The driving music settles down slightly, and the piano and classical guitar duet with melodies as the drums slowly drop out, and the cavernous bass synths carry the music down to its quiet interlude section.
Keyboard theme returns again, with intermittent bass and bass drum thumps to remind us the band isn't gone, they're just resting. Piano melody starts to creep in as Nicholls' voice sings us through the rest until the drums roll in to build to a new section, with synth melody taking over a la supper's ready and driving the song back up to a new peak. The song winds down beautifully into classical guitar, a tour de force.
There's a direct segue into? Fire and Security: Weakest song on the album, but a nice creepy little song with good playing and a good guitar solo Perfect Space: I've listened to this song many times but cannot pin it down. In 8 minutes, IQ morph this song through so many stages its impossible to classify. More of that breakneck drumming, driving this song through. Extremely excellent playing from everyone, continuing the high water mark this album is setting.
Fallout: The final song on the second disc, and the second 20 minute epic. This one is less climactic than a bit of a comedown for the album as a whole, which is a nice way to end it. A spacey opening section lads to a nice vocal, and this song takes lots of unexpected turns. Lots of great guitar solos from Holmes, who has been mostly restrained throughout the album. From the Outside In: huge strong opener here, heavy riffing with all the instruments coalescing around the main riff to color the outside spaces with different melodies and textures, so instead of sounding like a metal song it sounds like a prog song.
This new heavier style compliments Nicholls' voice very well, whose tone seems to change and sound angrier without losing its angelic quality.
Neil Durant proves himself the new star of the band, using many textures and sounds through out to flesh out the band's sound to a full and robust style. A slow section with great keyboards is among their best, and the lyrics seem more strange and paranoid than ever before. Dark, but tempered. The closing section features keyboard and bass interplay that will come to characterize this new IQ era: creatively flourishing, shaking off the stagnancy that previously held them back.
Each instrumental section sounds new rather than like an older song. The Road of Bones: one of IQ's absolute best songs. Beautiful piano and keyboard set an incredibly spooky atmosphere, appropriate considering the title of the song. Next, Nicholls' voice enters with lyrics describing "my night's work", seemingly suggesting someone committed murder in the night time, and they grow to build out the creepy and dark atmosphere.
When the band kicks in, the drums and bass find an incredibly funky groove that actually fits the atmosphere rather than distracting, and the song just BUILDs to the climax. Absolute perfection, and hauntingly beautiful and dark lyrics. Absolutely masterful full band work here. Without Walls: A 20 minute epic, akin to Harvest of Souls, but better written and more tightly constructed.
Beginning with a lovely piano theme from Durant, and a drum machine that actually fits. Very wistful and soft lyrics about losing your sense of order? Always hard to describe, but Nicholls is at his best here. Things take a minor key turn before breaking into some heavy riffing and mellotron work from Holmes and Durant. The bass yet again is almost funky, standing out in a way it hasn't before.
Lyrics take a dark turn to match the music, and the organ melody helps build the pre chorus and drive the energy up. Keyboard work is especially strong, adding choir mellotron and a syncopated synth melody to keep the atmosphere changing and darkening. Then the band drops out and Durant carries the next section entirely by himself, with at least 5 different keyboard voices developing different melodies overlapping.
The bass and bass drum pulse eventually help but it's really Durant here. Stunning work, seemingly boundless creativity. Acoustic guitar comes in for the next vocal section, while the keyboards and atmospheric guitars keep evolving the atmosphere surrounding Nicholls voice. Full band kicks back in for a soaring guitar and synth trade off solo from Holmes and Durant before they sync up melody wise.
The key is different and the tone is more upbeat, but the same keyboard patterns find their way in, making this a truly cohesive piece with themes recurring in different contexts throughout. As the build becomes unbearable, the vocals drop out and the band kicks into high instrumental gear, with a tricky time signature, guitar and synth parts bouncing off one another as the drums and bass keep things driving.
