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	<title>EntertainmentCategory: Review &#124; Entertainment &#124; TIME.com</title>
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		<title>EntertainmentCategory: Review &#124; Entertainment &#124; TIME.com</title>
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		<title>The National Breathes Confidence on Trouble Will Find Me</title>
		<link>http://entertainment.time.com/2013/05/23/the-national-breathes-confidence-on-trouble-will-find-me/</link>
		<comments>http://entertainment.time.com/2013/05/23/the-national-breathes-confidence-on-trouble-will-find-me/#comments</comments>
		<pubDate>Thu, 23 May 2013 11:00:22 +0000</pubDate>
		<dc:creator>Megan Ritt</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[The National]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3541389</guid>
		<description><![CDATA[This post is in partnership with Consequence of Sound, an online music publication devoted to the ever growing and always thriving worldwide music scene. Confidence. Comfort in one&#8217;s own skin. It&#8217;s the difference between trying too hard and coming off as a fraud or following your own heart and rising to the top. Many a band waffles after success, making, instead, what they think the audience wants to hear. But with Trouble Will Find Me, The National&#8217;s sixth full-length studio album outlines the confidence to expand and experiment with the formula, paired with the skills to do it justice. That confidence is present from the opening salvo, where The National sets the tone and pace for the record. This consistency is a particular skill of theirs; after all, where would Alligator begin outside of &#8220;Secret Meeting,&#8221; The Boxer without “Fake Empire,” or High Violet sans “Terrible Love”? At this point, it&#8217;s an established tenet for any National album to make a proper introduction before any listener is free to roam in its ensuing universe. (MORE: A Conversation with Daft Punk) “I Should Live In Salt,” then, establishes Trouble as a comparatively upbeat place. Over balmy chords and a touch of campfire tambourine, Matt Berninger pines for redemption as he intones, &#8220;I should live in salt for leaving you behind.&#8221; Lyrically, it&#8217;s another somber affair from the bearded singer, but what&#8217;s key to note is the mood that&#8217;s conveyed through its rousing instrumentation. The angelic harmonies and those sky-searching guitar lines keep the head up, rather than staring down towards the cracked earth in disappointment. With these sensibilities in play, The National embark on a meditative journey that doesn&#8217;t necessarily eschew a sunny day. But that’s not to say that the album is without its darker moments — we’re still talking about the National, after all. Shortly after, “Demons” haunts behind its uptempo synth backbeat, to which Berninger bemoans his own pessimism: “I wish that I could rise above it / But I stay down with my demons.” The usual lyrical themes of disappointing relationships, lowered expectations, and heartbreak are prevalent here, epitomized in the smooth<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3541389&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Review</primary_category><primary_category_link>http://entertainment.time.com/category/music/review-music/</primary_category_link><letterbox>1</letterbox><featured_image>http://timeentertainment.files.wordpress.com/2013/05/81rzomwu0ll-_sl1500_.jpg?w=240</featured_image>
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			<media:title type="html">Trouble Will Find Me</media:title>
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		<title>Daft Punk&#8217;s Random Access Memories is Sleek, Bold</title>
		<link>http://entertainment.time.com/2013/05/22/daft-punks-random-access-memories-is-sleek-bold/</link>
		<comments>http://entertainment.time.com/2013/05/22/daft-punks-random-access-memories-is-sleek-bold/#comments</comments>
		<pubDate>Wed, 22 May 2013 14:35:33 +0000</pubDate>
		<dc:creator>Dan Pfleegor</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Daft Punk]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3541381</guid>
