Some people turn to relaxing music in a crisis. Others need chaos to drown out everything else. I need both, preferably at the same time.
Gomez’s songs fit standard teenpop/R&B codes while excising the genre’s usual false cheer to achieve a cold minimalism.
Casino’s instrumental music often projects an initial illusion of formlessness, all the better to surprise you with sneak details later.
I haven’t played the game Death Stranding, but I know one thing: The score, composed by Ludvig Forssell for prepared piano, synthesizer, and found percussion, is beautiful.
Melding psychedelia with disco at a fast tempo, Cowley helped refine a new music genre, “Hi-NRG,” which seemed ideal to enhance the hot and sweaty vibe of San Francisco’s gay clubs.
Fans and critics will tell you that 2019 was a lousy year for consensus in rap.
The more you listen to All My Heroes Are Cornballs, the more it teaches you how to listen.
Tunes 2011-2019 suggests that Burial has not, like many musical geniuses, lost his way but rather deepened his singular sound and its capacity to reflect modern social and psychological angst.
The Brooklyn folk-rock band’s two 2019 albums invent an imagined environment with its own internal logic, a densely wooded forest with strange, benevolent creatures lurking in the shadows.
You wouldn’t know it from listening to the same old hits on Christmas radio, but every year a flood of new Christmas music hits the market.
Even on Swift’s most dramatic songs there’s an underlying calm to Lover, a sense of gratitude and relief at having made it this far.
When the world encroaches, aural blankets are comforting, but they can also function as weapons.