Indie music’s favorite disgruntled hipster has returned with a fresh gospel on what we’ve screwed up since last time.
On his debut album in 2015, Brooklyn MC Joey Bada$$ rapped, “Always drop hot s--t / Toroidal Flow keep constant / And I won't stop 'til I reach Christ Conscious.” With his latest project, ALL-AMERIKKKAN BADA$$, he’s still dropping hot shit, and he’s one step closer to fully understanding how the world, and more specifically, America, works. In an interview with Genius at the end of February, Joey made a bold statement; he claimed to be a better rapper than Tupac.
You could argue that a Gemini has multiple personalities all in one hour. It makes for an exciting conversation on the brink of anticipation.
There is something about sexuality that will never stop talking. It carries itself on the streets of Amsterdam or in the crude parts of Berlin Sexuality is a two-sided mirror in rotation.
What would you get if you mix the vocal range of James Brown, the energy of André 3000, and the emotional deep south blues of B.B. King? Look no further than Earl St. Clair’s debut EP, “My Name is Earl.”
His debut in 2011 delivered pop reflection on ourselves and the sensibility of meaningful music. Childish Gambino returns with funk and pushes the hip-hop limits.
Bruno Mars returns in a head-turning, hypnotic fashion, and brings us along for the ride through a Vegas night at its finest, the city of glitz and gambling.
Oddball rapper Danny Brown has returned after three years with his new album Atrocity Exhibition.
Kehlani brings back the assurance of self-love and pride with release of her new music video “CRZY.” The video is directed by Benny Boom and features a catchy beat and eye-popping visuals to match.
Just one year ago, 25-year-old Julia Jacklin was a factory line worker making essential oils in a Sydney suburb
Pittsburgh based rapper Mac Miller released his The Divine Feminine LP last weekend. The initial EP, turned full 10-track album, is a mixture of funk and electro R&B samples accompanied by a slew of features. The once keg-standing “frat rapper” has grown since the days of Blue Slide Park and his craft has benefited as a result.
It’s been three years since the queen of pop filled our speakers with another club banger and the wait is finally over with her latest release of “Perfect Illusion.” Gaga’s new single is co-written and co-produced by Mark Ronson, Kevin Parker, Tame Impala and BloodPop. Coined as one of the biggest pop stars of our generation, Gaga is back with a lyrical vengeance and few customized metal shorts to match.
Kanye West’s long-gestating, and perhaps still unfinished The Life of Pablo is a beautiful, heartfelt mess.
1. To Pimp a Butterfly - Kendrick Lamar It’s rare to see an album as tightly woven together into a perfect story as Kendrick Lamar’s second full-length album, To Pimp a Butterfly.
Since her breakout hit, “Lights,” in 2010, Ellie Goulding’s indie-dance tracks have consistently topped international music charts. The British singer’s third album, Delirium, demonstrates yet another shift toward EDM. With the help of a wide array of producers and collaborators, Goulding’s simple ballads are transformed into dance-floor anthems.
There’s few emotions rawer than rage. It’s an easy emotion to relate to—how often have some of us broken down against some misfortune or against someone who crossed all the wrong wires at the perfectly wrong times? Of course, most of us bury it and move on with our lives, since respect rarely follows bloodshot eyes and swollen veins.
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.
Ben Folds’ new album, So There, is essentially two albums in one.
As I sat down on autopilot to listen to my weekly assigned album, I pressed play on the first track of the album and something happened: I began to smile. In the midst of an extremely frustrating, stressful day, the voice of Marina Lambrini Diamandis, accompanied with a simple piano track, filled me with joy. I realized that in the middle of College Library I was sitting alone with a huge smile across my face, as if I had just won a thousand dollars. The simplest track on the album made me remember all over again why I fell in love with music in the first place.
While scouring the internet for background on Pearson Sound’s self-titled debut, something stuck out to me. Reviewers had an interesting habit of dividing the record into two categories: club music and experimental music. It was as though one couldn’t be the other; “Glass Eye” was clearly the minimalist grind for the club, while “Headless’s” warbled echo swirls with the kind of antipathy that wouldn’t be caught dead on a dancefloor.
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Solutions by The State News
