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Twelve Nudes is Furman’s most urgent and cathartic record. The result hints at Seventies soul voyagers like Stevie Wonder yet retains its future-shock, celebrating Houston futurism without pandering to fans of its explicitly political predecessor. Stormzy responds to Wiley diss track with ‘Disappointed’: ‘Mention my name for the clout, go figure’Email already exists. To view this video please enable JavaScript, and consider upgrading to a web The first – and currently only – artist born in the Noughties to have a US number one single, she also released her double platinum debut album, the innovative and multifarious, if irksomely titled, When We All Fall Asleep Where Do We Go? His own sharpest critic, he winks at the journalists who’ve called him glacial as he drops from remote, icy falsetto into a richly grained, deeper tone to ask: “Doesn’t it seem much warmer?” (HB)Following the traumatised chaos of 2016’s Skeleton Tree, Ghosteen is a warm cloud of ambient solace – a sonic evocation of the communion he has experienced through his newly porous relationship with his audience.
The lasting impression is of an artist whose only way is up. Sound & Fury marks another milestone for a remarkable artist. There are sax solos (more than one), and pounding rhythms that make you want to jump in a car and drive down a highway at sunset, and blistering electric guitars next to classic troubadour acoustics.
Wiley and Stormzy haven't invented clashing in grime. Its lack of resolution at the close – surely the most torturous element of a great love lost – makes it all the more powerful.
She flips between two tones: formidable and reflective. On her debut album, Miss Universe, the singer-songwriter makes this perfectly clear, tearing into all those “improve yourself” schemes littered across social media and parcelling up that angst as cerebral, skewed alt-rock.
But the daintiest composition “Stay” is her most perfectly realised yet, over music box chimes and heel-clicking percussion she coos: “You won’t let me go astray/ You will let me find my way.” After years of making peace with drift and uncertainty, she’s never sounded more sure of anything. (RO)Here, Lewis does what she does best: adds the glossy sparkle of Hollywood and a sunny Californian sheen to melancholy and nostalgia, with her most luxuriantly orchestrated album yet. She sings of the late rapper as a “wingless angel” with featherlight high notes that will drop the sternest jaw. The debut solo album of the art-punk pioneer was never going to be predictable, easy-listening. Yet her compositions on Reward are lush, warm and whimsical; opener “Miami” is resplendent with stately horns and percussion that reminds you of childhood. (JM)Inspired by the improvisations he was creating while on tour with The xx in 2017, Sam Shepherd found himself making “some of the most obtuse and aggressive music I’ve ever made”.
continue to respect all commenters and create constructive debates. It’s a bittersweet mourning of her past. The first – and currently only – artist born in the Noughties to have a US number one single, she also released her double platinum debut album, the innovative and multifarious, if irksomely titled, When We All Fall Asleep Where Do We Go? The pummelling force of We Are Not Your Kind should be enough to silence them – this may be one of the band’s most personal records, but the rage they capture is universally felt.
If you had left it I wouldn’t have got stabbed”. On “Zoo Eyes”, on which her voice plummets to its lowest register, she asks two questions in succession, as if they’re of equal import: “What am I doing in Dubai in the prime of my life?
Twelve Nudes is Furman’s most urgent and cathartic record. The result hints at Seventies soul voyagers like Stevie Wonder yet retains its future-shock, celebrating Houston futurism without pandering to fans of its explicitly political predecessor. Stormzy responds to Wiley diss track with ‘Disappointed’: ‘Mention my name for the clout, go figure’Email already exists. To view this video please enable JavaScript, and consider upgrading to a web The first – and currently only – artist born in the Noughties to have a US number one single, she also released her double platinum debut album, the innovative and multifarious, if irksomely titled, When We All Fall Asleep Where Do We Go? His own sharpest critic, he winks at the journalists who’ve called him glacial as he drops from remote, icy falsetto into a richly grained, deeper tone to ask: “Doesn’t it seem much warmer?” (HB)Following the traumatised chaos of 2016’s Skeleton Tree, Ghosteen is a warm cloud of ambient solace – a sonic evocation of the communion he has experienced through his newly porous relationship with his audience.
The lasting impression is of an artist whose only way is up. Sound & Fury marks another milestone for a remarkable artist. There are sax solos (more than one), and pounding rhythms that make you want to jump in a car and drive down a highway at sunset, and blistering electric guitars next to classic troubadour acoustics.
Wiley and Stormzy haven't invented clashing in grime. Its lack of resolution at the close – surely the most torturous element of a great love lost – makes it all the more powerful.
She flips between two tones: formidable and reflective. On her debut album, Miss Universe, the singer-songwriter makes this perfectly clear, tearing into all those “improve yourself” schemes littered across social media and parcelling up that angst as cerebral, skewed alt-rock.
But the daintiest composition “Stay” is her most perfectly realised yet, over music box chimes and heel-clicking percussion she coos: “You won’t let me go astray/ You will let me find my way.” After years of making peace with drift and uncertainty, she’s never sounded more sure of anything. (RO)Here, Lewis does what she does best: adds the glossy sparkle of Hollywood and a sunny Californian sheen to melancholy and nostalgia, with her most luxuriantly orchestrated album yet. She sings of the late rapper as a “wingless angel” with featherlight high notes that will drop the sternest jaw. The debut solo album of the art-punk pioneer was never going to be predictable, easy-listening. Yet her compositions on Reward are lush, warm and whimsical; opener “Miami” is resplendent with stately horns and percussion that reminds you of childhood. (JM)Inspired by the improvisations he was creating while on tour with The xx in 2017, Sam Shepherd found himself making “some of the most obtuse and aggressive music I’ve ever made”.
continue to respect all commenters and create constructive debates. It’s a bittersweet mourning of her past. The first – and currently only – artist born in the Noughties to have a US number one single, she also released her double platinum debut album, the innovative and multifarious, if irksomely titled, When We All Fall Asleep Where Do We Go? The pummelling force of We Are Not Your Kind should be enough to silence them – this may be one of the band’s most personal records, but the rage they capture is universally felt.
If you had left it I wouldn’t have got stabbed”. On “Zoo Eyes”, on which her voice plummets to its lowest register, she asks two questions in succession, as if they’re of equal import: “What am I doing in Dubai in the prime of my life?