Tag: Album

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The Smile’s Tom Skinner Announces New Live Album, Shares Song: Listen – Warungku Terkini

In 2022, Tom Skinner of the Smile released the solo album Voices of Bishara. He’s now readying a live album called Voices of Bishara Live at “Mu”. The full-length arrives on May 10, via International Anthem, and features the musician and his ensemble’s performance of the 2022 album’s tracks and more. Below, listen to a live take on Abdul Wadud’s 1970s composition “Oasis.”

Skinner, woodwinds players Robert Stillman and Chelsea Carmichael, cellist Kareem Dayes, and bassist Tom Herbert recorded their new album live at London’s “Mu” in January 2023. The ensemble will perform again at the venue in May.

Revisit “How Chicago Label International Anthem Is Rewriting the Rules of Jazz” on the Pitch.

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Tom Skinner: Voices of Bishara Live at “Mu”

Tom Skinner: Voices of Bishara Live at “Mu”

Voices of Bishara Live at “Mu”:

01 Biashara (Live)
02 Red 2 (Live)
03 The Journey (Live)
04 The Day After Tomorrow (Live)
05 Oasis (Live)
06 Camille (Live)
07 Happiness (Live)

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Future / Metro Boomin: We Still Don’t Trust You Album Review – Warungku Terkini

Earlier in their careers, Future and Metro Boomin always sounded committed to bringing the best and the weirdest out of each other. The menace in the pits of Metro’s beats matched Future’s drug tales and bouts of dead-eyed hedonism, and darker, stranger variants on that chemistry kept things exciting. Whether it’s the seething snap of an “I Serve the Base,” the creaking minimalism of a “My Collection,” or the fidgety pomp of a “Jumpman,” the duo always pushed the boundaries of mainstream trap in seedier directions.

And that was the biggest issue with their first official collaborative album We Don’t Trust You. They still crafted a few mean sleeper hits, but outside of the rich-guy rapper beef simmering in between the lines, their edges had dulled. For all the buildup, too many of those songs took the Capital-R Rap Album prompt too seriously, rehashing old ideas in grander, blander ways. The double-disc sequel album, We Still Don’t Trust You, is a more encouraging heel turn. Future and Metro sharpen some of that bite by bringing their ears to a brighter, slightly sappier space.

It’s still familiar ground for both of them. Future, in particular, is back in the emotional headspace that fueled so much of HNDRXX, swirling between flexing from his throne and lovesick come-ons. He still relishes playing the villain on occasion—“One Big Family” is about juggling upwards of 20 women at a time, three of whom share the same name—but there’s just as much tear-soaked reflection over exes and post-coital shopping sprees. On the neon-bright “Drink N Dance,” he croons about racing Maybachs and throwing lavish sex parties in Abu Dhabi like he just found a rare foil Pokemon card. Later, on “Mile High Memories,” he’s looking for silver linings in a lover who might be doing him dirty, belting “You can fuck on him as long as you thinkin’ ‘bout me,” trying and failing to sound above it all. It isn’t often that Future gets the short end of the stick, and hearing him jump between player and patsy, sometimes in the same song, remains electrifying.

For Metro’s part, he’s actually found a way to turn the Achilles’ heel of his post-COVID output—production that sounds too polished and anonymous—into a strength. The title track veers toward synth-pop that wouldn’t sound out of place on The Weeknd’s Dawn FM, complete with Abel mocking his old label OVO in falsetto (“They shooters making TikToks!”). Several songs dip into various shades of R&B, from the new-age Isley Brothers smoothness of “All to Myself” to “Gracious,” which sounds like a stripped-back version of the kind of plugg&b that Summrs or Highway would drool over.

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The Waterboys: This Is the Sea Album Review – Warungku Terkini

When the Waterboys founder Mike Scott was a teenager living in Edinburgh, he published a fanzine called Jungleland. The sixth issue, which came out at the end of 1977, had Richard Hell on the cover and teased articles about the Sex Pistols and Graham Parker. That Scott named his zine after the final song on Bruce Springsteen’s album Born to Run suggested that the angry energy of punk—a force that exerts an outsized pull on the young—was tempered by a yearning spirituality. For Scott, music offered a portal into a new way of seeing the world, one charged with romance, something you could get swept up in, where life seems so full of excitement and possibility it’s like a swelling container just about to burst.

