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Review: Coldplay, X&Y

3.0

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Coldplay, X&Y

The pre-release press infinitely more interesting to engage than the album itself, the dilemma of being both Coldplay and their latest album, X&Y, is best summarized by how they’re written about. Here is a band whose record company publicly blamed them and their delayed album release for the entire recording industry’s slumping sales, a band burdened with the expectation of exclusively carrying mainstream rock music’s forward momentum for the next decade after only their sophomore album…and even the glowing, would-be rabble-rousing reviews read like form letters. What the music industry really means when it tells Coldplay— and the PR reps given the relatively thankless job of writing their press releases—that they’re the band that “everyone can and will like” is that someone ran a focus group wherein Coldplay’s music was the consensus choice as the least offensive. That Coldplay’s music—X&Y, in particular—can be marketed more or less like the latest combination of the same six ingredients Taco Bell has thrown together is a vote of no-confidence in the music on X&Y. People who don’t know any better and are either too busy, too distracted, too lazy, too indifferent, or too disengaged to question the marketing may mistake the Club Chalupa for legitimate Mexican cuisine. They’ll buy it, whether or not they feel strongly about it either way. So, too, will the flyover folks buy X&Y.

Artistically, it’s an unfortunate position, of course, but it isn’t difficult to see how Coldplay managed to arrive there. From the hummable-Radiohead of their debut, Parachutes, which revisionist history now states spawned more than one hit single, Coldplay made an actual, accomplished step forward on their follow-up, A Rush Of Blood To The Head. The album was anchored by several strong singles, the best of which suggested that Coldplay might be capable of producing something truly exceptional at some point in its career, and it was fleshed out by the kind of soundalike filler that’s easily mistaken for thematic coherence. The album, unsurprisingly, was both a critical and commercial hit as a result. And there were elements on both albums, moreso on A Rush Of Blood To The Head, fully deserving of the praise and commercial success the band received: the structurally brilliant ballad “The Scientist,” for instance, or the ubiquitous piano hook from the Grammy-endorsed “Clocks.” At times, Coldplay’s material found a comfortable middle-ground between the epic guitar-pop of Radiohead’s early work and the enormity of sound that led to the first of those now inescapable U2 comparisons.

From a marketing standpoint, then, it makes sense to push Coldplay as strongly as the suits at Capitol Records have over the months leading up to the release of X&Y. When Radiohead first threatened to turn into the standard-bearer for mainstream rock, they launched into the heavily experimental second half of their career, making them too odd to mass market. Wilco never had a monomial genre, so they were out. The Strokes were too independently wealthy for broad appeal. The White Stripes were and still are too limited by Jack White’s authenticity fetish and focus too much of their energy on building an artistic mythology. Franz Ferdinand had the misfortune of landing in a generation too self-conscious to embrace fun. Sleater-Kinney had the more grave misfortune of boasting an all-female line-up. Coldplay emerged as the ideal fallback artist, the easiest sell.

X&Y is the band’s first album recorded within that context. It’s to the band’s credit that they didn’t take the most obvious available route and record a self-pitying perils-of-fame album. But that credit doesn’t in any way make the album good, and it certainly doesn’t outweigh the discredit X&Y accrues for its fundamental safety and its adherence to an aggressively middlebrow formula for success. For all the time spent ruminating on fixing things over the course of X&Y—as on the title track and the simpering “Fix You,” the kind of sentiment emotionally stunted men mistake for openness when, in reality, it’s more closely aligned with sleaze—Chris Martin and his band apparently devoted precious little time to addressing their own weaknesses.

Coldplay’s greatest flaw is that, much of the time, they’re a case study in parts that outweigh the whole. That piano hook from “Clocks” was exceptional, the kind of pop-song composition that demands a melodic line and a lyric of comparable quality; the single offered neither. It’s telling of what’s wrong with X&Y that its lead single, “Speed Of Sound,” is but a diminished return on “Clocks” and is indicative of how the new, lofty expectations likely shaped the album. The piano hook on “Speed Of Sound” is engaging enough, but it’s also too familiar to qualify as anything more than treaded water, and neither the song’s lyrics nor its melody compensate for the lack of structural novelty. It’s Coldplay’s existing formula nudged closer to the midline.

