“It’s really about me trying to balance these worlds – where I used to be and where I am today – from all different angles... This album was therapy for me. I was looking at myself in the mirror and trying to figure out who I really am.” -Lamar
An elegy for his mother, Stevens' strong songwriting and pretty, fragile vocals creates an immersive, haunting listen.
“With this record, I needed to extract myself out of this environment of make-believe... It's something that was necessary for me to do in the wake of my mother's death—to pursue a sense of peace and serenity in spite of suffering. It's not really trying to say anything new, or prove anything, or innovate. It feels artless, which is a good thing. This is not my art project; this is my life.” -Stevens
This past summer, I was listening to Kamasi Washington's ambitious, glorious, scrumptious years-in-the-making jazz tapestry and was stopped cold by a particular track: "The Rhythm Changes." It's cheesy to say, but the song changed everything--simply life-affirming.
“I was always getting put in these situations where all this stuff I learned in jazz didn't really apply. Jazz is like a telescope, and a lot of other music is like a microscope.” -Kamasi Washington
"Elevator Operator," a jaunty, conflicted, slightly sardonic and sad rock tune is the perfect opener for this striking album from Melbourne-bred Courtney Barnett. "Depreston" is another highlight with its haunting details of gentrified renovation that manages to be both gloomy and hopeful.
"I don't write my songs with the idea of connecting to other people, but I'm glad that's happened." -Courtney Barnett
Amason - Sky City
This atmospheric debut from Swedish front Amason is full of catchy art pop hooks and a plaintive breeziness.
"Everything beyond getting together felt like a bonus and made everyone feel really relaxed. It's not like people don't scrutinize their own decisions or those of others, of course, but that's both good and bad. The feel of this band is, "Whatever happens, happens." There's not too much brain activity engaged. It's just like, meet up in the studio, jam, and if we like what comes out we'll release it, and if not, we won't. It's not very thought out at all, which is nice. I have other projects and I've made music in other situations where it was rather the opposite. You have to be so clever about things all the time and that fits sometimes but it doesn't necessarily make the music better." -Petter Winnberg
The Weeknd has been around for a while but broke out in the mainstream with three golden singles: "Earned It" from Fifty Shades of Grey, "The Hills"and the ubiquitous MJ-inspired "Can't Feel My Face" (co-written with pop mega-helmer Max Martin) which ruled summer house parties and airwaves. The full-length LP is a masterpiece of slick production and smoky bedroom tracks and Tesfaye's splendid vocals.
“Alternative R&B is in my soul. It’s not going anywhere. When I put out songs from House of Balloons in 2010 people said I made R&B cool again. I’m assuming that’s when the label was created. I feel honored that a good part of today’s music is inspired by it, consciously or subconsciously. The only way I could have done that was to be ambitious and grand. That’s what I want to do with Beauty Behind The Madness. I want to make pop cool again, and the only way I can do that is by being ambitious and grand.” -The Weeknd
