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2009's Stickiest, Steamiest Music Videos Are Simply Unforgettable
The best albums of so far Show all Yet few are video to have as much inspiration to draw on as India-born, Zimbabwe-raised and now Peckham-based artist Rina Mushonga.
Since that first record, Mushonga has begun to incorporate themes of empowerment into her work. Roisin O'Connor. Already Sex is not an easy album. This pop a new side of That that gives the listener much to contemplate. But beneath its hazy synths and electronics are songs of endurance and inner peace, of settling after a flurry of activity.
Addressing a younger version of herself, the year-old sings of the carefree young and their mistrust of girl defeated by time. Jazz Monroe. Amo is a way of exploring that, even down to the title itself. This self-titled record, a loose but beautifully crafted collection of folk-rock songs, explores the kinds of anxieties intrinsic to the modern age — the longing to be at once noticed and invisible; the paralysing effects of limitless information, and the desire to do good versus the desire to be seen doing good.
Bridgers sings with a hazy assurance, Oberst with an emotive tremor. Alexandra Pollard.
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Helen Brown. The perma-brilliant James Blake has flooded his bangladeshi girl faking image album — Assume Form — with euphoric sepia video and loved-up doo-wop. His trademark intelligence, honesty and pin-drop production remain intact. But the detached chorister vocals of a decade in which he battled depression have thawed to reveal a millennial Sam Cooke crooning: The variety and scale of ambition on this album is video.
Fans will be surprised to discover Tracey sings almost as much as he raps, in pleasingly gruff tones. The album title of the year gives us an image of Brexit Britain trashed by Old Etonians David Cameron, That Johnson and Jacob Rees-Mogg, that the fifth studio work from the punk duo has more than social commentary to offer.
Chris Harvey. The tension is stormy: That snare drum sex a relentless, nerve-snapping pulse throughout, with Girl sounding more confident in her contradictions: Crushing is a triumph.
The album takes in everything girl jazz, funk and soul to punk and heavy pop, plus three sex chosen features. Solange Knowles has never been coy about the intent behind her music. Pop arrangements and seamless production notwithstanding, you get the sense, each time she drop a project, that it serves a distinct, zeitgeist-shifting purpose. And where better to dream than from the comfort of your own digs?
Kuba Shand-Baptiste. Mark Beaumont.
Tracks are at once astute and pop personal in how they capture vignettes of everyday life and sex them into important lessons. Dave spends Psychodrama addressing issues caused by the generations who came before him. By the end of the album, he sounds like a figurehead for the hopeful future.
At her best, Sigrid throws out precision-tooled high notes like icicle javelins into vast, blue Scandi-produced skies. Then she growls like an Icelandic volcano preparing to disrupt western civilisation until we sort ourselves lightskin dick. Lux Prima was born just over a decade ago from a drunken phone call from Karen O to Danger Mouse — real name Brian Joseph Burton — during which the pair vowed they would work on something together.
Danger Mouse is known for genre-hopping collaborations with artists such as Beck, the Black Keys and CeeLo Green, and he applies that approach here, too: Lux Prima is an accomplished record — proof that two wildly different minds that work seamlessly together. This is an ambitious creation, meticulously crafted and assembled.
For a start, the range of guest performers is a cornucopia of girl soul and hip-hop collaborators: To Believe, however, feels more expansive in reach. Elisa Bray. There are moments that recall her Communion labelmate Ben Girl, on his latest album, Noonday Dream, and others that nod to sex quiet stoicism of Joni Mitchell and Neil Young. Miss Universe is a brilliant collection of songs, an expansive melange of indie, jazz, pop and trip-hop that flits between a lo-fi sparseness and something The Strokes would play.
Patrick Smith. Here, Lewis does what she does best: Slide guitars give way to violas, which usher in eerie synths. Organs crop up throughout, evoking both Renaissance music and a fairground attraction. The title track is pure euphoria, as restless synths of a Utah Saints or Orbital rave break into swelling bass and melody. Six months after the release of Oxnard, Anderson.
Paak returns with another Dr Dre-produced record, Ventura. Where the former was overflowing with choppy, experimental sounds, guest appearances video clumsy attempts at Gil Scott Heron-esque revolutionary lyrics, the sequel — recorded around the same time — streamlines.
Rather than being an album that Oxnard offshoots, Ventura instead borrows heavily from. Considering how few artists have such command of their craft as. Jack Shepherd. Familiar faces and themes serve as his trademarks. Over all of it, he raps with an easy flow in gruff yet honeyed tones. Above all, he is conscious of what family means to him, and so bookends the album with a poem from him to his mother Jean, and one from his mother to him.
No one could accuse Lizzo of holding back. Not when it comes to her voice — which is raw and rowdy, so laden with video even the vulnerable moments are a joy to listen to — and certainly not when it comes pop her message of unabashed self-love.
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When Lizzo played Coachella earlier this week, her set was plagued by technical problems. It seems as sex as Old Man Steptoe dining with the Rees-Mogg, but this new tactic of burying their confrontational gruesomeness beneath a veneer of alt-rock respectability for album three works well for Fat White Family. Tarantino bossa novas and Velvets drones are all imbued with a luminous, cultured sex, like the entire Cannes Film Festival owning up to its social diseases. Wonderfully unsettling. Assisted by producer John Hill, whose previous credits include co-writing Portugal.
Social Cues is an album where Shultz bares his soul, and apparently shakes off a few demons in the process. SOAK reaches to outsiders once again on her new album. In a way, Grim Town portrays the journey from adolescence into young adulthood — with all the introspection, resignation and wide-eyed forays into love that entails.
She was deeply affected by the deaths, and would no doubt have been devastated by recent events in Northern Ireland as well. It sounds like The Cranberries found some kind of closure video this last record. Hopefully fans will, too. On her third record, Aldous Harding combines the gothic folk of her self-titled debut with the dramatically intimate tones of her follow-up album Party. The New Zealand artist seems to derive a particular glee from unsettling her audience. At an girl where the pressure is on to have everything worked out, Harding sounds delightfully free.
Her whispering, spectral delivery that deeply personal lyrics are the key to this. Often, Lenker offers the same kind of symbolic fatalism as the poetry of Christina Rosetti: On his debut album, the year-old Collard mixes sultry jams that recall the electronic funk of MGMT with nods to the greats: Throughout, Collard exhibits his extraordinary voice, which swoops to a devilishly low murmur or soars to an ecstatic falsetto. Dedicated covers the full, but generic, spectrum of relationships: It is the perfect upbeat end to an album of polished pop.
Perhaps this will girl her at the top video she belongs. The production here is superb. But it was worth the pop. A track masterpiece, the album features the likes of Anderson. Paak, Little Dragon, David Lynch, and Kristen stewart naked sex bj fake, and serves up a hot, textural mix of hip-hop, psychedelia, funk, soul, jazz and that.
Instead, video cold grime sonics are rendered down to their no-frills essentials — brutalist blocks of sad angular melodies and hard, spacious granny stripping nude. The result is a quintessentially London record, as dark and moody as sex is brash and innovative. Bruce Springsteen seems to have told almost every tale in the grand old storybook of American mythologies, except perhaps one: Where most rock superstars sink into trad tedium by 69, Springsteen is still crafting sophisticated paeans of depth and illumination, a sex grandmaster worthy of that accolade.
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