Even when songs wander off into diffuse eddies, or when he crams several distinct micro-movements into the same tune, everything seems obsessively considered, as if he spends more time perfecting the hi-hat clicks than most artists take making their whole record. Parker still sings like a Bee Gee with the soul of Bowie’s Major Tom, floating above his thick disco, funk, and trip-hop beats, beautifully manicured synth textures and easeful Yacht-soul melodies. The Slow Rushis Tame Impala’s first album since their 2015 breakout, Currents. Sophie Allison is just two years into her twenties, but she sounds as if she’s been navigating early adulthood for decades, wading through the waters of depression and sadness while fighting a few demons along the way. Some of her sophomore album’s tracks share the same titles as songs from the Nineties and early aughts (“Night Swimming,” “Crawling in My Skin”) and it’s hardly unintentional: Allison, who was born in 1997, aimed to make Color Theory sound like her childhood - a time when teens had translucent iMacs and Tamagotchis instead of TikTok.
Several songs effortlessly speed along into agile twin-guitar breaks that are almost like Congolese soukous in their liquid synergy. They cover a lot of ground in the album’s nine songs - from the pop punk of “Promises” and “Cuffing” to the cuddle-core ballad “April” to the Paramore-like push-pull explosiveness of “Colorblind” to Trifilio’s solo organ rumination “Racetrack,” which brings to mind the piano poetry of Joanna Newsom. The Chicago band’s debut full-length will be an immediate boon to fans of heart-on-sleeve indie bands like That Dog, Waxahatchee, Charli Bliss, and the Beths. A few of the songs are already familiar from last year’s teaser EP, Map of the Soul: Persona-the thugged-out hip-hop bluster of “Dionysus,” the surprising Ed Sheeran co-write “Make It Right.” In “Intro: Persona,” RM drops the English word “superhero” into his Korean rap-he used to dream of being one, then he became one, but now he finds the work has just begun. The seven members have been together seven years, and it’s inspired them to sum up where they’ve been even as they look ahead to their future. Map of the Soul: 7is their most smashing album yet, showing off their mastery of different pop styles from rap bangers to slow-dance ballads to post-Swedish electro-disco to prog-style philosophizing. Carlile is back for Saturn Return, a spare, -gorgeous, relatably realistic set. In 2017, the pair enlisted singer-songwriter Brandi Carlile to co-produce their third LP, You Don’t Own Me Anymore, helping them up their game in a set of songs about piloting life’s hardships, delivered with tender intimacy. The fourth album from Alabama sibling duo the Secret Sisters is the stunning country-soul opus their talent has always promised.
#GREEN DAY DISCOGRAPHY REDDIT MOD#
A couple songs - the begging, pleading breakneck title track, the wonderful Dexy’s Midnight Runners-tinged mod swing of “Meet Me on the Roof” - play with echoes of Sixties soul. The glam-slam stomper “Oh Yeah!” summons Joan Jett’s version of “Do You Wanna Touch Me.” The speed-freak Merseybeat cheese of “Stab You in the Heart” is phony Beatlemania at its finest, right down to its screaming-girl crowd noise. The punk-rock icons sound refreshingly unburdened by legacy or accrued status on their latest LP.
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