This is the end of the line for Pink Floyd. Or, at least, so says guitarist David Gilmour, who called “The Endless River” the band’s final studio album. Syd Barrett is long gone. Bassist Roger Waters left back in the ’80s, claiming no further affiliation. Keyboardist Richard Wright passed tragically in 2008. Only Gilmour and drummer Nick Mason remain.
If you’re a fan of rap and you’re looking for new music to check out, look no further.
Last Wednesday, I went to an experimental hip-hop show at The Demo, which featured artists Busdriver, clipping. and Milo. The venue, a hole-in-the-wall on Manchester Avenue, was the perfect space for this small concert.
Run the Jewels (the rap duo comprised of Killer Mike and El-P) set out to make a follow-up to their critically acclaimed eponymous debut album and created nothing short of a beautiful monster. A lesser group would have coasted on the wave of critical acclaim from their premiere release and cashed in on our culture’s love of sequels, comebacks and remakes, turning in a mediocre effort. But that’s not an option for Run the Jewels. A mere year and a half after their first album’s release, they’ve made another stunning and addictive record.
No, the dining hall did not just release an album; Bear’s Den is also a legitimate band. And over the summer, Bear’s Den released a very important music video for its song “Elysium,” the newest single to be included on its fall album “Islands.”
I thought she’d done it, I really did. I thought, after 10 months devoid of blockbuster albums and full of disappointment, Taylor Swift would finally give us a world-conquering record we could all get behind. See, I’d briefly reached pop nirvana after my 50th run through “Shake It Off,” and I wanted more—12 songs more, to be exact. Heck, I’d take two as effortlessly life-affirming as my retroactive songs of the summer.
Turn on a country radio station these days and after a while you’ll feel like you’re listening to the same song about trucks and beer over and over again. A full run-through Florida Georgia Line’s new album, “Anything Goes,” produces pretty much a similar experience; only a couple of slower tracks offset the list of rollicking country songs about back roads and day drinking that all seem to blend together around about the halfway mark.
Like much of Weezer’s post-“Maladroit” output, “Everything Will Be Alright” represents a lighter, frothier version of the band. Not that there’s anything wrong with that, as Cuomo’s the kind of songwriter who can produce earworms on autopilot. At the least, the entire album is agreeable, if not remarkable, but Cuomo’s lyrics are another matter.
Tonight, for the grand finale of Olin Business Week, fondly termed “Olinpalooza,” season eight “American Idol” winner Kris Allen is coming to The Gargoyle.
Walking into Chaifetz Arena this past Saturday to see Chance the Rapper perform, I was completely unsure of what to expect. His musical style is intriguing, to say the least. It encompasses elements of gospel, classic soul, blues-rock, juke, acid jazz and house. Rather than being buried by all the different styles, Chance the Rapper seems to make it work.
If you don’t remember scream-singing along to B*Witched’s1998 hit single “C’est La Vie” (admittedly, this is less likely if you weren’t a girl), then you probably missed out on a large part of childhood.