Elsewhere, there’s nothing to match the propulsive melody of “Yellow,” the spark and passion of “Politik,” the structural sophistication of “The Scientist,” or the fully developed minimalist tone-poetry of “Trouble.” But there are approximations, some successful and some less so, for each. What’s most disappointing about X&Y is that few of these approximations work in tandem. As was the case on their prior outings, the high points occur in isolation, but this time those high points are of significantly reduced magnitude, which only serves to emphasize the songs’ and the band’s shortcomings.

“Talk” is given one of the album’s most memorable melodies, but its impact is reduced by the song’s structure, in which the lead guitar echoes Martin’s vocal melody after every line, so that melody becomes tiresome well before the first chorus hits. And it’s in both micro and macro structures that X&Y is something of a regression for Coldplay; the album’s 12 tracks alternate evenly between uptempo tracks and ballads, and the songs themselves rarely stray from a verse-chorus-verse, “ABABB” structure. Since simple pattern recognition plays a major subconscious role in the way people develop favorable preferences, the incessant alternations of X&Y strikes as a shrewdly calculated decision. And no, there isn’t a thematic point to the “X” and “Y” bifurcation of the songs, short of how each X could be replaced with its corresponding Y without anyone ever noticing the difference.

Lyrics have rarely been Martin’s strong suit—though he has a legion of fans who will each and every one insist that he wrote a song for them, personally, and it was called yellow—but he’s especially off his A-game throughout X&Y. There’s very little pretense to his lyrics, God bless him, but he strives too often for ambiguity, forgetting that a song that could mean quite literally anything is ultimately a song that means nothing at all. Perhaps the worst offender is “Swallowed In The Sea,” which finds Martin emoting, “You cut me down a tree/And brought it back to me/And that’s what made me see/Where I was coming from,” to within an inch of his life, which seems a high price to pay for something both empty-headed and internally redundant besides.

X&Y promises to make it even easier to resent Coldplay’s success. By no measure is it a good album, let alone the foray into legend-in-the-making status it has been marketed as. But the album retains just enough of the band’s occasional flashes of innovation and spark from its earlier albums to perpetuate the lingering hope that they could someday put all the elements together into a phenomenal package. That those flashes are present in significantly diminished form on X&Y, however, results in an album that inspires indifference—there were some nice touches of electronica in the production on Dido’s No Angel, but who takes that album seriously now?—at a juncture when, for better or worse, people are obligated to have a strong opinion of the band. Hating Coldplay still seems mean—they’re just too deliberately inoffensive: In the album’s liner notes, they don’t insist that their fans visit the Amnesty International and Greenpeace websites, but ask that they have a look “if [they] get time”—but it would be far easier to be sympathetic toward the burden placed on Chris Martin’s shoulders if X&Y justified its blitzkrieg promotional campaign. It’s a sad state when something this slight is heralded as the high watermark for popular culture.

Label: Capitol Release Date: June 15, 2005 Buy: Amazon

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Review: Anderson .Paak’s Expansive Ventura Fuses the New and Old-School

The album serves as a reminder of the magic that can result from looking to the past to inform the future.

4

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Ventura
At the heart of Anderson .Paak’s music has always been an emotional unburdening of exuberant proportions. It’s present in the shades of intensity his voice carries between croon and rasp, the luxurious kinetics of his funk-laden instrumentals, and his starry-eyed joie de vivre. On his fourth album, Ventura, Paak alters this blueprint by mastering the equilibrium between exactitude and ease, between vintage soul and new-school fusion.

The salt and sand of the California beach towns where Paak grew up comprise the lifeblood of his albums. Whereas last year’s insular Oxnard paid tribute to the city of his birth, Ventura is more expansive. Dr. Dre, Paak’s longtime mentor, served as executive producer on Oxnard, lending that album its heavy-hitting funk-rap skylarks, but on Ventura, Dre allows his protégé to take the reins. Paak certainly doesn’t shy away from the challenge, as the album is awash in golden timbres and spacious, full-blooded textures. It’s lush yet artfully edited, unforced yet deliberate—a far cry from the overwrought architecture that got the best of Oxnard.

