The distinctive aura of Half Nelson can’t be addressed, however, without bringing up the film’s original score & soundtrack, which is all Broken Social Scene.
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The trademark ethereal, full & bell-like harmonies of the band are intact, but the song’s cultural significance lies within frontman Robin Pecknold’s lyrics.
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If it sounds familiar, that’s because it is. But it’s familiar in a good way.
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While they may be doing a fine job in execution, the lack of essential innovation does leave something substantial to be desired as a listener.
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The Brooklyn band’s latest release, simply titled IV, utilizes “dub” in the true sense of the word
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James Blake remains one of the most exciting artists to watch as he further develops his style and decides what he wants to say to the musical world.
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Constantly teetering just on the edge of approachability, Danilova toys with the notion of pop music by spreading strange details throughout the entirety of Conatus.
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Four years since her last album release, Björk has returned with her unmistakably brutal force on Biophilia.
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Twin Sister is dreamy, lush, repressed, and ripe for cultivating dazes—but the extent of their simplicity is, frankly, a little boring.
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What Xtranormal does for text, Das Racist does for rap. Sort of.
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St. Vincent’s third album is a very impressive musical representation of the powers of both paradox and tension.
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Regardless of how cringe-worthy the phrase “pop music” may or may not be at this point, Friedberger’s work is simply killer.
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