Time seemed to slow in that church. The music filled every crevice in my brain, bouncing off the ceiling into my ears. I tapped my foot and bobbed my head, entranced by the emotion emitted from every movement, word and facial expression.
Even considering its cohesion and commercial success, this album’s biggest accomplishment is that it serves as a global showcase of Anitta’s resilience and visionary attitude — resembling her own breakthrough in Brazil ten years ago.
On March 17, Underoath played a sold-out show at Brooklyn Steel in Williamsburg along with bands Stray from the Path, Bad Omens and Spiritbox. It was a great experience for my first metal show with an energetic crowd, tons of moshing and enough cathartic energy to help me finish this semester.
Laurel Hell focuses its gaze on indie music celebrity and constant public scrutiny, as well as loneliness, grief, anticapitalism and self-reflection. From unrequited love to fierce anger to all-consuming loneliness, the songs on this album tackle the full range of human feelings — even allegedly shameful ones.
I became mesmerized by the album cover — a masterpiece right out of Microsoft Paint. The art style made me feel like Sidney Gish got me without even having listened to any other song. From that point on, No Dogs Allowed was in my ears at all times.
CAPRISONGS is a beautiful blend of emotion that showcases the long awaited solace in Twigs’ heart-wrenching journey from abuse and heartbreak to self-realization and recovery, following her through euphoric dance tracks and electronic, melancholic ballads.
Everything from his beginnings — Goblin and Wolf — to CALL ME IF YOU GET LOST had a moment in the sun that night. Every iteration of being a Tyler, The Creator fan was on full display.
The first Betty Davis song I ever heard was “Nasty Gal,” and I was floored. Here was a woman who sang with an authority and individuality deeper than I had ever heard before, who knew all of the influential players within punk and rock music — and who performed with platform boots and an Afro.
P Daddy celebrates its own absurdity, writing party anthems about feeling inadequate. The music often rejects rumination and accepts a strain of Camus-based-philosophy, asserting that one can find joy by embracing the absurdity of life. It seems that the music is telling you to embrace sorrow, but find joy despite it.