In many ways, Ventura represents a return to form for Paak, as he channels the neo-soul of 2016’s Malibu, which was sorely absent from Oxnard. But while Paak was comfortable residing in the clearly defined contours of traditional verse-bridge-verse song structures on Malibu, he allows those boundaries to blur and shift here. The cinematic opener “Come Home,” which boasts a particularly nimble and clever verse from André 3000, unfolds like an overture, anchored by a choir of angelic voices and hair-raising drumrolls. Staccato trumpets puncture the disco glitz of “Reachin’ 2 Much” before, in one of the most fabulous transitions of the album, giving way to a chilled-down groove equally fit for a backyard BBQ and a dance floor.

Too many tracks on Oxnard felt as if they were carried by noteworthy features like Snoop Dogg, Kendrick Lamar, and Q-Tip, leaving Paak as a supporting character at best. By contrast, Paak is never overshadowed on Ventura, working off a tight and balanced chemistry with his guest artists, and he embraces an endearing transparency when he treats topics as disparate as dealing with a nosy girlfriend (“You stay here too much, baby/You know it’s not your place”), reigniting a dormant love (“When you take somebody for your own/It can’t survive on history alone”), and uplifting community in the face of racism and poverty (“The people that you came with? You’re coming with me”). Throughout it all, Paak maintains an optimism that, though some might deem naïve, is undeniably infectious.

The foundations of Paak’s sound—disco, funk, ‘70s soul, California G-funk—cast an air of nostalgia over his music. But he’s shrewd enough in the design and construction of his music to prevent the amalgamation of these influences from slipping into pastiche or kitsch. Although Ventura is replete with anachronisms—theatrical strings fit for Earth, Wind & Fire (“Reachin’ 2 Much”), nightclub-ready slap bass (“Jet Black”), quiet storm (“Make It Better”)—Paak fuses the old school and new school seamlessly, producing a sonic palette that hasn’t quite been replicated by any of his contemporaries. Ventura serves as a reminder of the magic that can result from looking to the past to inform the future.

Label: Aftermath Release Date: April 12, 2019 Buy: Amazon

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Review: Madonna and Maluma Drop Sultry New Single “Medellín,” from Madame X

The lead single from Madonna’s 14th album is driven by a decidedly unhurried tropical rhythm.

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Medellin
Photo: Interscope Records

Last month, Page Six of the New York Post published an article titled “How Madonna is using younger stars to cling to relevancy.” The infamous tabloid swiftly revised its headline to the marginally softer “How Madonna is using younger stars in hopes to stay relevant” after receiving blowback for what some perceived to be a double standard. But as the gulf between the 60-year-old pop queen’s age and that of the average radio star has continued to widen, it’s true that she’s increasingly leaned on collaborations with younger artists like Justin Timberlake and Nicki Minaj.

You’d be forgiven, then, for assuming that “Medellín,” the first single from Madonna’s upcoming 14th album, Madame X, is an attempt to cash in on the ever-growing popularity of reggaton. While the 25-year-old Maluma is a huge star in Latin America, however, he’s yet to cross over beyond the Latin-pop market in the U.S., so the partnership appears to be a mutually beneficial one. And Madonna has lovingly appropriated Latin culture in her work for decades, as far back as 1986’s “La Isla Bonita,” and as recently as her torero-inspired music video for 2015’s “Living for Love.” In fact, one could argue it’s the single most consistent musical theme of her career outside of, say, dance music more broadly.

Co-produced by Mirwais, who was previously at the helm of Madonna’s Music and American Life albums, “Medellín”—named after the city where Maluma was born—is a sultry midtempo track driven by a decidedly unhurried tropical rhythm and Madonna’s catchy refrain of “one-two cha-cha-cha.” The singer’s inexplicably Auto-Tune-drenched verses are nostalgic and wistful, nodding to the breezy escapism of “La Isla Bonita”: “I took a sip and had a dream/And I woke up in Medellín.”

Vocally, Maluma does most of the heavy-lifting on the bilingual track, with inuendo-filled verses that reference both Colombia and Madonna’s hometown of Detroit. But Madonna’s sugary harmonies, particularly during the song’s rousing hook, balance out Maluma’s gigolo routine with a dreamy sweetness.

Listen here:

The music video for “Medellín” will premiere on April 24. Madame X is out June 14 on Interscope Records.

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Review: The Chemical Brothers’s No Geography Resembles Loving Fan Fiction

The album displays elements of all stages of the duo’s career yet retains the same playful inspiration found in their best work.