		<description><![CDATA[This post is in partnership with Consequence of Sound, an online music publication devoted to the ever growing and always thriving worldwide music scene. Random Access Memories has been echoing in the metallic domes of Thomas Bangalter and Guy-Manuel de Homem-Christo for half a decade. The sheer number of collaborations on RAM, including noted movie composers Paul Williams and Giorgio Moroder, finds Daft Punk building upon their new-flesh narrative, adding to their storied, cinematic mythos of the diminishing boundary between computers and people. What sort of film is this? Bangalter has shared that the group is “[D]rawing a parallel between the brain and the hard drive – the random way that memories are stored.” This tale of robots yearning to live like men is a motif soldered throughout the group’s multimedia career. But with Random Access Memories, the robots have found their souls. All it took was razing the digital foundations that brought the group to fame in the first place. Within seconds, the record stands out as a more homogenized and sleek listening experience than its predecessor, 2005&#8242;s scattershot Human After All. Yet it&#8217;s also marked by a playful whimsy that falls short of measuring up to the variety that pulsed through 2001&#8242;s Discovery, or the groundbreaking dance exploration found within their fabled 1997 debut, Homework. Instead, Daft Punk cuts ties with itself on RAM by exploring the past through some of the best and boldest collaborative efforts in recent memory. (MORE: A Conversation with Daft Punk) It&#8217;s a rolodex of celebrated artists, both contemporary and preceding, who have inspired Bangalter and Homem-Christo to make music that revisits &#8217;70s discotheques and &#8217;80s funkadelic boat parties. Opener “Give Life Back to Music” features a grinning Nile Rogers and Paul Jackson Jr. throwing down a jazzy fusion of guitar licks over an upbeat, funky processional that could serve as an album summary or even a warning: “Abandon hope of an EDM record all ye who enter here.” &#8220;Giorgio by Moroder&#8221; is framed around iconic Italian producer, songwriter, and composer Giorgio Moroder, who shares an autobiographical monologue that starts in the &#8217;60s and works its way to today. Granted, it’s an honorable<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3541381&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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			<media:title type="html">Random Access Memories</media:title>
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		<title>Vampire Weekend&#8217;s Modern Vampires of the City Lives Up to Title</title>
		<link>http://entertainment.time.com/2013/05/14/vampire-weekends-modern-vampires-of-the-city-lives-up-to-title/</link>
		<comments>http://entertainment.time.com/2013/05/14/vampire-weekends-modern-vampires-of-the-city-lives-up-to-title/#comments</comments>
		<pubDate>Tue, 14 May 2013 09:45:57 +0000</pubDate>
		<dc:creator>Chris Bosman</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Vampire Weekend]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3539850</guid>
		<description><![CDATA[This post is in partnership with Consequence of Sound, an online music publication devoted to the ever growing and always thriving worldwide music scene. Who gives a fuck about a Vampire Weekend privilege narrative? It’s been argued about every which way since early 2008 when Nitsuh Abebe first wrote the words “Afro/preppy/new-wave combination,” and this concept somehow upset a lot of Anglican Anglophobes, who banded together to write an astonishing number of think pieces that would make Odd Future jealous. Not to say those essays weren’t worthwhile, but let’s not retrace those steps. We’ve done it for two album cycles now, and neither the defenders, the detractors, nor Vampire Weekend themselves are going to change the conversation. They’ve been accurately accused of being well-read, well-educated, musically knowledgeable, not poor, and prone to write music reflective of those things. Modern Vampires of the City, the band’s first record in over three years, can still fit into the privilege narrative, but to force it obfuscates how the record is both bolder and more considered, weirder and more accessible, eclectic and more representative than anything they’ve done prior. Just watch the font-porn video for “Step,” which illustrates its lyrics and points out that Koenig manages to squeeze in references to Angkor Wat, Croesus, Modest Mouse, and Berkeley communists into a four-minute pop song. Or check out “Ya Hey,” which is bold enough to discuss the nature of God despite the images of stoned Columbia students bullshitting at the after-party such a conversation conjures. Spoiler: The song is deft enough to make those images seem like sour grapes. (MORE: Vampire Weekend Gets Sued By Cover Model) But what’s most notable about Modern Vampires is how it handles the other criticism of the band: their knack for appropriating the melodies and musical styles of third-world countries for tales of first-world people doing first-class things. While Contra doubled down on both counts, Modern Vampires changes the conversation of both in subtle ways. Often lost in those accusations of cultural tourism was the exact depth of the band’s grab bag of musical joys. Yeah, you could hear<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3539850&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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			<media:title type="html">Modern Vampires of the City</media:title>
