It allows our most engaged readers to debate the big issues, share their own experiences, discuss real-world solutions, and more. There’s a sax on “Sacrament” that’s loaded with longing, while the grunge-gospel stylings of “Merciless” offer ominous guitars and Collard’s reverent croons. It's a style that makes fans of vintage engineering wince, but snags the ear like a fishhook. Yong Jun-hyung is a rapper in the 1st-generation Korean boy-group, HIGHLIGHT, which previously called itself BEAST. On “Reach Out”, Tucker begs, her voice a little sleeker than Brownstein’s but no less commanding, “Reach out and see me, I’m losing my head.” Quietly discordant piano ballad “Broken” pays tribute to Christine Blasey Ford, the woman who accused supreme court judge Brett Kavanaugh of sexual assault: “Me, me too, my body cried out when she spoke those lines.” The Center Won’t Hold is a reference, it seems, to the 1920 WB Yeats poem “Second Coming”: “Things fall apart, the centre cannot hold.” If this is Sleater-Kinney falling apart, then what a beautiful collapse it is.
(Roisin O’Connor)If you want to know how hard it is to categorise Titanic Rising – the enthralling fourth album from Weyes Blood – look no further than the American musician’s own attempt to do so.
On the lustful “Hell Song” he sings “less is more… but more is good”. Epic highlight “Electric Fire” and celestial album-closer “How Can a Head” capture Coyne at his most wistful. “Fringe Runner” is so sleek and funksome it could be a New Romantic “White Lines (Don’t Don’t Do It)”; “Kim’s Sunsets” is a piece of refined cosmic reggae resembling a blissed-out “Bankrobber”. (Patrick Smith)The tones here are stark and bleak, compared to the claustrophobia of 2014’s Tomorrow’s Modern Boxes. This isn’t it, but it’s pretty great all the same.
“I could be the rapper with a message like you’re hoping, but what’s the point in me being the best if no one knows it?” he challenges on “Psycho”, which flips scattershot between beats and moods as though the track itself is schizophrenic. And they create the full club experience with “Got to Keep On”, on which the four-to-the-floor beat, funky rhythm guitar, sweet backing vocals and chiming bells make way for the simple sounds of happy party-goers; just as the anticipation builds, so does the instrumentation into a hypnotic crescendo.
Wonderfully unsettling. Springsteen’s sublime portraiture of the American struggle – his protagonists walking with him through the ages of life as he goes – endures.
But don’t be put off: Miss Universe is a brilliant collection of songs, an expansive melange of indie, jazz, pop and trip-hop that flits between a lo-fi sparseness and something The Strokes would play. She embraces her pain, and as a consequence is able to let it go. The most insightful comments on all subjects will be published daily in dedicated articles. “Hitch Hikin’” and “The Wayfarer” are both charmed odes to the lost and rootless. It ends with another Sivan collaboration: “2099”. (Elisa Bray)“I don’t know where I’m going,” Tyler, the Creator begins on the song “I THINK”. And those quicksilver hooks just keep coming.
(Elisa Bray)Rose – who found fame in the UK’s indie-folk scene as an unofficial member of Bombay Bicycle Club in 2010, only to walk away amid the band’s growing hype – is darkly compelling on No Words Left. “Now we do grown.” (Ian McQuaid)Bruce Springsteen seems to have told almost every tale in the grand old storybook of American mythologies, except perhaps one: a wide-eyed Californian dreamer finds the Golden State turns sour and flees back east, to some romantic speck of a town, to pine and rehabilitate. But you don’t come away from this record feeling downcast. (Mark Beaumont)On Cage the Elephant’s fifth album, Social Cues, frontman Matt Shultz reacts to the breakdown of his marriage and the loss of three close friends. For a start, the range of guest performers is a cornucopia of contemporary soul and hip-hop collaborators: vocalists Moses Sumney, Roots Manuva, Heidi Vogel, Grey Reverend and Tawiah; strings player Miguel Atwood-Ferguson, and keyboardist Dennis Hamm – both of whom have worked with Flying Lotus and Thundercat. 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. As .Paak sings on “Winners Circle”, “They just don’t make them like this anymore”. Even on the band’s third album UFOF, with an audience that has grown exponentially in the past few years, the songs are still immensely intimate affairs. Drenched in chamber strings and celestial harmonies, the plush yet sinister “Oh Sebastian” could be Pet Sounds selling its soul to the devil. 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. Whether it’s in the physical structure of a property that’s shaped you over the years, or in the familiar sounds of the music and culture that your people have crafted, there seems to be a call to return to what is familiar. Scandal has engulfed South Korea and sparked a debate about the treatment of women in the countryWant to bookmark your favourite articles and stories to read or reference later?
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