Nicholls comes in for one more climactic soaring yell before the crashing climax comes, full of dissonant mellotron choirs and booming bass synths, before the final section hits, a reprise of the opening piano section but, of course, as pompous and triumphant rock section complete with guitar solo. Just perfectly executed form with the 20 minute epic here, not a note wasted and incredibly tight writing and performing.
Melody opens up this shorter, mellow, but still lovely and excellent song. The piano takes over the melody as Nicholls gives one of his most heartfelt but still cryptic lyrical performances. Acoustic guitar, bass synths, bass guitar, some creative drumming, all these elements come together to make a lovely piece. Neil Durant uses his keyboards with Album) a light touch and perfectly complements the full band sound.
Eventually he hits the organ as the song builds slightly, and the sound is just perfect. Great little piece Until the End: typical keyboard mood setting intro, dark and atmospheric, with the guitar melody adding before Nicholls comes in, with his voice being altered to fade in and out with dark tones. An eastern sounding set of instruments, strummed and drummed comes in to begin to push us forward. At the three minute mark exactly, the band kicks in, and Durant is again the star with a magnificent organ sound, but the bass shines also, create riffs and fills.
The synthesizer swaps solos with guitar melodies as the band stretches out in some of its best instrumental work on the album. Vocals come back with the same melody set over the more urgent music. A trickier and more off kilter section follows, with the drums taking as prominent a role as the voice, and there is a seamless transition to the triumphant guitar melody that follows and will bring this song home to its conclusion with beautiful organ, singing, bass synths and guitar.
The last few minutes take the band out and leave just piano and voice with a touch of classical guitar, beautiful and touching note to end the first disc on. Now the second disc here is technically a bonus disc, but it's clear the band had hit such a creatively fertile period they just kept firing on all cylinders, and I consider this a double album.
Knucklehead: Unexpected beginning here with the bass getting funky again while the drums get a full workout of rhythms, patterns and beats while the keyboards for once are the backing instrument. Acoustic guitar brings in the vocal. The way the vocals start 'and I can't go outside', as if picking up midsentence, to me it suggests the happy ending of the last disc wasn't all great, things keep going beyond a happy ending, life continues.
Very nice touch. Some very heavy riffing and keyboards follow. The guitars take on interesting tones here, keeping the creativity flowing.
A fast paced heavy section follows with great syncopated beats from the guitar and drums while Nicholls' voice flies effortlessly across the top. We return to the acoustic beginning and funky bass with more driving instrumental to close it off. Nice track, lots of new ground broken every song on this album.
Great little song, instrumental with great playing from all. Constellations: More creative playing in the intro here, a unique time signature with the drums taking the lead, seemingly a theme on the second disc, with dissonant choir mellotron before the melody comes in brighter, and Nicholls trades lovely melodies with Holmes on the guitar. Neil Durant's arrival and the return of Tim Esau on bass seems to have given everyone in the band a new spurt of creativity that doesn't even end with this album.
This song goes through many classic prog moments, and though IQ's sound always becomes familiar over the course of an album, the songs themselves are distinct and unique rather than same-y sounding. Great synth solo followed by an equally great guitar solo in the middle section, followed by a beautiful piano and mellotron led vocal section.
Following this is the triumphant ending section, but it oddly alternates to be slightly more off key in some of the verses, again maybe suggesting things aren't as great Album) they seem? Great guitar and organ playing, and the final 2 minutes really build up but then the song just fades out, an interesting anti climax with no real melodic resolution. Fall and Rise: A lower key song with some mystical keyboard melodies whose voice I cannot identify, with the bass and drums again having a more prominent role.
Almost like this disc is the rhythm section getting to write songs and the others have to build on them. Bass especially is essentially the lead instrument here. Classical guitar comes in for a little, but the song is loose with a spacey feeling, with the absence of electric guitar creating a hole that actually is a plus for the song creatively, generating an entirely new feel.
The song doesn't develop further than that, but gets by on creativity and mood. Great stuff. Ten Million Demons: A bouncy synth melody sets the song up for a hard charging, darker and heavier rock song, fitting the title. Great melody, memorably creepy lyrics, more bass and drums leading with keys soaring, guitar almost absent but it works. Weakest song on the album, but still stands out from their material as a whole.