Another coverline for “Jungleland” No. 6 is Patti Smith. When the Patti Smith Group came to London while touring Easter in 1978, Scott, on a hunch, called the hotel where he thought the singer might be staying and asked to speak with her, and the front desk patched him through. He asked if she’d received a package of zines he’d sent (she hadn’t), and after a brief chat she invited him down to London to cover the show. He took the train down, met his hero, hung out with her band, befriended her guitarist, Lenny Kaye, and stayed in a room in the fancy hotel she had arranged. Five years later, when Scott placed an advertisement in the NME classifieds seeking bandmates, he described what he was looking for:

THE WATERBOYS REQUIRE LEAD/RHYTHM GUITAR PLAYER. 18-24. Ability, own style, and appreciation of Patti Smith essential.

A few additional data points to help us understand Scott: When on holiday with his mother to London at age 16, he popped into a studio advertised in Melody Maker and recorded a version of Bob Dylan’s “Like a Rolling Stone,” playing most of the instruments himself. He wanted to see how records were made. Scott’s first band was called White Heat, named after Lou Reed’s song, and the name of the Waterboys was taken from a line in Reed’s “The Kids,” from Berlin. Other fixations during his youth were David Bowie and Van Morrison.

So that’s Dylan, Patti, Bruce, Van, Lou, Bowie, and punk rock—inspirations that all seemed in conversation with one another. Springsteen was once the New Dylan, and Patti was taking rock’n’roll poetics into strange places; Bruce and Patti had met each other in song on “Because the Night”; Springsteen’s second LP was deeply indebted to Van Morrison, and Patti had of course had transformed “Gloria,” the signature tune of Van’s early days, on her album Horses; Bowie had covered Reed and Springsteen both, and was, like the latter, punk rock royalty; Springsteen had shown up on Reed’s “Street Hassle.”

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J. Cole: Might Delete Later Album Review – Warungku Terkini

Evidently, J. Cole is not the kind of rapper he would like to be. Since the beginning of his career at the peak of the blog era, the North Carolina native has staked his reputation on being an out-and-out, bar-for-bar rapper’s rapper, the model for the genre, the control in the experiment. Though a talented singer with a pliable voice, he’s always been reverent (sometimes to a fault) of legends from the 1990s and early 2000s, writing about his life in long, mythic arcs and dotting his albums with radio singles that are anchored by neuroses and character details seeded on his earliest mixtapes. He delivers all of this in a manner designed to clear space for determined bursts of setup-punchline showmanship—a magnetic mode if you can hack it. Cole often cannot.

Might Delete Later, released as a “mixtape” without warning last week, exists solely to underline this competitive streak in Cole’s music. How else are we to receive a record that, in lieu of a single, took shaky aim at Kendrick Lamar, who had very lightly jabbed at Cole on Future and Metro Boomin’s “Like That” weeks before? But this past weekend, less than 48 hours after its release, Cole went on stage at his own Dreamville Festival in Raleigh and apologized to Kendrick for “7 Minute Drill” and its clot of repurposed Jay-Z bars and creaking metaphors (“Fly pebbles at your dome, we the Stone Temple Pilots”; “He still doing shows but fell off like the Simpsons”), calling it “the lamest shit I ever did in my fucking life.” Maybe! What’s certain is that Might Delete Later makes good on its dated title as a record that, for reasons apology-related and not, seems to negate itself in real time.

Both would-be singles, “Fever” and the Bas-featuring “Stealth Mode,” feel like half a record abandoned before being rounded into its ideal shape. (The former is slinking and still mostly effective, especially after it recovers from a clumsy opening line that for a second recalls his infamous, room-clearing verse on Jeremih’s “Planez.”) Elsewhere, attempts at verbal pyrotechnics become indistinct: By the middle of “Huntin’ Wabbitz,” his flow has settled into a sleepy seesaw, and his boasts about being “too locked in” don’t read quite the way they’re intended.

