Chicago songstress Ravyn Lenae collaborates with The Internet’s Steve Lacy to deliver an EP brimming with intoxicatingly confident vocals over futuristic funk beats – a combination well-suited for arriving the week before Valentine’s Day.
Ought embraces a more accessible sound while staying true to art-rock roots on Room Inside the World
On their third full-length LP, the Montreal post-punk revivalists have produced their most nuanced and melodically inclined album to date.
Fresh off hiatus, The Dangerous Summer’s comeback has generated a pleasantly surprising amount of hype within the scene. Their self-titled was released on January 26, 2018 through Hopeless Records, and general response to it has been positive, albeit far from glowing.
There is no denying Yung Lean has evolved as an artist. From his beginnings with “Ginseng Strip 2002” to his latest mixtape Frost God, it has been hard to pin…
On February 2, Rhye finally released his long awaited sophomore album, Blood, five years after releasing his notable debut, Woman. Similar to Woman, Blood‘s cover art features Milosh’s newest musical…
This piece is about SATURATION III, the album released on December 15th from Brockhampton (stylized BROCKHAMPTON). For more on the boy band and their rise to prominence, please see WRVU’s In-Depth Look: Who is BROCKHAMPTON?
Continuing their trend of putting out an album every year, Vulfpeck delivers with their 6th studio album Mr. Finish Line. Featuring 13 different artists throughout the ten-track-long album, the result is a stellar smorgasbord of pure funk-rock heaven that any fan of Vulfpeck’s previous work will be more than happy to bop along to.
You listened and voted and now it’s time to announce the 2017 WRVU Nashville Album of the Year!!
And the winner is……………………………………………………………………………………………………………………..
2017 Album of the Year ROUND TWO is here!! The TOP 4 will be sent out January 5th to determine a winner! Vote Now! Choose your Top 4 albums of…
The Greatest Gift, Sufjan Stevens’s new mixtape — consisting of outtakes, remixes, and demos from his 2016 studio album Carrie & Lowell — is equal parts haunting and beautiful.
It’s been twenty-seven years since the formation of the seminal Massachusetts metalcore outfit Converge, and twenty-three years since their first album. When bands this heavy and aggressive stay around for…
In the 1970s, prolific musician, composer, and producer Brian Eno helped to define the budding genre of ambient music. Throughout the decades, Eno has continued to deliver quality experimental music,…
Despite some wonderful hedonic highlight tracks, Super Slimey runs into the same issue many projects by prolific trap rappers suffer from: a lack of time and effort. It’s still enjoyable.
Primitive Man is a band that’s always specialized in creating dense, incredibly harsh textures. 2013’s Scorn, the band’s debut full length, is about as sonically oppressive and ugly of an album as you’re likely to find in modern metal, and it introduced the heavy music world to Primitive Man’s unique blend of noise, sludge, death metal, and blackened doom. But believe it or not, Primitive Man just came through with an even uglier and more oppressive release with Caustic.
I guess I missed the day in class when we learned that “Going Grey” was synonymous with “Selling Out,” but thankfully The Front Bottoms (TFB) caught me up on that lesson with their album release earlier this month. Gone is the TFB known for their trademark gritty sound, lyrical depth, and endearing awkwardness. The new era of TFB is under strict dictatorship by their label, Fueled by Ramen, and it definitely shows in their catchy, over-produced pop-punk album, Going Grey.
Rock music is wonderful, but do you ever get bored after listening to it all the time?
King Krule’s The Ooz starts out modestly with “Biscuit Town,” leaning more towards the jazzy, hip-hoppy, slow-talking side of his elusive persona than the urban stoner aesthetic he embodies on, say, “Bleak Bake” from his 2011 self-titled album. Its quiet and enticing first track is a good palette cleanser for the rest of the album: The Ooz meanders through a staggering hour and six minutes of pleasantly cohesive yet disparate directions, taking us from peaceful piano to ethereal cacophony and back again. It’s, in fewer words, nothing short of beautiful.
BROCKHAMPTON returned with a bang on their third release, Saturation II, off their own label Question Everything, Inc this past August 25th . The group has a sound as unorthodox as their origin story, the majority of the members having met on a popular Kanye West forum before ever meeting in real life. Coalescing under leader Kevin Abstract and taking up the all-caps moniker BROCKHAMPTON, the group of 15 moved to South Central Los Angeles in 2015 to be the next great American boyband. Following their two previous releases, Saturation II creeps, crawls, and roars its way into your sonic sphere with the youthful energy of a group of 19-23 year old men that have something(s) to say.
The World Is a Beautiful Place & I Am No Longer Afraid to Die (TWIABP) has been a powerful presence in the ’emo’ community since the release of their debut full-length album Whenever, If Ever (2013). Last week, the band released their third album, Always Foreign, a phenomenally composed album overflowing with cynicism, chaos, and an unadulterated sense of vulnerability.
“She’s just trying to reach you,” Protomartyr singer/lyricist Joe Casey chants at the climax of “A Private Understanding,” the opening track on the Detroit post-punkers’ fourth album Relatives in Descent.
In the midst of chaos, Knox Fortune offers us a refuge in Paradise with his debut album. The Chicago singer/songwriter/producer is perhaps best well known for his hook on Chance the Rapper’s “All Night,” but on Paradise, he shows he can stand alone in authentic style, production and lyrics.