3.5

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No Geography
Photo: Hamish Brown/Astralwerks

To call the Chemical Brothers’s No Geography a kind of impeccable fan service is to suggest a criticism entirely unintended. If the U.K. duo’s ninth album resembles loving speculative fiction, it’s of an urgent, exciting sort that the electronic pioneers have more than earned over their relatively consistent 25-year career. In fact, save for the wonky sequencing choice of front-loading the two most negligible songs—the boilerplate big-beat intro of “Eve of Destruction” and ”Bango”—No Geography could easily pass for a collection of epic B-sides to some of Tom Rowlands and Ed Simons’s signature classics.

“MAH” (short for “Mad As Hell”) is a dopamine-surging mash of familiar sounds, its frenzied, vaguely tribal beats and grinding noise reminiscent of “It Began in Afrika” and “Chemical Beats,” respectively. “Gravity Drops” gives the 808s-on-Salvia drum thunder of “Come with Us” a modern production spit-shine, with some additional sprinkling of Kraftwerk’s “Computer Love” and Aphex Twin’s “Windowlicker.” “We’ve Got to Try” similarly resurrects the hip-hop-based car-stereo thump of the Chemical Brothers’ first two albums, and even raises a glass to two of the stronger tracks (“High Roller” and ”Busy Child”) by their early American counterpart the Crystal Method.

Fans of the Chemical Brothers tend to have their own favorites among the many genre styles the pair use to generate their panoramic sonic palette. If you love the group’s bouncing, THC-fried detours into crisp, disco-infused pop, singles like “Got to Keep On” and “Free Yourself” are made to order. For this listener, it’s the moody dance-floor psychedelia, and in this vein, No Geography thrills as well: “The Universe Sent Me” gives “Star Guitar” a darker, more meditative spin with its humming baseline, ethereal Liz Frazier-esque vocals, and fire-damaged guitars, and “Catch Me I’m Falling” winds down the BPMs while turning up the intergalactic lovesickness. These songs, like the album as a whole, display elements of all stages of the duo’s career yet retain the same playful inspiration found in their best work.

Label: Astralwerks Release Date: April 13, 2019 Buy: Amazon

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Watch: Madonna Unveils Teaser Trailer for New Concept Album Madame X

The secretiveness surrounding the project isn’t surprising given that Madonna has been the victim of rampant leaks.

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Madonna
Photo: Instagram

Certain discrete corners of the internet lost their collective minds earlier this month when Madonna’s Instagram page, alternately littered with posts featuring the singer’s adopted twin daughters or snapshots of her recent photo and video shoots, was taken over by nine indivudal images comprising a large red “X.” The typically prolific celebrity ‘grammer remained relatively quiet over the next two weeks, intermittently posting images of the letter X in her stories, and slowly revealing the manifesto for Madame X, her first album in four years:

Madame X is a secret agent
Traveling around the world
Changing identities
Fighting for freedom
Bringing light to dark places
She is a cha cha instructor
A professor
A head of state
A housekeeper
An esquestiran
A prisoner
A student
A teacher
A nun
A cabaret singer
A saint
A prostitute

The album’s lead single, which could be out as soon as this week, is rumored to be a duet with Colombian reggaeton singer Maluma, but details are scarce. The secretiveness surrounding the project isn’t surprising given that Madonna has been the victim of rampant leaks since at least the turn of the century. The studio recordings for her last album, 2015’s Rebel Heart, leaked like a sieve, resulting in the arrest of an Israeli hacker.

This time out, the queen of pop has successfully kept things under wraps, but it seems that Madame X—a character perhaps inspired by the 1966 film of the same name starring Lana Turner—is ready for her close-up. Watch the teaser for the new album, directed by Steven Klein, below:

Madonna will reportedly perform new material from Madame X at the Eurovision Song Contest on May 14.

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Review: Craig Finn’s I Need a New War Soars When It Rises Above the Mire

If there’s one thing that squarely separates the album from the Hold Steady singer’s previous work, it’s the consistent mellowness.

3.5

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I Need a New War
Shervin Lainez/Big Hassle

The artistic growth Craig Finn has displayed over the course of his four solo albums is comparable—in terms developing a lyrical and production style—to his progression as a songwriter across the Hold Steady’s first four albums. The difference is that rather than sketching out narrative party epics set to huge power-and-glory guitar riffs, Finn is now mostly writing tightly focused character studies to go with his largely understated indie rock songs—music, in other words, that’s harder to latch onto and easier to overlook.

