Maya Hawke’s Path to Contentment
On Maitreya Corso, Maya Hawke continues to prove her adeptness as a musician and observer of human behavior, rendering allegations of nepotism irrelevant.
On Maitreya Corso, Maya Hawke continues to prove her adeptness as a musician and observer of human behavior, rendering allegations of nepotism irrelevant.
We may never be the same, just by being the same, but the song remains the same. Like Teddy Thompson’s record, it’s worth repeated listening.
Can Paul McCartney’s so-called easy-listening bend, which began with “Hello Goodbye” and peaked in the 1970s, be another kind of greatness? Maybe so.
Here’s a salute to the 1990s songs that stopped “mattering” once the calendar flipped to the year 2000, and some that were forgotten much, much sooner.
Donna Lewis’ album is for those returning home, or perhaps more accurately, for those who are finally ready to step into their next chapter with an open heart.
The strange but true story of Scottish rock band the Sensational Alex Harvey Band’s hit single about the Boston Tea Party. Well, it was a hit in the UK, at least.
Melanie C’s Sweat is brilliant pop music, optimized for both dancefloor and gym. Here, she recognizes she was only ever waging war upon herself.
The world conjured by Antoine Fuqua’s Michael Jackson movie is an emotionally flattened realm of veneration and idolisation that would make even Stalin blush.
Charley discusses her therapeutic poptimism that extends beyond rote structures and clichés to strike a deeper chord with listeners.
EQUILIBRIVM is Anitta adapting to her own scale and the zeitgeist of Brazilian pop. Is she simply following a trend, or canonizing one she helped create?
Mr Eazi and King Promise’s See What We’ve Done lands like a pulse check: messy, breathing, and defiantly human.
Jessie Ware is hornier on Superbloom than its predecessors, and that alone makes it more assertive. It’s quite possibly her gayest record yet.