Hardcore: After an hour and thirty minutes of top tier, highest quality prog by some of the finest musicians working, you'd think IQ wouldn't have any gas in the tank for another 10 minute mini epic, but the opening is as eerie and unique as ever, quickly giving way to heavy riffing with the guitar and bass setting the mood.
The heavy riffing only gets harder and more intense, practically sounding like Dream theater with less overall notes hah. This gives way to a more eerie slower section driven by multiple keyboard melodies and voices alone, Neil Durant again showing he is a perfect addition to the band.
The drums and bass jump in to take this section to the end while Holmes plays a mournful guitar solo, with the bass in particular shining again with riffs and licks to spare. Another sort of anti climax, as the melodies never really intensify or climax, but continue their mournful and sad progression until the fade out.
I've written enough about this album. Get it. It's an absolute masterpiece. Frequency: a strong opener, instrumental opening section followed by a mellow electric piano-led section, with Westworth taking an early leading role in setting the tone. Mike Holmes guitar notes soulfully sound off in the background, before he brings back the energy with a lead guitar theme both eerie and beautiful.
The vocal section is classic IQ. Keys do great work, and the perennial mellotron choir sound is still a staple. Good driving energy to the end, but this is IQ just sort of doing what we already know they do well. Life Support: slower song, nice piano beginning, alternating minor and major keys, with Peter Nicholls in fine form as usual, evocative and emotive. Close to halfway through turns into an eerie guitar led section, with synthesizer coming in as well. Father John Misty, "Pure Comedy".
The piano and vocals are vintage Elton John, but the lyrics are firmly rooted in the here and now. Like kindred spirit James Murphy of LCD Soundsystem, Josh Tillman has a preternatural grasp on the culture that shaped him, with a verbal dexterity and wit to match. Tove Lo, "Disco Tits". Unlike most top 40 newcomers with a surprise hit to their name, Tove Lo isn't slavishly attempting to recreate the magic of "Habits Stay High " on follow-up singles, and the world of pop is more interesting for it.
Thanks to 21 Savage and his infectious banger, watching your money multiply was the cool thing to do in Produced by his go-to collaborator Metro Boomin, the "X" star deftly penned an addictive hook that made everyone want to live the lavish life: "I got one, two, three, four, five, six, seven, eight Ms in my bank account. The Korean-language lead single off their album, Love Yourself: Her, is a rich concoction of soft rock and brain-burrowing EDM-pop. The title track to P!
Stunts aside, the Jack Antonoff-produced single is also a perfect encapsulation of Alecia Moore's enduring appeal -- not only is she happy to kick open her front door and give you a look at her messy life, but she makes a strained relationship "my perfect rock bottom" sound like the sweetest thing on the planet since Harry met Sally. And in a world where most of us are closer to the gutter than the stars, it's reassuring to know we're not flailing around alone.
Logic feat. Still, if you think "" is all message-over-music, you're mistaken: The song's a profoundly beautiful construction, from its gently sighing beat, to the sneakily affecting way Logic's "I don't wanna be alive" protestations on the chorus flip by the final refrain, to the song's end allowing Khalid to audibly and understandably succumb to his overwhelming emotions.
But the song's most profound statement is still right there in the name, a wordless assertion that if one troubled kid who needed it managed to remember the title, it wouldn't matter how many DJs flubbed or skipped over it altogether. GoldLink feat. At justthe only valid criticism is that the song feels too short.
Shawn Mendes has been 5-for-5 with singles since breakout hit "Stitches," but on the invigorating "There's Nothing Holdin' Me Back," he once and for all puts to rest the idea that he's a Bieber-in-waiting.
Truthfully, year-old Mendes has a lot more in common with a young John Mayer, melding heart-on-sleeve emotions with furious acoustic strumming and a bluesy growl. Mendes might be the guitar's best hope for a continued presence in top 40 radio — and if you're really listening to his songcraft, you shouldn't be mad about that.