Despite its title’s connotations, I Need a New War—the third in a retconned trilogy of albums—finds Finn further entrenching himself in the stylistic hallmarks of 2015’s Faith in the Future and 2017’s We All Want the Same Things. The album’s ties to its two predecessors are, however, largely implicit rather than explicit. Counter to past Hold Steady albums, there are few, if any, recurring characters, and unlike Holly, Charlemagne, and the whole crew of divinely inspired party hounds who Finn sings about with that band, his subjects here are mostly just regular folks doing their best to muddle through their day-to-day lives. It takes one hell of a good writer to turn that kind of subject matter into compelling rock n’ roll, and Finn—practically in his own category as a lyricist—is up to the task.

Produced by Josh Kaufman, who also helmed Faith in the Future and We All Want the Same Things, I Need a New War retains many of those albums’ sonic traits: watery guitars, pillowy keyboards, and a stuffed-nose Finn singing in a lower, relaxed register. But it’s also a departure, introducing new wrinkles like silky backing vocals by Annie Nero and Cassandra Jenkins and a liberally employed brass section that gets downright jazzy on the lounge-y “Her with the Blues.” Several songs, particularly “Magic Marker” and “Indications,” unexpectedly adopt a ‘50s doo-wop sound, continuing Finn’s penchant for introducing new stylistic approaches on each of his solo albums that we haven’t heard from him before.

If there’s one thing that squarely separates I Need a New War from Finn’s previous work, it’s the consistent mellowness. With its dreamy atmosphere and loitering tempos, the album is more reliant than ever on Finn’s wordplay. This is rarely an issue for a lyricist of Finn’s caliber, as his eye for detail can turn seemingly mundane scenarios—a simple favor that becomes hard to repay (“A Bathtub in the Kitchen”), an office drone who daydreams of driving away from a dead-end relationship (“Carmen Isn’t Coming in Today”)—into resonant vignettes.

At the same time, Finn can get too bogged down in minutiae, such as devoting an entire verse of “Holyoke” to binge-watching TV shows. But even then, the aside serves the song’s larger purpose of illustrating the anxiety-ridden narrator’s vain attempts to distract himself from the omnipresence of death: “Massachusetts, man, you’ve got a lot more graveyards than we’re used to/I swear to god they’re every other mile.”

I Need a New War soars when Finn dares to rise above the mire. This includes “Something to Hope For,” whose optimistic title is mirrored in its peppy, infectious hooks. And lead single “Blankets” is Finn’s most rousing solo effort to date, an account of a desperate search for an old flame that’s as sweeping and powerful as the “thunder in the canyon” that the musician sings about on the chorus. The song’s concluding thought—“You live your whole life/Just to travel to the place you’re gonna die”—is as bleak and resigned as anything else on the album. But like almost everything that Finn sings, it’s also invigorating.

Label: Partisan Release Date: April 26, 2019 Buy: Amazon

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The 25 Best Chemical Brothers Songs

To celebrate the release of the duo’s ninth album, No Geography, we ranked their 25 best songs.

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The Chemical Brothers
Photo: Hamish Brown

This week, the Chemical Brothers will release their ninth studio album, No Geography, a notable feat for a group that was first propelled into the mainstream via electronica’s so-called big bang in the late 1990s. Here’s how consistently rich the duo’s vast catalogue has been throughout their near-25-year career: Given the task of choosing our individual favorite tracks, we came up with over 50 contenders worthy of inclusion. As you read—and better yet, listen—to this list, you’ll discover some unexpected omissions (pour one out for one of their biggest crossover hits, “Blocking Rockin’ Beats,” which didn’t make the cut), but also some equally surprising additions that more casual fans may find unfamiliar. Regardless of your level of immersion, though, what you’ll find here are 25 of the most explosive, head-bobbing, ass-shaking anthems in electronic music history. Blue Sullivan

Editor’s Note: Listen to the entire playlist on Spotify.

