Album Reviews
Nas’ King’s Disease Reintroduces the Legend to a New Generation: Review
The Lowdown: In 2018, Queensbridge-bred lyricist Nas released his 12th studio album, NASIR. In being a collaborative effort with Kanye West, this LP was met with high expectations. However, whether it was the album’s lack of cohesion, its poor timing, or the chaos surrounding its production and West’s antics, NASIR was deemed underwhelming by both fans and critics alike. After disclosing that he would be working with the Grammy-winning producer Hit-Boy on his upcoming project, some people were skeptical that this approach could help the rapper revert back to form and the high-quality work that had preceded NASIR. On August 21st, Nas and Hit-Boy succeeded in silencing critics and reintroducing the legendary emcee to a new generation of listeners with King’s Disease. By definition, “king’s d...
Artist of the Month Awich’s Partition EP Flaunts the Rapper’s Talent and Resolve: Review
The Lowdown: Trying to sum up the complex existence of Japanese rapper Awich is a losing game, but here are some basics: Born Akiko Urasaki, her moniker is short for “Asia Wish Child,” and she grew up on an island off mainland Japan called Okinawa. There, she grew up observing Okinawa both struggle for independence from Japan and the removal of American marine bases. It’s also where she fell in love with hip-hop — and learned English — with the help of Tupac’s All Eyes on Me. Entranced by the record and its depiction of struggle, she quickly began making music herself at age thirteen. Now in her 30s, Awich has no shortage of lived experiences to pull from for inspiration. In the years since, she moved to the US for college, got married, and had a child with an American man — who was then m...
The Killers’ Imploding the Mirage Goes All in on a Better Tomorrow: Review
The Lowdown: The Killers have always sounded like a band born to run. Living in the desert of Las Vegas will have that effect. For 16 years, Brandon Flowers and company have been running away down highway skylines, on the backs of hurricanes with Springsteen-like abandon. However, until now, they’ve always seemed to be running from what plagues them — fears, depressions, and the oppressive trappings of Small Town America — instead of toward what inspires them. Despite Flowers’ advice on Wonderful Wonderful single “Run for Cover”, The Killers have always seemed to have one eye looking back over their shoulder as they blow across an expansive wilderness, seeking some sort of escape from it all through romantic, heartland lyricism and rock and roll bombast. 2017’s Wonderful Wonderful caught T...
Bright Eyes’ Down in the Weeds, Where the World Once Was Dances Through Grief and Love: Review
The Lowdown: It’s been nearly 10 years since Bright Eyes released an album, and somehow everything and nothing has changed. Gone, this time for good — as Conor Oberst once declared — is the “rootsy Americana bullshit” that colored career-defining records like I’m Wide Awake, It’s Morning. Sonically, the reunited trio’s newest work has one foot in the stylized hyper-production of their last album, The People’s Key, and another in the Gothic, orchestral sweep of Lifted or The Story Is in the Soil, Keep Your Ear to the Ground. Sure, some of the old emblems remain: the cryptic overture, the half-sentimental, half-ominous soundbites, Oberst’s brooding and beautiful lyrical histrionics. And yet, the album isn’t an outright gloomy one. In the past decade, the members of Bright Eyes have grown up....
Alanis Morissette’s Such Pretty Forks in the Road Shines Light into the Depths: Review
The Lowdown: Alanis Morissette is back! After an eight-year hiatus, one of the ’90s pinnacle pioneers of alt rock is sweeping back into the spotlight with her ninth studio album, Such Pretty Forks in the Road. After four years of work and a three-month delayed release due to COVID-19, the album applies a trademark Morissette treatment — cutting lyrics and a voice that howls and croons and whispers as deftly as an arrow — to questions of adulthood, responsibility, and creativity to greater and more complete effect than what we’d last seen from her. The resulting album is extremely haunting, immaculately polished, and complexly kind. The Good: Such Pretty Forks in the Road finds Morissette exploring the tenuousness of fame, youth, and passion but in a way that thwarts that tenuousness in its...
The Psychedelic Furs’ Made of Rain Is a Confident, Trippy, and Wonderful Comeback: Review
The Lowdown: Few British post-punk/new wave acts made as big a splash in the 1980s as The Psychedelic Furs. Led by the illustrious vocals and bass playing, respectively, of bothers Richard and Tim Butler — and with tracks such as “Pretty in Pink”, “Heaven”, and “Love My Way” becoming huge hits — the group was as much a part of that zeitgeist as any of their genre peers. Sadly, they went on hiatus following the release of 1991’s World Outside, and although the pair continued to create with Love Spit Love prior to a Furs live reunion at the turn of the millennium, fans have been clamoring for a proper new record for nearly three whole decades. Thankfully, it’s finally arrived, and it’s as exhilarating and charming a return as anyone could’ve wanted. [embedded content] Joining the main duo th...