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		<title>Gatsby Soundtrack Beats On, Borne Back Ceaselessly Into Failure</title>
		<link>http://entertainment.time.com/2013/05/10/gatsby-soundtrack-beats-on-borne-back-ceaselessly-into-failure/</link>
		<comments>http://entertainment.time.com/2013/05/10/gatsby-soundtrack-beats-on-borne-back-ceaselessly-into-failure/#comments</comments>
		<pubDate>Fri, 10 May 2013 15:25:50 +0000</pubDate>
		<dc:creator>Paula Mejia</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Soundtracks]]></category>
		<category><![CDATA[The Great Gatsby]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3539681</guid>
		<description><![CDATA[This post is in partnership with Consequence of Sound, an online music publication devoted to the ever growing and always thriving worldwide music scene. A word often associated with the Millennial Generation is “lost.” We’re told it won’t be found until we start to see the light peaking somewhere out of the recession, the student loan debt crisis is resolved, same-sex marriage is embraced throughout all 50 states, and the unemployment rate plummets. Like every older generation before it, this generation is often lauded as apathetic and entitled. Along with Hemingway and Stein, F. Scott Fitzgerald’s perceived his own generation as “lost” in the sense that the “restlessness approached hysteria.” Amidst the lavish Gatsby-themed parties that seem to be a favorite of today, each of us clutching to the vision of our own green light upon some impossible pedestal, Fitzgerald’s pièce de résistance (at the time far from critically acclaimed) has become the object of much conflict and admiration with the film version of The Great Gatsby. (MORE: Richard Corliss reviews The Great Gatsby) Here’s the inevitability of reinterpreting a literary classic: No matter what lens you see it through, you’re going to disappoint someone. So director Baz Luhrmann’s approach was, if some people are going to hate it, why not go balls-out? It’s 2013. We’re desensitized to shootouts on network television and have computers in our pockets. So maybe, he must&#8217;ve thought, allowing not-so-subtle Fergie dubstep onto the film&#8217;s soundtrack won’t be that shocking to the ear. Yes, then it was the the Jazz Age, where feet were fancier. Today’s genre of choice lends itself to hip-grinding and writhing, instead of The Charleston and the graceful seduction of a waltz. The Jay-Z-curated soundtrack unsurprisingly boasts a bold selection of hip-hop and mainstream heavyweights, and what Gatsby’s soundtrack does is try to mimic the bass-boasting moments where a slip of a dress didn’t mean any old thing. It was the only thing. That being said, old sports, the project at hand reflects Gatsby through the ears of our “hip hop age” and even here, the soundtrack fails from the very<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3539681&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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			<media:title type="html">The Great Gatsby - Soundtrack</media:title>
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		<title>New Guided by Voices, English Little League, is Exhaustive, Awesome</title>
		<link>http://entertainment.time.com/2013/05/03/new-guided-by-voices-english-little-league-is-exhaustive-awesome/</link>
		<comments>http://entertainment.time.com/2013/05/03/new-guided-by-voices-english-little-league-is-exhaustive-awesome/#comments</comments>
		<pubDate>Fri, 03 May 2013 11:00:15 +0000</pubDate>
		<dc:creator>Sarah Grant</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Guided by Voices]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3539049</guid>
		<description><![CDATA[This post is in partnership with Consequence of Sound, an online music publication devoted to the ever growing and always thriving worldwide music scene. Robert Pollard is like the William Carlos Williams of alternative rock. Both are men of science: Williams was a doctor, Pollard is a, well, scientist. Both created some of the most succinct miracles in poetry and music, respectively. Pollard’s gift for brevity snowballed into a sum of 1,000 written songs, most of them for his band, Guided By Voices, who are releasing their fourth reunion record together in a little over a year (they plan to squeeze in one more before 2013 burns out). League blends ‘Mats early punk appeal with The Smile Sessions. It’s an exhaustive album that packs a clown car full of guttural manifestos (“Xeno