Gorillaz will release their new album The Now Now next week, and the animated band have dropped quite a bit of singles promoting the album. Now they have released yet another track off the upcoming album, and this one features Snoop Dogg and “House” producer Jamie Principle. You can watch the video for the new track “Hollywood” below:
It was announced last week that Gorillaz will release a new album titled The Now Now on June 29th. Following their previously released tracks “Humility” and “Lake Zurich,” the band have released another new track off the album titled “Sorcererz.” You can listen to the track below:
Baltimore’s own serpentwithfeet will release his debut album soil this week, and it’s looking like this album may be the most innovative “R&B” album in years. Following the hauntingly beautiful single “cherubim,” serpentwithfeet has released another new track off the album titled “seedless.” You can listen to it below:
After a string of incredible singles that pushed the boundaries of Post-Punk, Art Rock, Experimental Music, Pop, Art Pop, Electronic Music, and whatever the Hell else they feel like making, South London band “HMLTD” have garnered quite the following, a following of fans who have patiently waited for a full-length album. Well, we won’t be getting a full-length just yet, but the band will release a five track E.P. titled Hate Music Last Time Delete on July 6th. The band have also released a new track off the upcoming E.P. titled “Pictures Of You,” and it’s also got a pretty disturbing music video to accompany it. You can watch the video below:
Artist: of Montreal
Album: White Is Relic/Irrealis Mood
Genre: Electronic/Synthpop/Experimental Pop
The very prolific Kevin Barnes and his extensive discography under his “of Montreal” project is a lot to digest. This body of work is rich in eclecticism and it draws from numerous genres, but the most prominent influence has always been “Psychedelic Pop” very reminiscent of the 60’s. There’s even a bit of Syd Barrett worship at times, and though this may be a bit of a distraction, the intrigue of where Barnes will go next has never waned. Once again on the band’s 15th studio album White Is Relic/Irrealis Mood, their sound has shifted into another unexpected direction. Inspired by 1980’s-style extended dance mixes this album goes in a very synth-heavy and danceable direction with four to the floor beats, groovy funk-filled basslines, and layers on top of layers of confusing and at times discombobulating sound textures. Oh yeah, there’s a lot going on, and Barnes and co. truly sound like they’re having fun. Especially Barnes who sounds a bit too happy to be singing about themes such as misanthropy, body dysmorphia, and being a loyal pervert, but nonetheless the band is having fun. The thing is, more often than not these songs feel too cluttered and a bit too reliant on production techniques, which takes a lot away from the enjoyability of this album. There’s enough proof that the band can succeed at the sound they’re going for but the damaging factors that make themselves front and center such as the clutter and Barnes’ goofy vocal delivery make this album insufferable for the most part, but when this album works, it’s a whole lot of fun. “Paranoiac Intervals/Body Dysmorphia” is a fun “House” dominated track with a catchy as Hell chorus with plenty of sing-a-long-able “Fuck fuck fucks!” The track “Writing the Circles/Orgone Tropics” is drony and hypnotic but with infectious percussion that will have you moving while you trip, and one of the main reasons why this track works so well is that the vocals aren’t as obnoxious as they are on the rest of the album, and that is another damaging factor. Yes there is a lot of great music that is obnoxious, but this album obnoxiously flaunts it’s massive amounts of cringe, and the majority of this cringe lies in the lyrics. With words like “Every person is a pussy, every pussy is a star,” or “Fucked in your driveway, in your driveway,” one can’t help but want to turn the shit off. An album from a band this inspired shouldn’t have those moments, but unfortunately it does, but this album isn’t a complete failure. The band knows how to make “Electronic” music quite well, and if they continue to go down this path but improve on this album’s misfires then we could witness a successful reinvention of “of Montreal.” One thing is for sure, that intrigue still hasn’t died.
Written By: Steven Sandoval
Artist: U.S. Girls
Album: In A Poem Unlimited
Genre: Experimental Pop/Art Pop/Neo-Disco
In the wake of the #Metoo movement “U.S. Girls'” new album In A Poem Unlimited couldn’t have dropped at a better time. Despite the name of the project being plural, “U.S. Girls” is the project of sole member Meghan Remy, and following her 2015 album Half Free, an album catchy enough to dance to but also rich in Psychedelia, she has released an album that encapsulates the horrifying things many women have to go through. The lyrical themes deal with women who are victims of misogyny, domestic abuse, and degradation, and she paints this very grim, unfiltered but necessary picture of this unfortunate reality. With lyrical themes such as these, it’s surprising that the upbeat nature of the instrumentation actually compliments them quite well. This is “Experimental Pop” that cleverly works in a combination of blaring horns, squawking saxophones, pounding bongo drums, and hard hitting but smooth at the same time guitar work, and it’s all presented with an Electronic heavy backdrop. There are even moments of “Neo-Disco” flavor like the track “M.A.H.” This sounds like it could easily be an “ABBA” song on the surface, but the lyrics feature a pissed off and betrayed Remy who is disappointed with the mess Obama left us with, and even though her sensibilities are left-leaning, she still feels betrayed by a president she feels was supposed to be on her side, and this just adds another man to the list of men who have put her through Hell, and that’s the overall theme of the album. However, this isn’t done in a way that generalizes men, so before any of you ignorant men whom dismiss feminism as “man hate,” freak out, just know that she is speaking from the perspective of the many women who have been forced to endure the irrational idea many people have that women are inferior. She is giving these women a voice, the same voice the countless number of brave women who are part of the #Metoo movement have. This album isn’t all dark though, the closing track “Time” is actually optimistic with Remy singing “When there is nothing, there is still time. When there is nowhere, there is still time,” meaning despite this horrifying reality, there still is time to overcome all of this, but in order to move forward we have to be exposed to these horrifying truths, which she does on the majority of the album, but she ends it with a message of hope, and from there the closing track moves into an all out jam with much emphasis on the instrumentation and it closes the album perfectly. With subject matter like this, those who like their music friendly might have a hard time digesting this album, but if you’re progressive, or if you just want to hear some catchy tunes with an Experimental edge then this album is for you.
Written By: Steven Sandoval