And still, Might Delete Later has plenty of compelling elements—rhythmic, textural, even personal. Opener “Pricey” is weighed down by an unnecessarily frilly interlude and equally strained references to John Gotti and Rick and Morty. But its drums sound like they’re dragging themselves through quicksand, and Cole darts nimbly through them. A track later, on “Crocodile Tearz,” he’s rapping through his teeth in a way that makes him sound more composed and more menacing than nearly ever before; “H.Y.B.” is an exceedingly rare thing, a subtle integration of drill’s wobble into a less industrial sound palette. On “Stickz N Stonez,” The Alchemist provides the sort of irresistible hop that forces rappers to snap upright and find new pockets.

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Wisp: Pandora EP Album Review – Warungku Terkini

No one can tear TikTok scrollers away from their cherished dust bunny shoegaze—not fatigue, not the U.S. Senate. Gen Z loves the ashen ’90s rock subgenre as dearly as a worn pair of Uggs, and through TikTok, they’ve helped facilitate its contemporary revival. But if every teen were suited to spreading the good word, there’d be fewer paintings of Joan of Arc. Not everyone can have the reach of 19-year-old Natalie Lu, known as Wisp, whose 2023 debut single “Your face” led to thousands of TikTok plays and, now, Interscope releasing her first EP, Pandora.

For a while, “Your face” inspired people to post sullen slideshows demanding romance and videos lusting after pink supermarket cookies. The song, currently approaching 50 million Spotify streams, is a spring storm; its vocals sound soaked and distant like a lost dove or Deftones, and its guitar parts are made of chilled spiderwebs or Souvlaki. The months passed. Wisp assured fans that she was “a broke college student,” not an industry plant, and then she got signed. Now her TikTok and Instagram are full of shades of blue and angel wings—world-building for Pandora, which includes “Your face” and other delicate acts of shoegaze worship. But Pandora never becomes more interesting than that.

So every song on Pandora expertly fries its wistful melodies and Lu’s breathy voice hangs over them like a snowdrop. “See you soon” starts with the sound of the whistling wind and ends with Lu swearing, “I’d give all the stars to see you soon.” It creaks and stings—it does feel good to listen to. The most attractive aspect of shoegaze is how it takes shiny, sexy things—sports car guitar riffs, thunderclap drums, Kazu Makino’s singing voice—and covers them in pond scum. The point of this sopping-wet distortion is to make you believe you have an anonymous valentine: You don’t need the glamor of rock’n’roll, because restraint is more impressive.

But shapeless repetition… not so much. That’s the issue with a cotton-ball wall of sound like “Enough for you,” which follows “Your face” and is generally indistinguishable from it. Like the rest of Pandora, “Enough for you” floats on Lu’s windchime vocals and a loose guitar loop; it sounds like untwisting a Twizzler, and that’s about as deep as it goes. “Your eyes gaze into mine/But sparks don’t seem to fly,” Lu exhales like she’s sleep-talking. Another sweet nothing on an EP frosted with them.

But what about the other things—the painful things, the rejection, the dark nights and sinister crows—that Wisp’s favorite references, bands like Have a Nice Life and Whirr, turn into unforgettable art? Pandora doesn’t touch them. The EP has a filter on, reusing only the prettiest parts of shoegaze without expanding on it. That’s the point of a lot of music on TikTok, to be fair—to luxuriate in evocation. It won’t progress a genre or your life, but few things do. No need to quit your daydream. There’s love in it, at least.



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Mount Kimbie: The Sunset Violent Album Review – Warungku Terkini

Mount Kimbie are once again seeking transformation. Over the past 15 years, the UK duo of Dominic Maker and Kai Campos have swerved from post-dubstep to post-punk, techno to R&B, ambient garage to lo-fi pop, releasing DJ mixes and double albums, collaborating with James Blake and Jay-Z and King Krule and Travis Scott. Now they’re back with something slightly different: a gritty, shoegazy, post-rock album called The Sunset Violent. With help from new bandmembers Andrea Balency-Béarn and Marc Pell, Mount Kimbie dust off their guitars and turn up their distortion, hoping to become Stereolab for a new generation, an electro-rock outfit whose work is as familiar as it is obscure.