Pariah”), Beatles piano ballads (“The Sudden Death of Epstein’s Ways”), and guttural ballads with the occasional piano (“Reflections In A Metal Whistle”). The best song is “Island (She Talks in Rainbows”) because it’s memorable, which, given the prolificacy of this band, has to be the new barometer for greatness. “Island” has all the fixings of psychedelic bewilderment: subtle guitar modulations, the emphatic cymbal crash, and holy Simon and Garfunkel harmonies. The gorgeous two minutes feel like a warm beach blanket to curl inside. (MORE: 50 Years Later, a Beatles Record is Broken) “Send To Celeste (And The Cosmic Athletes)” features a rousing major-chord crescendo and drums that manifest like a slow clap. Pollard’s pronounced vocal takes surprising leaps while he contemplates executions and drinking glasses in the same breath. The song has the meek majesty of a teenager reciting the St. Crispin’s Day Speech to his girlfriend, which never happens, but somehow seems totally plausible in this song. That nostalgia permeates “Crybaby 4-Star Hotel,” a classic GBV title, and tells of “pinball days” come and gone because “daylight finally found us.” Tobin Sprout plays a slingshot guitar solo full of the gusto and risk of a bunch of hotel hermits taking to the real world. Or perhaps they’re taking to the two-star hotel next door with a pinball machine<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3539049&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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			<media:title type="html">English Little League</media:title>
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			<media:title type="html">rothmanlily</media:title>
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		<title>Phoenix Moves Away from Pop on Latest Album, Bankrupt!</title>
		<link>http://entertainment.time.com/2013/04/25/phoenix-moves-away-from-pop-on-latest-album-bankrupt/</link>
		<comments>http://entertainment.time.com/2013/04/25/phoenix-moves-away-from-pop-on-latest-album-bankrupt/#comments</comments>
		<pubDate>Thu, 25 Apr 2013 09:45:18 +0000</pubDate>
		<dc:creator>Steven Arroyo</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[phoenix]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3538210</guid>
		<description><![CDATA[This post is in partnership with Consequence of Sound, an online music publication devoted to the ever growing and always thriving worldwide music scene. With just under a minute remaining on “Entertainment,” the first track and lead single off Phoenix&#8217;s latest album Bankrupt!, we arrive at the bridge. The bridge consists of one long syllable, “ohhh,” set loose above synthesizers and a metronomic bass beat. Given the track’s structure and golden Hollywood pop gloss feel, this moment should absolutely be the big and catchy shout-along climax to an already big and catchy single – and for a second, it sounds like it will be. But then it starts to drunkenly amble up and down on an arbitrary rhythm, hitting no less than 50 notes inside 20 seconds and rendering itself less a shout-along and more a chance for frontman Thomas Mars and his bandmates to share a private chuckle from the stage at fans who will surely botch it at shows. It&#8217;s a rude fake-out — the kind of fake-out Phoenix doubles down on throughout their fifth studio album. (MORE: ‘Track Stars: M83 and the Music for Oblivion) Mars has been forthcoming about his departure from feeding the dopamine receptors of his fans: “The brain wants to hear things that are familiar, it wants comfort, it wants references. And what we’re looking for is exactly the opposite,” he said about writing Bankrupt! in a recent interview with Fader. “Exactly the opposite” is quite the stretch for a band as historically comforting to hear as Phoenix, no matter what shoes they’ve tried wearing. Even on their eclectic 2000 debut, United, when Mars first unveiled his talk-sing voice over arrangements that fell anywhere between dead-earnest disco and punk, you knew the guys. But on their last effort in 2009, Wolfgang Amadeus Phoenix, they whittled those personalities down to their most focused collection of pop songs yet, earning themselves a huge breakthrough and validation from major festivals, the Grammy committee, Saturday Night Live, etc. Opting out of another shot at those accolades, Phoenix leave Wolfgang on the podium and aim for their most curious collection with Bankrupt!. The two albums share<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3538210&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<title>What&#8217;s the Buzz for Yeah Yeah Yeahs Mosquito</title>
		<link>http://entertainment.time.com/2013/04/18/whats-the-buzz-for-yeah-yeah-yeahs-mosquito/</link>
