Is the spirit of spring and getting in shape for displaying your hot bod on the beach this week’s Rumor...
"I Like It I Like It" is a soulful, almost sinister little helping of R&B, built on a roiling, slinky beat and a positively seductive bassline and topped with luscious, chime-like keys, plus the occasional clarion-call synth. Both singers join in reverb-drenched harmony throughout, splitting the song's two primary verses between them before ending once more in perfect tandem.
..."Unraveling," feels like a both a culmination and an evolution of all these past iterations of Muse, merging the synthwave ventures of their later years with the guitar-driven heaviness of their earlier repertoire.
"Like I Say (I runaway)" is the sort of song that one thinks they've might have heard a million times, when in fact they've never heard it at all, in the same way that genius feels obvious in hindsight.
... OB's exultations are put forward with an delicacy found in the most effervescent indie pop. The end result feels at once relaxed and celebratory: a perfect portmanteau of Afrobeat jubilation and Indie contemplation.
...Gabriel's effort is both topically and musically meditative, calling attention to the mechanical complexity and humanitarian pathos of the matter at hand without devolving into the paranoia that often accompanies artistic appraisals of the looming specter of the digital future.
Fuzzed-out guitar licks drip over a strutting, lascivious beat while Kane channels Marc Bolan's sultry croon in an ode on a botanically-dubbed lover, all wrapped up in a warm layer of saturation that recalls both retro recordings, and the scores of present-day tracks made to invoke that same analog aura.
While one hopes in light of it's rediscovery that somewhere, somehow there might still be more great music waiting to be found, buried in the annals of time. That said, should this indeed be the last word of Wolfgang Amadeus Mozart to time immemorial, then its a fitting, if quiet, one - no great Requiem Mass or seminal Opera Buffa, just one last little treat from one of the most effortlessly luminous musical imaginations in recorded history.
Up-and-coming indie quartet Nicotine Dolls take their name from an epithet the band's members coined to describe a particular breed of anti-social partygoer who would rather retreat to outdoor solitude for a quick drag than endure a crowd, so it's a bit ironic that the band is perhaps best known in the public eye for similarly shunning the limelight.
"Schedule I," much like its parent album, is an unadulterated expression of Norman Sann's sharp, consistently refreshing approach to the rap game. Even when tackling topics as well-documented in the genre sphere as attraction or popularity, Sann never falters in wielding language like a saber, with a keen command of wordplay refined to an acute edge.
Earlier this week, Vancouver-based Indie darlings Peach Pit dropped their new track "Magpie" in advance of its eagerly anticipated, similarly titled parent album. Magpie's October 25th release will be the band's most recent since 2022's From 2 to 3, with this titular single being their first musical offering since that album's "Vicky." "Magpie" sees Peach Pit - who have previously characterized their music as "chewed bubblegum pop" - coloring their trademark aesthetics with layers of rich harmonic fuzz. No pun intended.
The Science Advances journal published a study involving the neural brain patterns of both young and old musicians and the...