Repetitions may be de rigueur in electronic and dubstep, but in the case of “Sea & Saltwater,” they always come with an extra push over the cliff. Listen to the new single from A Problem Like Maria here.
“[This album] showcases my songwriting style more than ‘be/ep,’ as well as my actual voice, which I’m not so afraid of utilizing less as a production tool and more as the actual highlight of a song. Honestly, I think it’s just me growing up and taking risks.” In which we talk to BP Valenzuela in the days leading to the release of her first full-length.
DJs aren’t simply back en vogue now; they’ve always been around, disproving naysayers time and again by pushing their craft. They get a well-deserved shout-out through a photo book set to launch Thursday, March 26, at Valkyrie.
In her independent debut, TV darling Glaiza (yes, just the first name this time) channels everything from shoegaze to Yeah Yeah Yeahs-style dance rock to sweet-as-candy Harriet Wheeler. Our review here.
Demi’s “Get on Stage” straddles a hair-thin line: does it merely conjure a period, or is it dated? No matter, the track features enough classic rock pyrotechnics from the Zep-AC/DC canon to hold your attention. Listen.
Though invariably pigeonholed as the country’s answer to Tony Bennett, Arthur Manuntag is, in reality and without paradox, a jazz-vocal original. Take a gander at Richie Quirino’s Q&A from a while back.
"[Acid jazz has come to mean music that tries] to get a little bit more funk, a little bit more edge, a little bit more acid, or corruption, inside the thing, that tries to mix this thing up and corrode it a little bit," Bluey Maunick and the rest of Incognito tell Planet Jazz. Read more here.
From “Big Girls Don’t Cry” to “Can’t Take My Eyes Off of You,” you can’t help but bop your head to these tunes and just feel uplifted. Karl R. de Mesa weighs in on the Frankie Valli-propelled OST for the Clint Eastwood-directed “Jersey Boys.”
Desplat’s “Budapest” OST has both the polish of an old-school gentleman’s shoes and the grime of gunpowder that presages its descent into filth. Echoes his work on “Mr. Fox” and “Moonrise” but with a definite, uncompromising edge.
“[Alexandre] Desplat was going for a brutish kind of direct aesthetic instead of continually beating around the bush,” Karl R. de Mesa writes about the score for “Godzilla,” which is “as stupidly big” as the beast in question.
"Henry Jackman's rousing score hits the bull's eye [and] provides an aptly paranoid and gloriously over-the-top accompaniment to the Captain's brave new world." Writer Karl R. de Mesa weighs in on the OST of the new Cap movie.
"For his ambition alone, [Nathan] Furst gets high marks as he tries to outdo his own previous B-movie efforts with his debut into the big screen's film-score elite." Our man Karl R. De Mesa on the music and score for "Need for Speed."