25. “Saturate”

The Chemical Brothers’s 2007 album We Are the Night is rightly maligned for containing a few of the duo’s rare missteps (here’s looking at you, “Salmon Dance”), but it also contains one of their most propulsive house bangers. Built on ping-ponging keys and a bassline so deep and dirty it almost qualifies as subliminal, “Saturate” builds to a surge of hammering snares that sound like crashing waves. A frequent late-set addition to the duo’s live show over the last decade, the track is just as deserving of its inclusion here as any of their early classics. Sullivan

24. “Life Is Sweet”

But is it? Structured as a call and response, “Life Is Sweet” first finds the Chemical Brothers radiating in an unambiguously optimistic vibe, to the point you can almost feel UV rays emanating from the speakers. And then, suddenly, everything clouds over and you find yourself dancing in a haze of primal doubt that winds up in a denouement of existentialist angst. Eric Henderson

23. “Loops of Fury”

Best video game soundtrack of all time? WipeOut XL, without a doubt. And the Chemical Brothers’s “Loops of Fury” was but one of the crown jewels of a compilation that also included Underworld’s “Tin There,” the Prodigy’s “Firestarter,” Photek’s “The Third Sequence,” and Fluke’s “Atom Bomb.” Even in that company, the relentless “Loops of Fury” comes about as close as any of them to feeling what it would be like to barrel down an anti-gravity race track at more than 200 kilometers per hour. Henderson

22. “Three Little Birdies Down Beats”

There is perhaps no other song on the Chemical Brothers’s 1995 debut, Exit Planet Dust, that defined the duo’s developing sound more efficiently than the unrelenting “Three Little Birdies Down Beats.” The track is a torrent of increasingly complex layers: breakbeats, soul samples, and an onslaught of screeching guitars and distorted vocals that would become the group’s signature over the course of the next decade. Sal Cinquemani

21. “My Elastic Eye”

Based around a sample of electronic composer Bernard Estardy’s 1973 piece “Tic Tac Nocturne,” “My Elastic Eye” sounds at once cinematic and classical, fusing prog-rock and jazz influences, and boldly employing the filtered basslines of French techno and electroclash, which was peaking in popularity around the time of the song’s release. The result is a mélange of styles that cohere into a spooky musical score that wouldn’t sound out of a place in an Argento giallo. Cinquemani

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Review: Khalid’s Free Spirit Embraces Self-Inquiry to Hackneyed Effect

The album feels more like an American Eagle ad than a documentation of an authentic transformational experience.

3

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Free Spirit
Photo: Grace Pickering

With his butter-smooth two-octave vocal range, megawatt smile, and candid, sincere commitment to portraying millennial love—replete with boozy Uber rides and text-message mind games—Khalid has swiftly become a pop fixture, carving out a seemingly permanent place on the Billboard charts. But there’s a sense of guardedness, an almost antiseptic quality, to the 21-year-old singer’s produced-to-perfection R&B. And on his sophomore effort, Free Spirit, he can’t seem to shake that predilection for playing it safe, despite the album’s calls to lose our inhibitions and be free.

Whereas his 2016 debut, American Teen, played like the soundtrack to teenage romance and misadventure, Free Spirit sees Khalid embracing more mature self-inquiry, albeit to hackneyed effect, as he does on “Self”: “I’ve ran away for miles, it’s gettin’ hard for me to breathe/‘Cause the man that I’ve been runnin’ from is inside of me.” And no less inspired are lyrics like “So if you’re gonna love me/You gotta love all of me” (from “Bad Luck”) and “Life is never easy when you need it to be/Try to knock me down, but I get back on my feet” (from “Hundred”).

Free Spirit brims with potential radio hits, like the broody, laidback “My Bad.” The Disclosure-produced lead single, “Talk,” is bright and electric, with a galaxy of heavily textured synths underpinning the track’s buoyant chorus, in which Khalid shows off his seemingly effortless falsetto. A spacey guitar solo from guest John Mayer elevates the grounded groove of “Outta My Head” into something a little more out of this world. Multiple tracks, however, feature the same reverb-drenched guitar and airy synths, sucked dry of vitality by too-pristine production. For a burgeoning artist still establishing his signature style, Khalid settles into a surprising complacency here, failing to experiment with the template of his debut.

