The track is a bustling pop-rock song bolstered by a clangy guitar riff and searing synth line.
The album is a demonstration of Daniel Lopatin’s mastery of structural tension.
The song’s title isn’t the only thing about it that nods to the 1980s.
If Eusexua felt rooted in the moment, Afterglow is a reflection of what’s happened.
The propulsive electro-pop track reunites the singer with longtime collaborator Klas Åhlund.
Directed by Mitch Ryan, the video for “House” is equally as ominous as the song itself.
The video follows the Daft Punk robots on a kaleidoscopic voyage through space.
The album finds the Detroit rapper discovering a new lust for life.
The album rewards patience as you luxuriate in the breadth of the singer’s world.
The track sees the singer returning to a more conventional pop sound.
It’s the kind of album that elicits respect more than it does excitement.
The duo set about redefining the term “cacophony” at their pre-Hallow’s Eve show.
The singer’s first album in seven years is titillating but ultimately less than revelatory.
The album is a marriage of opposites: automaton-like discipline and total abandon.
Clocking in at just over half an hour, the album doesn’t leave a lot of room for error.
The album finds Kevin Parker still selling himself as a something of an underachiever.
The album is like a mirror so polished that it barely reveals anything at all.
The album is content to merely glide along the surface of its subject matter.
The album pulses with the kind of euphoria that comes from letting loose on the dance floor.
A feeling of finality ran through the packed room at the Williamsburg venue.
The trippy video for “Big Sleep” is perfect match for the brooding but atmospheric track.