The road to Mount Kimbie’s revised sound has been winding. As underground electronic producers in the early 2010s, Maker and Campos’ experimental flair punctuated otherwise minimalist compositions: a time-warped acoustic guitar behind glassy ambient pads, arhythmic drums around synth keys. Their most recent album, 2022’s MK 3.5: Die Cuts | City Planning, branched off into hazy R&B and hip-hop before morphing into muted, dubby club beats. Their defining work remains 2017’s Love What Survives, a new-age post-punk record heavy on overdriven guitars and grainy synths, a style well-suited to Maker and Compos’ habitual muffled abstraction.

Sleeker and safer than its predecessor, The Sunset Violent similarly provides a sturdy backdrop of fuzzy guitar and Korgs for Balency-Béarn and Maker’s melancholic vocals. The newly constituted four-piece sounds like if Sonic Youth or Young Marble Giants were wizards with the DAW, a band whose songs play like richly detailed dreams whose meaning may leave you scratching your head.

The strongest songs sparkle with a morose charm. On “Dumb Guitar” and “Shipwreck,” Balency-Béarn’s plainspoken singing wafts over murky lounge-pop, giving The Sunset Violent some much-needed friction. “Every day we’re eating out/Another date I’ll kill myself,” she deadpans on “Dumb Guitar.” Her wistful, unadorned voice is the closest thing the album has to an emotional center, especially with Maker playing the guileless sidekick role Oliver Sims perfected in the xx. It’s jarring to hear how much more alive King Krule’s baritone sounds on “Boxing” and “Empty and Silent,” how much defter his pen—a stunning feat for such a famed curmudgeon. Sometimes The Sunset Violent searches high and low for a pulse and just comes up empty.

Maker’s at his most confident on the spectacular “Fishbrain,” a song that blisters with bitterness and regret. The writing is cryptic but sharp, featuring fractured lines about bridges falling and “running out of films” to watch. When Mount Kimbie align their songcraft with a tension, a feeling, a perspective—no matter how prosaic or subliminal—their songs soar. It’s when they languish in repetitive patterns and dry melodies, like on “Got Me” and the opening half of “A Figure in the Surf,” that they’re yanked back to earth.

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Beyoncé Earns Eighth No. 1 Album With Cowboy Carter – Warungku Terkini

Beyoncé has topped the Billboard charts once again. Cowboy Carter debuted at No. 1 on the Billboard 200, marking the biggest sales for an album so far in 2024, and No. 1 on the Top Country Albums chart, making Beyoncé the first Black woman to ever debut at the summit, reports Billboard. This is the eighth time Beyoncé’s had a solo album reach No. 1 on the Billboard 200 albums chart, too, breaking the previous record for a female artist to do so – set by herself with Renaissance in August 2022.

Cowboy Carter debuted with 407,000 equivalent album units earned in the U.S. in the week ending April 4, according to Luminate. Of that number, 232,000 units are from streaming (which Billboard notes was Beyoncé’s biggest streaming week ever), 168,000 are traditional album sales, and 7,000 are track equivalent albums. All of those helped Cowboy Carter scoop up the best sales week for a country album since last July, when Taylor Swift’s Speak Now landed at the top with 716,000 copies.

After teasing the album as Act II with a Verizon commercial following the Super Bowl LVIII game, Beyoncé shared just two songs from Cowboy Carter: “Texas Hold ’Em” and “16 Carriages.” Dolly Parton, Willie Nelson, and Linda Martell make guest appearances on the album, while Miley Cyrus, Post Malone, and Tanner Adell all sing on tracks. Beyoncé recently shared the full list of credits for Cowboy Carter, which notes additional collaborations with Pharrell Williams, Jon Batiste, Nile Rodgers, Raphael Saadiq, Jay-Z, The-Dream, and Ryan Tedder.