A fleet of 1970s-era vans emblazoned with the Free Spirit logo were deployed to colleges across the U.S. to promote the album’s release, and a band of disillusioned teens taking a weed-stoked road trip are the subject of a short film that accompanies the album. The title track grapples with the tantalizing and distressing prospects of freedom, but Khalid never seems to reconcile the depths of that freedom throughout Free Spirit. Perhaps it’s because, at 21, his journey is just beginning. But with all of the lyrical platitudes that abound on the album, the cover art of which depicts the artist overlooking a desert from the top of a dusty van, Khalid’s coming-of-age odyssey feels more like an American Eagle ad than a documentation of an authentic transformational experience.

Label: RCA Release Date: April 5, 2019 Buy: Amazon

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Review: The Flaming Lips’s King’s Mouth Brings the Hooks but Lacks Heft

The album’s heartwarming melodies set to hit-and-miss lyrics represents at least a partial return to form.

3

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King's Mouth
Photo: George Salisbury/Warner Bros.

Given that Wayne Coyne has spent the last decade mired in increasingly bleak stonerism and aimless neo-psych jamming—not to mention the Instagramming and hawking of absurd novelty merchandise—it’s reasonable to wonder if he’ll ever return to the starry-eyed philosophizing of The Soft Bulletin and Yoshimi Battles the Pink Robots that made him an indie-rock icon. Or, for that matter, if Lips multi-instrumentalist Steven Drozd will ever go back to writing the sweet pop melodies that made those albums so indelible.

With King’s Mouth, initially being released on vinyl as a Record Store Day exclusive with a full release to follow, Coyne’s voice is freed of the alienating reverb of the band’s recent work, returning to its clear, humanly quavering state in the center of the mix. Unfortunately, the album only contains about an EP’s worth of solid material, with the rest of the running time devoted to a tedious children’s fairytale featuring narration by the Clash’s Mick Jones.

Jones delivers, in intermittent spoken segments, a predictably offbeat yarn about a beloved king whose severed, steel-coated head becomes a totem of inspiration to the children of the kingdom (itself an extension of an art installation by Coyne). Conceptually, this is no less loopy than Yoshimi or any one of dozens of Lips songs that could have originally been conceived in a crayon drawing. But much of the narrative-focused sections of King’s Mouth lack compositional heft: They’re mostly sub-two-minute, largely instrumental toss-offs that Jones’s flat, disinterested narration does little to energize.

Still, as slight as they are, even vignettes like “Feedaloodum Beedle Dot” and “Funeral Parade” contain snatches of melody more distinct than nearly anything else the band has done this decade. This renewed melodic emphasis, though, is more appreciable on the album’s more deliberately composed songs. With their strummed acoustic guitars, pervasive but unfussy electronic embellishments, and Coyne’s existential musings, these songs sound like the basis of a proper follow-up to Yoshimi even more than the zany At War with the Mystics, did.

Of course, 17 years and numerous musical evolutions and public Coyne episodes later, this does feel a bit like backtracking, especially lyrically. The Coyne of “Waitin’ for a Superman,” “Fight Test,” and “Do You Realize??” was pseudo-childlike in disposition but also knowing and world-weary, and it was in that synthesis that he achieved genuine profundity. On King’s Mouth, Coyne too often defaults to just the “childlike” part of that equation, especially on “Giant Baby,” on which silly refrains of “You’re the biggest baby/You’re a giant little boy” render the eventual payoff line—“And it made me understand/That life sometimes is sad”—miles less impactful than, say, “Everyone you know someday will die.” Album closer “How Can a Head” also sounds a bit like a mash-up of things Coyne has said before in less frivolous contexts: “How can a head hold so many things/All our life, all our love/All the songs it sings.”

The heartwarming melodies that Coyne and Drozd set these hit-and-miss lyrics to represent at least a partial return to form for songwriters who, in recent years, seemed to have forgotten that melody is what they do best. Songs like “The Sparrow,” “All for the Life of the City,” and “Mouth of the King” boast sugary yet wistful melodies in the same vein of some of the Lips’s greatest work, and hearing Coyne sing them is like reuniting with an old friend.

Label: Warner Bros. Release Date: April 13, 2019 Buy: Amazon

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The 15 Best Nirvana Songs

Kurt Cobain, Krist Novoselic, and Dave Grohl were prolific enough to produce some of the greatest rock songs ever put to tape.

