Just as much as the first track from Brian Eno’s forthcoming collaboration with Underworld’s Karl Hyde was girded by a doomy sense of portent, “Daddy’s Car” is a compulsively listenable ride — all scronky keyboard blips, ass-moving beats and late-night promise.
This sound, in the dead of night, comes rushing out of my radio — a tornadic gust of horns. Then there follows a devastatingly cool lyric, amid a suave and spacious groove. But who is it? 45 seconds in, I finally peg “Can’t Hide Love” as the new Earth Wind and Fire song; I knew Maurice White’s “yow” anywhere.
Slowly at first, and then with a tornadic gush, Brian Eno and Karl Hyde begin this collaborative journey. “The Satellites” begins with an almost imperceptible pulse, then synth and sax tangle and untangle — creating an undulating dissonance, before there emerges from these whispers a canny amalgam of Eno’s ambient ruminations and Hyde’s Underworld electronica.
Beyoncé’s eponymous fifth album took many by surprise with its release on December 13 via iTunes without any hype or promotion, but perhaps what’s most surprising – and exhilarating – about this release is the actual music
Hall and Oates’ most recent No. 1 single started as an experiment with a new synthesizer. It ended up atop the Billboard Hot 100 for two weeks in December 1984, and — amazingly — appeared on four other charts, as well.
James Hrabak turns the suddenly resurgent shoegaze subgenre on its heels, then shoves it out on the dance floor, with a new self-titled, beats-focused EP.
A Katy Perry song is a lot like a fast food hamburger. Generally crafted by more people than necessary, it feels crafted a sort of bland perfect with just the right amount of pre-weighed toppings.
I’d like to say that Lady Gaga (or is it Stefani Germanotta now?) is a very interesting person, making a bold attempt to fuse art with pop music, a resurrection of Pop Art…but I just don’t see it.
When Justin Timberlake returned earlier this year with The 20/20 Experience, one of music’s greatest showmen displayed his unflustered allure and delivered 70-plus minutes of “supper club experience complete with plenty of bubbly.”
As Earth Wind and Fire nears the two-decade mark without Maurice White as an every-day presence, it’s issued a return-to-form new disc — though their thoughts remain with the group’s founder.