Rihanna Kills Her Rapist, Brings Life Back to the Music Video Format
Does she regret the crime, or the prospect of doing the time? The narrative is unclear, and perhaps the ambiguity is deliberate.
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Does she regret the crime, or the prospect of doing the time? The narrative is unclear, and perhaps the ambiguity is deliberate.
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They were always a pop band, as they declared on their early song “This Is Pop,” but their first two records, and only a few of the records they produced following, have the staying power and the timelessness of the songs on Drums and Wires.
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Team Band distills their alcohol-fueled version of glam-punk and art-blues, and the tracks virtually crackle with energy, and never fade out, always crashing and burning instead.
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Paul Simon is not trying to be someone he’s not, and to be frank, if it’s not broken, don’t fix it.
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Rihanna clearly is invested fully in playing the part of the bondage queen, and the performance at the resurrected Billboard awards served as a natural extension of the similarly over-the-top music video.
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Justin Warfield and the other half of SWR, keyboardist/bassist Adam 12 are joined by guitarist Thomas Froggatt and drummer Scott Ellis—and they clicked like a well oiled machine with the occasional accent of maraca or tambourine.
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There’s a lot more going on in here than typical eight-bit playfulness.
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Long live the Beastie Boys.
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Silk Flowers have produced something that fits their moniker well—music that’s beautiful and smooth, but is ultimately artificial.
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Although the first trip is pleasant, after riding behind this pony on a few too many trips, one starts to get a whiff of something foul
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Imagine one of The Flaming Lips composing a (largely) instrumental soundtrack to a documentary about music, and one might have an idea of what this sounds like
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Throughout, “Black Joe” sounds like he’s about to jump back and kiss himself, and utters sounds that haven’t been heard since Eddie Murphy tipped his toe into James Brown’s hot tub in the 80s
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