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Nirvana
Photo: Sub Pop

Today marks the 25th anniversary of Nirvana frontman Kurt Cobain’s tragic death via a self-inflicted gunshot wound. As if that weren’t a stark enough reminder of our fragile mortality, the band’s debut album, Bleach, will turn 30 this June. Of course, the massive success of Nirvana’s 1991 follow-up, Nevermind, would help change the course of rock history. The band’s songs, the vast majority of which were penned solely by Cobain, fused pop, punk, and heavy metal into raw yet relatively digestible scraps of visceral rock poetry that struck just the right balance of accessible and challenging, introducing “alternative rock” to the masses, influencing an entire generation of musicians and fans, and—for better or worse—christening a new subgenre: grunge. Though Nirvana only lasted for seven years and three studio albums, Cobain, bassist Krist Novoselic, and drummer Dave Grohl were prolific enough to produce some of the greatest rock songs ever put to tape. Sal Cinquemani

Editor’s Note: This article was originally published on April 5, 2014. Listen to our entire Nirvana playlist on Spotify.

15. “Been a Son”

The first of many collections of scraps tossed out to hungry fans, Insecticide at least revealed a few new sides of the band, ranging from blistering punk assaults to strange slices of jagged power pop. “Been a Son” proves one of the standouts of these early recordings, a zippy, straightforward ditty that retains only a scant undercurrent of sludge, only hinting at the psychic trauma that other songs made much more evident. Jesse Cataldo

14. “Rape Me”

Emblematic of the band’s reaction to accusations that they “sold out” for signing with a major label and softening their early punk sound, the opening guitar lick of “Rape Me” pointedly and playfully evokes “Smells Like Teen Spirit” before the track devolves into a crushingly blunt treatise on sexual assault that conveniently, if unintentionally, doubles as a taunt to the media to take their best shot. Cinquemani

13. “Sliver”

Rock’s inherently primal qualities have always been obvious, but few songs have approached them as directly as this one, a charging anthem that boils down to a melancholy tale of a little boy crying for his mother. Originally released by Sub Pop as a non-album single, it’s another sustained tantrum of a track, a roar disguising a whimper, highlighting the tormented whelp at the center of all that seething rage. Cataldo

12. “In Bloom”

Pitted with a stream of pithy, sardonic koans that go almost unnoticed under all the noise, “In Bloom” imagines a micro-problem (ignorant meddlers of the Seattle scene) that quickly exploded into a macro one, leaving an acidic song retroactively aimed at the huge contingent of fans prizing the band for their muscular qualities, while ignoring the pained sensitivity which produced that intensity. If more people had been listening, maybe we could have avoided the long downward spiral of influence that eventually led to Puddle of Mudd. Cataldo

11. “On a Plain”

Few things are more selfish, or illogical, than addiction, and the messy, self-focused tenor of Nirvana’s songs proves the perfect platform to engage that topic. The exacting honesty of tracks like “On a Plain” ended up as one of the band’s biggest cultural coups, pushing the focus of mainstream rock not only from glam fakery to “genuine” emotion, but from a fixation on surfaces and objects to the intrinsic horrors of being human, the gross weakness of our bodies and the yawning emptiness of discontent. Cataldo

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Music

Listen: Ariana Grande Drops New Single “Monopoly” with Victoria Monét

Yes, human pop song conveyor belt Ariana Grande dropped another new track today.

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Monopoly
Photo: YouTube

Human pop-song conveyor belt Ariana Grande dropped another new track today. Last week the singer hinted via Twitter that a release of “Monopoly,” a duet with frequent collaborator Victoria Monét, was imminent after the pair debuted the song live during a stop on Grande’s Sweetener World Tour. And here we are.

Clocking in at just over two-and-a-half minutes, the hip-hop-inflected “Monopoly” doesn’t leave much space for Grande to flex her much-ballyhooed vocal prowess, though she does manage to sneak in a few whistle notes at the end. The track has prompted as-yet-verified rumors that the pop star is bisexual: “I swerve both ways, dichotomy,” Monét says before both women put a fine point on it: “I like men and women.”

The lo-fi video is slightly more successful, with emojis popping up on the screen while Grande and Monét playfully celebrate on a roofop. At one point, Grande swipes left on “haters,” “negativity,” and “Trump.” (Grande recently started an initiative called #ThankUNextGen to register voters for next year’s presidential election.)

Watch below:

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