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by PopMatters Staff

9 Feb 2016

Jessy Lanza manages  to take us to a bunch of interesting sonic places as she effortlessly transitions from section to section.

Jedd: Beaudoin: Helloooo. Where did this come from? Love it. It’s got that (forgive me) Kate Bush/Peter Gabriel thing happening for it while also having its own character. Coming back to this one again and again. [9/10]

by PopMatters Staff

9 Feb 2016

PUP primes themselves  for a future that would benefit for a revival in hardcore music.

Stephen Wyatt: PUP’s anonymity will be short lived. They write anthems and odes the perils of puberty and the abyss of adulthood, and “DVP” is no different. Holding onto hardcore music’s finer elements—frenetic guitar work, drums peaking at the end of an amphetamine rush, and the admixture of screaming diatribes (“I need to grow up!”) and surfer melodies—PUP primes themselves for a future that would benefit for a revival in hardcore music. [8/10]

by Danilo Bortoli

9 Feb 2016

Beau Sorenson's music  is reminiscent of the neoclassical movement that gained momentum during the aughts, yet successfully veers towards a more experimental direction.

Piano music, even considering the neoclassical movement that sprouted (briefly) during the beginning of the last decade, is still regarded as a formalist type of art. It’s rare to see artists in the mainstream and even in the blogosphere break through the model. When such event takes place, we end up getting Max Richter‘s deeply rooted Romanticism or Nils Frahm‘s more agitated experiments.

by PopMatters Staff

9 Feb 2016

As Staples' verses  drift in between Flume's airy opus, the song's brevity fails to underscore his purpose.

Stephen Wyatt: Flume knows very well how Vince Staples can make a track turnt. The 24-year-old enfant terrible sharpens his production fangs on “Smoke and Retribution”, providing sweetness in Kucka’s deliberately quiet delivery to Staples’ untainted saltiness. As Staples’ verses drift in between Flume’s airy opus, the song’s brevity fails to underscore his purpose. Moreover, Kucka’s underutilization on “Smoke and Retribution” triggers the thought that this track was, in fact, rushed and unfinished. [5/10]

by Boen Wang

9 Feb 2016

Nils Pihl calls  it, "Newtonian engagement", that is, when "an engaged player will remain engaged until acted upon by an outside force". That's "progress".

Need for Speed: Most Wanted (Electronic Arts, 2012)

I press start, and I’m in motion. I’m playing Need for Speed: Most Wanted and the game opens in medias res in an Aston Martin motoring down the freeway. The camera swings around and locks into position behind the car, at which point I instinctively squeeze the right trigger.

I am in control.

//Mixed media
//Blogs

In Motion: On the Emptiness of Progress

// Moving Pixels

"Nils Pihl calls it, "Newtonian engagement", that is, when "an engaged player will remain engaged until acted upon by an outside force". That's "progress".

READ the article