Sigrid, "Don't Kill My Vibe". But her vulnerable restraint is no match for her fury. Ed Sheeran, "Shape of You". Then came this little nugget — the opening salvo of a new Ed Sheeran LP — which remained in the top 10 for 33 consecutive weeks, the longest run Hot history. Or: You can just imagine Rihanna singing instead.
The fizzy, chaotic dance-floor time bomb sees Pharrell mixing verses about fancy cars and paparazzi with thoughts on border patrol and guns over bouncy, head-rattling production. Kygo feat. Selena Gomez, "It Ain't Me". No other song by Kygo has resonated with pop audiences more than "It Ain't Me," a stellar mid-tempo trop-house banger featuring Selena Gomez, which earned the DJ his first top 10 hit on the Billboard LP Gomez sings about love gone wrong, asking, "Who's waking up to drive you home, when you're drunk and all alone?
Perfume No Thanks - Down For Life (2) - Harder Than Hell (Vinyl, "Slip Away". An insistent, tribal drum beat explodes in a giddy wall of sound that, like the sumptuously hued music video, feels like a rom-com romp -- or is it a white-knuckle chase scene? DJ Khaled feat. Keys to Success unlocked a song of the summer No. Rae Sremmurd, "Love". Like its titular emotion, "Love" is a many-splendored thing: Ask a music fan to describe the song and they might come up with everything from rap to surf rock to punk to girl-group pop, all of which would be correct.
You could feign surprise at the song working so well despite being such an unusual hybrid, but that would be an insult to the versatile talents of all involved, including co-producers Mike WiLL Made-It and Travis Barker. Charli XCX, "Boys". Only part of what makes Charli XCX such an enigmatic pop figure is the fact that she writes her own songs, usually confrontational, confident missives about love, life and having a damn good time. Waking up inside clean sheets without any clothes on? The private chef, Julio, preparing shrimp scampi for dinner?
Obviously excellent. OK, all maybe new to your personal experience but Bruno Mars is a pop star of total hospitality. Synth-pop trio MUNA mix pop with politics in this glittery, uplifting anthem dedicated to the LGBTQ community, immigrants, people of color and anyone else who might be in search of a safe space in We'd gotten tastes of his musical prowess as a featured player on tracks with No Thanks - Down For Life (2) - Harder Than Hell (Vinyl "" and Solange "Don't Touch My Hair"but even those didn't prepare us for the year-old's debut set Process -- and standout track " No One Knows Me Like The Piano," a heartbreaking tribute to Sampha's late mother and the instrument that helped him find solace.
It's gut-wrenching and beautiful, cementing the singer-songwriter as an artist we're sure to see a lot more of in the coming years. Kendrick Lamar, "DNA. The blistering DAMN. It was in his DNA all along. Paramore, "Hard Times". Inter-band tensions the band had parted with longtime bassist Jeremy Davis and welcomed back founding drummer Zac Farro and the cynicism that accompanies coming of age "Hard times, gonna make you wonder why you even try" get tied together neatly in Williams' "too-rock-for-pop" vocals, before being drenched in glittery '80s new wave.
SZA feat. Travis Scott, "Love Galore". Niall Horan, "Slow Hands". Bringing out his sexy side with daring lyrics, sultry vocals and a thumping, bluesy guitar hook was definitely worth the risk, as it landed Horan his first No. Frank Ocean, "Chanel". In a year that the generally-reclusive Ocean spent knocking out scene-stealing guest verses, "Chanel" arrived as a welcome loose solo single that reminded just why his album Blond was so intoxicating.
Ocean is at his best when he's flipping bourgeois double-entendres and metaphors into achingly personal narratives, and "Chanel" hits that sweet spot, with its "see both sides" refrain serving as a comment on the boutique fashion line's iconic logo and possibly on his own bisexuality. Carly Rae Jepsen, "Cut to the Feeling". Inshe bestowed upon us the immaculate pop masterwork Emotion ; then last year, extras collection Emotion Side Bbetter than most pop artists' A-sides.
