It must be summertime. The weather is warmer, it’s harder to stay put at the office, and Banda Magda is premiering a colorful new video for single “Coração” to usher in just a little extra light. Who could ask for a better start to the season?
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Adriane Pontecorvo: Desiigner takes an uncharacteristically straightforward approach to Mura Masa’s beats on “All Around the World”, a simple track with a lot of good heart. His vocals refreshing and sometimes even sweet, Desiigner sounds happy to be here, and it’s infectious. It’s a song that embraces the good parts of life, a much-needed break from the national and global stress that heals the soul. [8/10]
Paul Carr: Arcade Fire seemed to have satisfied their experimental urges and returned with something more pleasingly uncomplicated and more akin to the band that made one of the finest albums of the decade in The Suburbs. However, this is less concerned about understanding the mundanities of life, more celebrating existence in general. Built on a circular, bright piano refrain, the band slowly builds the song with gentle acoustic guitar and the confident strut of bass. Only when the foundations of the song have been established, do they add in the gospel vocals, panpipes, and string slashes. It sounds like a band unshackled and in love with the simple act of playing music. [9/10]
One of the Americana scene’s best bands, the Lone Bellow, is set to release their third album, Walk Into a Storm, on September 15th via Descendant Records/ Sony Music Masterworks. Americana super producer Dave Cobb handled production duties on the Brooklyn’s band’s latest. Today, the band shared the record’s first single is the bright toe-tapper “Time’s Always Leaving” and you can hear that clean and crisp Cobb sound that lets the music speak for itself with minimal fussiness.
Mike Schiller: There’s more than a little punk sensibility in the feel of “Waterslides”, not to mention the aesthetic of the video, which is always a good thing when applied to synthpop. That said, there’s a moment at about the two-and-a-half-minute mark where most of the instrumental track drops out and leaves only a seasick synth backdrop, which is kind of a microcosm of the whole song. It never quite gets its bearings, plowing recklessly ahead without pausing to think about what it’s doing, a little bit of a mess that somehow finds itself structured like a pop song. If it were a little less dizzy and a little more catchy, it’d be a classic. [6/10]