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No Sun bears the hallmarks of vintage Pumpkins: Bill Corgan’s melodic whine, Jimmy Chamberlin’s formidable drumming, and the intricate layers of guitar courtesy of Corgan, original guitarist James Iha, and Iha’s one-time replacement Jeff Schroeder. 4 Reasons It Failed and How We Can Revive It, The 10 Absolutely Worst Rappers of All Time. Instead, track two, “Another Space and Time,” is a sonic outlier, embellishing bossa nova with glitchy electronics and lyrics about ditching the internet for “peace of mind.” It’s a diversion, a vacation to a California that isn’t on fire (one of the album’s many eerily portentous details—though any album about loneliness and destruction could be said to have predicted the events of 2020). (Appropriately, she wrote the album hunkered down in her childhood bedroom in her London family home, where she also rode out a bout of Covid-19.) Far from the typical soul belter, Pinderhughes' tone evokes a meditative state aligned with the now. Few rappers can lay claim to his uncommon career longevity. The Filipino-British songwriter speaks to the challenges unique to 21st-century adolescence, a tricky period in which emotions are impersonally mediated through screens and exes are only an impulsive text away. When he follows up that thread with the age-old inquiry — "If a tree falls in a forest and no one hears the sound, did it really ever happen at all?" “Let Go” performs a similar trick, linking political movements to introspective thoughts as Common invokes a Michelle Obama speech to confess, “I’m supposed to go high when they go low/I forget the big picture and snap like a photo.” He’s left dealing with the ensuing “clouds of doubt and gloom” that form in his head before hollering, “I yell freedom ‘cause I’m free to be dumb.”, At this point, you’re struck by the feeling that you’re listening to three wizened souls taking a step back to reflect on the world around them while younger generations buzz by chasing after trends. It also informs her lyrics, which originated as poems she wrote for a “secret poetry group,” a fact that’s most apparent when she commits to describing her natural surroundings—leaves and rivers and trees—in depth. On “Piano Interlude,” Common asks questions that pierce my soul, especially today: I met a little boy, he asked, “Where are we now?” Living in ambition on a mission impossible Paul Schrodt, The unfortunately titled Octopussy was the first Bond movie since Dr. No not to have a title track, and understandably so. Janet Jackson’s music career can be easily partitioned into three eras, with her commercial peak (from 1986’s Control through 2001’s All for You) bookended by her early, pre-breakthrough period on one side and the years following her infamous Super Bowl performance in 2004 on the other. Springsteen himself turns back the clock with a howling vocal and searing guitar solos on the propulsive “Burnin’ Train,” which could easily pass for an outtake from Darkness on the Edge of Town or The River. — the track ends without an answer. Interestingly, Riggins has been a constant collaborator and contributing producer throughout them all. “Optimistic” [Ft. Although he can lapse into bouts of corniness with some of his one-liners, Com's rapping is as sharp as ever on August Greene, as he regularly flaunts technically precise rhyme schemes and his ability to channel hope, desperation and perseverance through poetry. That aspirational trajectory courses through a debut album that finds all three players melding a cohesive identity around the intersection of black music's evolution through jazz, R&B and hip-hop, while collectively reflecting on the disparate state of the black union. The concern for the next generation is most pronounced on "Piano Interlude," a short spoken-word intermission. by GREENE,AUGUST. Genre: Hip Hop. Less than two months later, the trio's eponymous debut offering is here. The titular track from Black America Again rings through with more emotional urgency than any single offering on August Greene. Things get pretty generic on side two, but two or three deep cuts from an artist who came out of the gate only half-formed ain’t half bad. Hip-hop's newest supergroup emerged in January after Common announced that himself, Grammy-winning jazz percussionist Karriem Riggins and acclaimed pianist Robert Glasper had teamed up to form August Greene. Rodney Carmichael; August Greene's self-titled debut is out March 9 on Amazon Music. For all its contradictory pleasures, though, Featuring Ty Dolla $ign is absent of the sharp hooks and coherent vision of Griffin’s past albums, which, though they have a similar basic structure, are more thematically tied to locations (Southern California and a faraway island vacation spot). But just as the album looks like it’s about to settle and prosper in this zone, in comes “Piano Interlude,” and the tone of August Greene shifts messily. But his penchant for thoughtful introspection remains consistent, and it's the guiding force in a timely collection that finds him wearing the hat of a hip-hop statesman. If Obama's legacy has taught anything, it's that hope has an opposing darkness that must be confronted. Darnielle emotes with just the right amount of knowing distance, and humorously doesn’t elaborate on why “getting into knives” will be a fulfilling new activity or alternative to his current habits, while also promising its worthwhileness through softly yet convincingly performed vocals. Merging his fatherly baritone and spoken-word flow with the mellow snares and supple keys of Riggins and Glasper, Com launches into pensive reflection about whether he's "born to win or born to sin," Black plight and man's capacity for growth despite human imperfection. Those melodies and hooks are great. Simon Le Bon’s piercing vocals imbue the song with invigorating urgency, elevating an otherwise nonsensical collage of fire and ice and fatal kisses to a new wave banger. Occasionally, the producers have returned to the template established by Bassey’s “Goldfinger” with similarly mixed results, from Lulu’s campy “The Man with the Golden Gun” to Adele’s theatrical “Skyfall.”, The world’s most famous secret agent reaches a new milestone with No Time to Die, the 25th film in the official series, tentatively scheduled for release in April after being delayed due to the Covid-19 pandemic. That said, the jazzy ballad (with music by John Barry and lyrics by Burt Bacharach collaborator Hal David) is perfectly lovely and, due to ironically foreshadowing the doomed fate of Bond’s bride and one true love, effectively heartbreaking—a quality made all the more poignant by a tender vocal performance by the legendary Armstrong in one of his last major recordings. years, followed by the Questlove-J Dilla-Soulquarian era and, more recently, his Kanye West-G.O.O.D Music affiliation. This is an MC, after all, who can now count performing at the White House on multiple occasions — including one Tiny Desk — among his accomplishments. Yet while his lyrics are almost always poignant, his emotions and tonal inflections don't feel as varied or intense as they were on Common's last album, Black America Again, as he sounds like his heart rate never raises above 70 bpm for most of the project. Glasper and Riggins’ instrumentation take center stage on the warm “Aya” and the 12-minute jam session “Swisha Suite.” Admittedly, sometimes the August Greene‘s production is a bit too subdued, especially on the first half of the album, but there’s enough energy to keep the atmosphere from getting too drowsy.
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