Psychodelische Vibes, Elemente akustischer Instrumente und absolute Gänsehaut Vocals vereinigen sich hier zu einem einzigartigen Hörerlebnis. Ihre Musik wirkt um so mehr Zeitlos, auch nach Jahrzehnten.
eine Hammond-Orgel und verkopfte Arrangements die an rauchig avantgardistische Singer/Songwriter-Loungemusik denken lassen.

“Illicit Affairs” builds to what seems like it will be one of the singer’s trademark middle-eight tone shifts, only to end abruptly without resolving into another chorus, enhancing the sense of finality in her dressing-down of a former lover.

Denn der Reiz dieser Musik erschließt sich nach und nach.

The production of these songs, like much of the rest of the album, is unhurried, allowing Aminé to enunciate words fully, the percussion patiently churning and the guitar lines slowly strummed.Aminé isn’t quite as good a singer as he is a rapper, and certain songs, like “Compensating” and “Riri,” feel encumbered by their repetitive hooks. Halfway through, though, the track pivots to a spry midtempo shuffle, transforming into a deceptively hopeful tribute to personal independence: “I’m in love with my future/Can’t wait to meet her.” During a period in history when time itself seems to have come to a halt, and the future is uncertain, the song’s lyrics smack of irony: “I know supposedly I’m lonely now/Know I’m supposed to be unhappy without someone/But aren’t I someone?”Eilish gets even more animated in the music video for “My Future.” The clip, directed by Australian artist Andrew Onorato, is bathed in cool blue tones before a rainstorm gives way to a more colorful palette, matching the song’s shift in mood and tempo.

DAS ist Triphop. November 2, 2002.

But when Bethea pulls the ripcord on that heavy bottomless-pit tremolo effect for the dramatic moments, it nearly makes up for it.Still, that also means that there’s not much to latch onto beyond Miller’s melodies and lyrics, both of which are entirely shopworn but at times winsome nonetheless. It also evokes nostalgia of another sort: Along with “The Birthday Democrats” from 2017’s The band continues to be unmatched at tackling the biggest questions with a profound, heart-wrenching intimacy.As such, Oberst’s return to Bright Eyes after nearly a decade is no small gesture. )In melding traditional hip-hop form with just the right amount of modern trap verve, The album makes room for evocative, sensory lyrics and sonics that verge on the cinematic, but it also spends a lot of time on the mundane.The standout “Your Love (Déjà Vu)” perfectly encapsulates this threading of the needle, pairing twirling flute and celebratory, horn-like synths with lyrics such as, “I know you want one more night/And I’m backsliding/Into this just one more time.” The relationship described on the song is a momentary fix whose dwindling potency is conveyed by Glass Animals in such a way that suggests time is running out and that they’re making the absolute most of it.The singer’s new single is a deceptively hopeful tribute to personal independence.Like that song, “My Future” starts off as a dreary but gorgeous dirge, with Eilish’s soulful, layered vocals stacked on top of atmospheric keyboards.
He got sober five years ago, which he does address on The track has been transformed from a midtempo pop-funk earworm into a sleek electro-disco gem.Remixed by DJ/producer the Blessed Madonna (formerly the Black Madonna), who also helped curate and mix the entire album, “Levitating” finds Lipa trading verses with Madame X and fellow genre-bender Missy Elliott, whose early-aughts brand of hip-hop famously blurred the lines between rap, R&B, and dance. As for the titular sweater, it apparently serves as a metaphor for an artist whose love life bears the marks of more than a little wear and tear: “When I felt like I was an old cardigan under someone’s bed/You put me on and said I was your favorite.”Our Preview Section Is Your Most Complete Guide for All the Films Coming Your Way SoonInterview: Alejandro Jodorowsky on Psychomagic, the Theater of Cruelty, and MoreWe’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, consider becoming a SLANT patron, or making a PayPal We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, consider becoming a SLANT patron, or making a PayPal We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, consider becoming a SLANT patron, or making a PayPal We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, consider becoming a SLANT patron, or making a PayPal We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, consider becoming a SLANT patron, or making a PayPal We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, consider becoming a SLANT patron, or making a PayPal We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, consider becoming a SLANT patron, or making a PayPal We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, consider becoming a SLANT patron, or making a PayPal We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, consider becoming a SLANT patron, or making a PayPal We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, consider becoming a SLANT patron, or making a PayPal We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, consider becoming a SLANT patron, or making a PayPal This website uses cookies to ensure you get the best experience on our website. Portishead's debut album, Dummy, popularized trip-hop, making its slow, narcotic rhythms, hypnotic samples, and film noir production commonplace among sophisticated, self-consciously "mature" pop fans.The group recoiled from such widespread acclaim and influence, taking three years to deliver its eponymous second album. Gespenstig abgründige Musik die von der jazzigen Stimme Beth Gibbon's in die Tiefe gerissen wird um sogleich wieder ans Licht zu dringen. Und stets in Dauerschleife.

Überzeugte Optimisten und exreme Gute-Laune Menschen werden sich wohl kaum an dieser Musik verlieren.

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