Taylor Swift’s folklore Dismantles Her Own Self-Mythologizing: Review
The Lowdown: Born of isolation, Taylor Swift’s eighth album, folklore, interrogates the pop star’s self-mythologizing and turns her gaze outward. Created during the ongoing pandemic, Swift collaborated remotely on 11 songs with Aaron Dessner of The National, who shared orchestrations composed inside his own quarantine. The results lean toward modern folk and glitchy experimentation, abandoning pop bombast but not the drama of swelling strings or anxious percussion. The accompanying visuals depict a gloomy summer, and listeners can imagine Swift watching storms barrel across the Atlantic horizon and wandering old-growth forests in half-done braids, alone or with a companion socially distanced beyond the frame. Dropped on 24 hours’ notice without her typically painstaking roll-out, the 16 mo...
Courtney Marie Andrews’ Old Flowers Finds Growth in Moving On: Review
The Lowdown: Old Flowers, Courtney Marie Andrews’ fifth full-length LP, is an album about heartbreak and growth. After a nine-year relationship that began at the tender age of nineteen, Andrews realized it was time for her to move on and grow on her own. In her own words, “Anytime I felt like myself, I was alone and wandering, and I knew that was a sign that it was time for change.” This is a tale as old as time for many, when you realize the love you share with someone cannot grow anymore. As Andrews puts it herself in the title track, “You can’t water old flowers,” meaning, you can’t force something to grow that’s already dead. Andrews understood it was time to take the reins of her life herself, as scary as that would be, and she does this with as much grace as possible on her new album...
The Chicks’ Gaslighter Galvanizes The Trio’s Long-Awaited Return: Review
The Lowdown: The most infamous act in country music, The Chicks (formerly known as the Dixie Chicks), stopped releasing new music 14 years ago, after their seventh album, Taking the Long Way, netted five Grammys. These included Album of the Year, plus Record of the Year and Song of the Year for “Not Ready to Make Nice”, which settled any lingering questions about whether they regretted their 2003 criticism of George W. Bush (they did not). Gaslighter marks the trio’s official return, and a lot has changed, both in the surrounding world and in the sound of The Chicks’ music. But some crucial elements remain the same: their attention is firmly focused ahead of them and on the things they care for. In the songs that focus on deteriorating relationships, and notably lead singer Natalie Maines’...
Pop Smoke’s Shoot for the Stars, Aim for the Moon Secures the Late Rapper’s Legacy: Review
The Lowdown: Last summer, at a congested intersection in Flatbush, the hip-hop rule book was left to smolder in a fiery, steel mesh garbage can. Passersby extinguished the fire, but by then Pop Smoke had already scored an improbable hit with “Welcome to the Party”. Pop Smoke (born Bashar Jackson) hardly seemed destined for superstardom; only a Noo Yawker could love those carelessly dropped “R’s” and that honking bassone cadence. And “Welcome to the Party”, with its retro drum’n’bass synth riff, could have been recorded between rounds one and two of the Bush tax cuts. It was the song that time forgot. Yet, it was streamed 80 million times. Coming to a barber shop near you is Shoot for the Stars, Aim for the Moon, Pop Smoke’s posthumous new album. (He was killed in a February home invasion; ...
Static-X’s Project Regeneration Vol. 1 Properly Cements Wayne Static’s Legacy: Review
The Lowdown: In the late ’90s and early 2000s, Static-X were one of the bands the helped define that industrial/nu-metal era. Their debut album Wisconsin Death Trip went platinum with the video for “Push It” earning rotation on MTV (back when the channel still played videos). Over the next decade, Static X would release five more albums before drifting apart in 2009. When the band’s singer Wayne Static tragically passed away in 2014, it seemed to signal the end of Static-X forever; that was until original bassist Tony Campos uncovered demos of material that Wayne had been working on. Campos got together with fellow original members Ken Jay (drums) and Koichi Fukuda (guitar), and reworked the unearthed demos along with outtakes from previous albums. While there was an initial plan to recrui...
My Morning Jacket’s The Waterfall II Offers a Slice of Thoughtful Summer Escapism: Review
The Lowdown: In our diseased and never-ending present, 2015 feels like a hell of a lot longer ago than just five years. That April, My Morning Jacket released The Waterfall, a record that our Sheldon Pearce praised for its “stunning sonic scenery” and “perceptive, generation-bending kind of songwriting about lost love and nostalgia.” In addition to producing their best-received record since 2005’s breakthrough, Z, the sessions at Panoramic House in Stinson, CA, also produced a second album’s worth of material that Jim James and company decided to save until they needed them most. At the time, James told critic Steven Hyden in an interview for Grantland that “the two records aren’t related or anything” and that he “[didn’t] want to put it out as, like, The Waterfall 2 or anything like that....