Then, in late May, the glittering pop gem "Cut to the Feeling. But did it matter? This was a belt-it-from-your-car distillation of all things wonderfully Carly Rae: yearning for something grandly romantic "I wanna dance on the roof, you and me alone" with a breathless, stratospheric chorus, not unlike "Run Away With Me. OK" in the opening couplet here, a single word whose doubting tone conveys a dramatic eyebrow raise.
Like the rest ofJAY raps in a measured cadence in front of a backdrop of samples stitched together by producer No I. Taylor Swift, "Gorgeous". Unless you wanna come along! Dua Lipa, "New Rules". Unlike some pop artists who seem to have the voice but not the presence or star power for the A-list, it always seemed like a question of when, not if, British singer-songwriter Dua Lipa would become a top 40 force.
S… but check back on this one in Drake, "Passionfruit". Leave it to Drake to pull up to the roller rink in a yacht.
Young Aubrey has so much fun with the handclaps, faux-flute and tangential title of "Passionfruit" that he almost forgets both a that the lyric is yet another melancholy chapter in what appears to be the most dragged-out long-distance breakup saga in pop music history and b which era of carefree pop cheesiness he's attempting to LP his captain's hat to.
For the latter, he basically ends up choosing "all of the above," which is probably the right call, given that the song ends up sounding like a Jodeci cover of Michael McDonald, remixed by Thomas Bangalter. No surprise that Moodymann is far from the only one who has to start the motherfuckin' record over again.
Camila Cabello feat. Young Thug, "Havana". Kesha, "Praying". A gasp of air after literal years of battling her former producer Dr. Alessia Cara solidified her standing in the pop world with her stellar run infinally earning the best new artist Grammy nomination many thought she deserved the year before.
Not only did she sprinkle her dulcet vocals on Logic's "" smash, she offered a stunning turn on star producer Zedd's "Stay. Cara and Zedd also captivated viewers with a stripped-down version of the song during the AMAs, proving the song's power underneath its electronic dressing, and punctuating their torrid run. Future, "Mask Off". I'd sooner have scorpions crawl down my cheeks than tears.
That'd make an awesome album cover, actually. Lita: What? Eddie: Aw, never mind. Eddie: It's smells like a whale Through the woods a girl came sadly Something broken in her chest She had dared to love another Alas, no better than the rest Up my path a girl came gladly Something opened up my doors I longed to stop her bleeding heart So I drew her to my shores Those you trust will hurt you badly Something now I'm sure you see So drown your tears in me, my dear As you drown, my dear, in me.
Eddie : "Merch is a little like a wedding ring. Sure, it's a material thing, but it's a symbol of your connection. Eddie : It's a drink Aren't we in Medieval Times? Ophelia : I, uh We only have beer, but you can have as many kegs as you want. Doviculus : Oh, please! That was nothing compared to what YOU did to her. Eddie: I'm going into the lair of the Metal Queen. Anybody got a problem with that? You sure you don't want to talk me out of it? Eddie: Uh Headbanger: How did you make that light shine down from the heavens?
Eddie: OK, I'm not killing any more of those. They're way too awesome to be made into a hat! Lemmy Kilmister : "I'm playing Kill Master.
Typecasting, y'know. Eddie: Bingo! I mean, Jackpot! Lars: The time has come for you to shut the hell upLionwhyte! GamePro : Were there any other reasons for the lack of contemporary metal? Tim Schafer : You mean besides it sucking?
Le Nozze Di Figaro - Overture - Various - Klassiske Favoritter (CD), Sit Yourself Down - Stephen Stills - Stephen Stills (Vinyl, LP, Album), Whenever God Shines His Light - Van Morrison - The Essential Van Morrison (CD), Capriccio - Simeon Pironkov* - Compositions (CD), Highlights Reprise, Mueren Los Peces De Pena (Malagueña) - Porrina De Badajoz "Marques De Porrina"* - Reyes De, Liebste Glaub An Mich (Schön Ist Die Welt), Little Girl Blue - Charlie Byrd - Jazz Recital (Vinyl, LP, Album), f(x) - 라차타 (La Cha Ta) (File, MP3), We Walk - R.E.M. - Murmur (CD, Album)