Beyoncé covers the Beatles’ “Blackbird” and Dolly Parton’s “Jolene” on Cowboy Carter. Paul McCartney praised her cover of the 1968 ballad, saying, “I am so happy with Beyoncé’s version of my song ‘Blackbird.’ I think she does a magnificent version of it and it reinforces the civil rights message that inspired me to write the song in the first place.”

Renaissance, the seventh studio album by Beyoncé, came out in July 2022. It was originally billed as Act I: Renaissance, implying future releases would follow suit. While the album never got traditional music videos, there was a “cliquebait” clip for “Break My Soul,” a “brand campaign anthem film” for Tiffany & Co. featuring “Summer Renaissance,” and a concert film that played in theaters worldwide. Renaissance: A Film by Beyoncé was the No. 1 movie in the U.S. during its debut weekend and, as of January 11, raised over $44.4 million worldwide.

Last year, Beyoncé broke the record for the most Grammys won by an artist in the award show’s history after taking home four trophies that night. “Break My Soul” was nominated for Record of the Year, Song of the Year, and Best Dance/Electronic Recording at the 2023 Grammy Awards, but Beyoncé only won the latter, causing some controversy. On the Cowboy Carter track “Sweet ★ Honey ★ Buckiin,’” she references her storied history with the Grammy Awards, singing, “A-O-T-Y, I ain’t win/I ain’t stuntin’ ‘bout them/Take that shit on the chin.”

Beyoncé: Cowboy Carter

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TLC: CrazySexyCool Album Review | warungku – Warungku Terkini

The original concept for CrazySexyCool was simple: Women contain multitudes. The title, an amalgamation of their personalities, was a way to subvert the public’s perception of each member: Tionne “T-Boz” Watkins as the “cool” one, Rozonda “Chilli” Thomas as the “sexy” seducer, and Lisa “Left Eye” Lopes herself supposedly “crazy.” She figured, rightfully, that each of them was all of those things at once. Straightforward enough—and yet some of the album’s male producers initially missed the point about the self as a many-layered construct. “They’d do a crazy song for me, a sexy song for Chilli, and a cool song for Tionne,” Left Eye told Vibe in 1994. “We had to explain that CrazySexyCool doesn’t just describe us individually. It describes all the parts of every woman.”

Each member of the Atlanta R&B trio had a distinct role, but the point was how they all came together. T-Boz was raspy and matter-of-fact, her jazz-like vocal style centering tone and swagger over power and clarity. Chilli was the closest to traditional R&B, imbuing their songs with quiet-storm sultriness. Left Eye was the rebellious poet who rapped, sang, and came up with many of their musical and visual concepts.

It was Left Eye who suggested the group pin condoms to their clothing and tape them over her own eyeglasses to promote safe sex, a laudable fashion statement that came to define their anything-goes credo as artists. As with their predecessors Salt-N-Pepa, none of TLC’s messaging in their songs, visuals, or outfits seemed scripted or telegraphed. Unlike in the typical girl group, no one member was ever elevated over another. Their individual styles merged seamlessly because they played off each other’s strengths, making the whole greater than the sum of its parts.

Their 1992 debut album, Ooooooohhh… on the TLC Tip, presented the trio as sexual and independent twentysomething women who allowed themselves to be goofy, improper, and a little bit messy on their own terms. The critical success and triple-platinum sales of that album positioned TLC as role models for younger listeners and pop industry anarchists who pushed the fundamental truth that women have basic physical needs. In the video for “Ain’t 2 Proud 2 Beg,” they fired water guns and sang about sexual autonomy while sporting bright, baggy jumpsuits and kooky Digital Underground-style puffy hats, making the case for sexual expression without suppression.

CrazySexyCool was slicker and more scandalous, smoothing out TLC’s approach without losing the tongue-in-cheek wit of the debut. Its songs emphasize not just sex but pleasure in all its many forms. It’s a liberating, multifaceted view that suggests sexy doesn’t have to be raunchy or explicit alone: It can manifest itself in the movement of a serpentine sax, or the way T-Boz whispers, simply, “Yes, it’s me again” at the beginning of “Creep” like it’s foreplay.

