What do you think when you think horror? A rated R flick that tries to scare the daylights out of you? Recently, rated R has become a dying art replaced by PG-13, a much bigger and more profitable demographic. But does it work? It does in The Haunting (1963) (rated G) and Lights Out (recent PG-13 flick) but doesn’t always, as with the 2014 film Ouija.
Swedish, indie pop-rock group Radio Dept. walks the line between complacent and passionate. Their sound in Running Out of Love, released this October, mixes easy to listen to harmonies with fast paced, energetic beats and shocking lyrics. The three merge to unpack social frustrations. With an eerily calm tone, their lyrics call to mind serious issues and leave them unresolved.
Jimmy Eat World’s newest release, Integrity Blues, weaves its way through nearly every subgenre of alternative in 11 songs. It’s got a little bit of progressive rock, a chunk of emo, a healthy dose of pop and a block of dark electronic. It’s diverse, well rounded and flows pretty well. It’s not completely cohesive, but moves through its different phases as gracefully as possible. The first phase is poppy and catchy.
Right off the bat, I want to let you know that I’m not going to review this new record, Atrocity Exhibition by the Detroit rapper Danny Brown, objectively. Danny Brown is my favorite rapper of all time, I’m disposed to review this record positively, and it’d be dishonest to pretend otherwise. I also want to let you know that even though Danny Brown is a great, great rapper, he’s also extremely transgressive and sometimes difficult to listen to; his music is so weird that it inspires obsessive love in some while alienating many more. Accordingly, Atrocity Exhibition is as uncompromising and bizarre as it is brilliant. Danny raps in a nasal, high-pitched squeal that mimics the effects of stimulant abuse, and his music is dissonant, arrhythmic and stressful.
Nine days remain until Joyce Manor release their fourth LP, Cody. In the six years since their 2010 Split with Summer Vacation, the pop-punk/emo quartet has matured in a familiar trajectory. The group toned down the blunt twenty-something angst of their 2011 self-titled debut, added in power-pop motifs and continued putting out unpretentious vignettes through 2012’s Of All Things I Will Soon Grow Tired and 2014’s Never Hungover Again. “Fake I.D.,” the first single off of Cody (slated for an October 7 release), resembled the Brit pop-inspired “Heated Swimming Pool” far more than any of the group’s latchkey SoCal musings. I freaked a little when I first heard it, to be honest.
Glass Animals’ sophomore album, How To Be A Human Being, presents a bold expansion from the intimate and smooth vibes in 2014’s ZABA. The band has had a distinctive sound since they released their first EP, Leaflings, in 2012. That sound has carried with them through their second self-titled EP and first album. Unlike the cryptic lyrics on ZABA that better communicated feelings than messages, each track on this album tells a story inspired by hundreds of recorded conversations with real people that the band met on tour. These conversations were distilled into the 11 fictional characters featured on the album artwork.
I’m no Death Grips stan (à la Anthony Fantano), but I am someone who has genuinely liked all the music they’ve put out. After every release, though, there’s a little voice in the back of my head that wonders if MC Ride, Zach Hill and Andy Morin are fucking with us. Do they really believe their abrasive industrial x noise x hip-hop hodgepodge is good music, art or both? Or are they sitting in Sacramento, laughing at their legions of hyperdedicated fans for falling for their joke? Either way, they’re smarter than all of us.