-coming artist who deserves more than a free show in a subpar venue.
Mexican ritual masks beckoned me from the rafters as I entered the front door of the Barrymore Theater Wednesday night. The Devil Makes Three’s sold out performance, with opener Joe Pug, promised to be at least the most captivating display of humanity in Madison, if not the most enthralling musical performance I have witnessed this winter.
Three days after falling to Duke in an offensive shootout, Wisconsin (8-1) went back to its roots and grinded out a 49-38 win at their in-state rival Marquette (4-4).