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Pharrell Williams Quietly Releases New Album Black Yacht Rock, Vol. 1: City of Limitless Access – Warungku Terkini

It looks like Pharrell Williams has released a new album on the occasion of his 51st birthday. The 10-song release is available exclusively on BlackYachtRock.com. It’s unclear who worked on the album, but Williams’ voice is prominent throughout. It’s also not even clear what the album is called, but the cover artwork (below) suggests that it’s titled Black Yacht Rock, Vol. 1: City of Limitless Access. And maybe that it’s by a group called Virginia. In any case, head to the website to find the album.

Williams has not promoted the album, but that hasn’t stopped his friends and collaborators from celebrating the project. Eternal fan Tyler, the Creator posted on X, “caged bird free by virginia black yacht rock, great song.” And Pusha T shared a link to the new album on his Instagram stories.

Pharrell Williams released his second solo studio album, Girl, in March 2014. He’s shared a lot of new songs in recent years, including “Joy (Unspeakable),” “Cash In Cash Out,” “Entrepreneur,” the Miley Cyrus collaboration “Doctor (Work It Out),” and more.

Black Yacht Rock Vol. 1



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The Black Keys: Ohio Players Album Review – Warungku Terkini

Like many couples in a long-term relationship, the Black Keys decided to look outside their union for inspiration when it came time to record Ohio Players, the band’s twelfth album. No strangers to extracurricular collaborations—guitarist/vocalist Dan Auerbach practically lives at his Easy Eye Sound, producing records for Robert Finley, Hermanos Gutiérrez, Marcus King, Early James, and Shannon and the Clams in the last few years—the band hasn’t brought additional musicians into the studio since reviving their partnership in 2019 with “Let’s Rock”, a back-to-basics platter that seemed to reject the psychedelic haze engulfing 2014’s Turn Blue.

Turn Blue, like so many of the albums the Black Keys released on Nonesuch between 2008 and 2014, was co-produced by Danger Mouse, a collaborator who helped Auerbach and drummer Patrick Carney move far beyond the band’s grimy garage-blues roots. After working with Danger Mouse, the Black Keys prized production—the tactical, physical sound of a record—as much as the song itself, an aesthetic that carries through to Ohio Players. Pointedly avoiding the expansive exploration of their Obama-era albums, the Black Keys instead rely on the bag of tricks they’ve developed over their career intent on creating interesting juxtapositions from familiar sounds.

Sonically speaking, there’s nothing about Ohio Players that feels unexpected. It’s a bustling concoction of fuzz-speckled riffs, funky rhythms, sweet harmonies, tart hooks, and spectral keyboards, the kinds of refurbished retro-rock that are not only the band’s stock in trade but Auerbach’s signature as a producer. Even the presence of rappers Lil Noid and Juicy J on “Candy and Her Friends” and “Paper Crown” recalls Blakroc, the duo’s 2009 excursion into rap-rock, yet the fact that Black Keys have explicitly carved space for hip-hop on Ohio Players goes a long way in explaining why the album doesn’t feel like a retread. Instead of siloing their interests, the group synthesizes them, making a record that feels lively, fresh, and colorful.

To that end, Beck is the crucial collaborator on Ohio Players. Half of the album’s fourteen songs bear a Beck co-writing credit and his presence is felt throughout, whether it’s his lead vocals on “Paper Crown” or how the very sound of the record is pitched halfway between the dense collage of Odelay and the vibrant neo-soul of Midnite Vultures. The Black Keys may follow Beck’s genre-bending lead—the lithe “Candy and Her Friends” bears his imprint but it’s the only song Auerbach and Carney wrote on their own—but they never give the impression of an ironic distance. There’s a reason why a sumptuous cover of William Bell’s slow-burning Stax classic “I Forgot to Be Your Lover” resides smack dab in the middle of Ohio Players: Underneath all the stylish clamor, the Black Keys remain anchored in classic soul.

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