music
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Geordie Greep’s Vancouver misconduct shines a light on why the rock star archetype, in all its hedonistic form and romantic pities, is a toxic ideal.
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Simply put, Mathangi Arulpragasam’s gospel art-rap album is the embodiment of everything wrong with the return to religion.
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Because shoegaze’s bombast comes entirely from the music alone and not from the public acts of its musicians, its commercial appeal is zilch even back in its first wave during the 1990s.
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15 years ago, Ed Sheeran’s ‘The A Team’ portrays the harrowing experience of poverty. We’re never getting anything like it from him again.
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Love is one of the biggest themes in music for its relatability, but its use in practice oversimplifies and reinforces obsession and codependency.
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The Tennessean alt-country band’s latest record contains weird productions and rambling lyrics; its direction feels too “modern” for its own good.
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Punchier, rawer, thirstier, more political, stickier, cataclysmic, better than its debut from last year in more ways than one.
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In a left turn away from conventional electropop through guitar usage, the British diva eschews slick quality in favour of rocking authenticity.
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The Texan rapper’s latest album sees the flow be in rhythm with both the beats and the queer experiences.
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There are diamonds under the rough after all as the saying goes.