		<comments>http://entertainment.time.com/2013/04/18/whats-the-buzz-for-yeah-yeah-yeahs-mosquito/#comments</comments>
		<pubDate>Thu, 18 Apr 2013 09:45:32 +0000</pubDate>
		<dc:creator>Dale W. Eisinger</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Karen O]]></category>
		<category><![CDATA[Mosquito]]></category>
		<category><![CDATA[yeah yeah yeahs]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3537580</guid>
		<description><![CDATA[This post is in partnership with Consequence of Sound, an online music publication devoted to the ever growing and always thriving worldwide music scene. Karen O is at the end of her rope. “Free yourself. That leash is long, long, long,” the Yeah Yeah Yeahs singer chants on “Buried Alive,” a late-album surprise on the band’s fourth studio LP, Mosquito. It’s a statement that implies she’s been given so much slack on the line it’s easy to forget she’s tethered at all. Repeating the line in a moment of delicacy, it becomes her mantra, a placid reminder that the 13-year-old band she fronts can never rest on its laurels. There’s always another shackle to break in this hypercritical musical climate, even if she’s her biggest critic. She refuses to phone it in, for the sake of her independence. So the YYYs give a cameo on “Buried Alive” to storied Bronx rapper Kool Keith. If you say so, Karen. If the goal for the New York-based art-rockers is to outpace the pack, their constant experimentation might be enough to deem Mosquito a success. It picks up where 2009’s new-wave infused It’s Blitz! left off, expanding the dance-floor thump of that album to include more experimental synth and electronic percussion, swinging from the dark swells of post-punk to the clackety garage rock that marked the trio—Karen O, drummer Brian Chase, and guitarist Nick Zinner—as favorites of the early aughts Brooklyn loft scene. We’ve come to expect the unexpected with the Yeah Yeah Yeahs. That pits Zinner’s brash-yet-painterly guitar tones against sky-high, ambient keys and an expanded African-tinged percussion palette that&#8217;s largely been untouched by the band. (PHOTOS: Crazy and Colorful Coachella) As a result, the signature martial-jazz thump of Chase&#8217;s kit is remarkably absent from a few tracks. Instead, he leans toward the sequenced, where the mark of producer Dave Sitek (of TV on the Radio) is felt strongest. The driving clave beat of “Always” unfolds into sub-808 bass hits and echoed handclaps, amongst glittering synth runs. It’s easily the album’s most effortlessly sublime moment. Chase, and the rest of<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3537580&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<title>James Blake Seduces on Overgrown</title>
		<link>http://entertainment.time.com/2013/04/11/james-blake-seduces-on-overgrown/</link>
		<comments>http://entertainment.time.com/2013/04/11/james-blake-seduces-on-overgrown/#comments</comments>
		<pubDate>Thu, 11 Apr 2013 11:00:18 +0000</pubDate>
		<dc:creator>Jon Hadusek</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[James Blake]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3536787</guid>
		<description><![CDATA[This post is in partnership with Consequence of Sound, an online music publication devoted to the ever growing and always thriving worldwide music scene. Some people were born with the innate ability to seduce. Some can do it with their looks, others with words or behavior. In addition to having really good hair, James Blake can seduce with his voice. His lithe, melodic croon entangles perfectly with elegant electronic arrangements — a distinct style that gives Blake room to move around as a songwriter. He’s always tweaking and evolving his sound, which makes every release an anticipated occasion for fans of nu-R&#38;B and post-dubstep. Those electronics put Blake on the map. His 2011 self-titled debut was a jittery 40 minutes of unorthodox beats and rhythmic manipulations. Vocals would come and go at a moment&#8217;s notice, bouncing from left channel to right channel. Yet there was an ominous mood and cohesion to the music. The album charted well in almost every country except the United States. (MORE: Remembering Andy Johns, The Studio Wizard Behind Zeppelin and the Stones) Which brings us to Overgrown, the latest realization of everything Blake’s capable of as a songwriter and vocalist. Building off of recent singles and EPs, he’s crafted an album of full-on electro R&#38;B. Gone is the glitchy dubstep; the mood and cohesion remain. A press release for Overgrown states that Blake worked with Björk, Drake, and Bon Iver when composing the album — and if you listen hard enough, you can hear their ideas being filtered through Blake’s own stylings. The eponymous opening track is just the pattering of a minimal beat and that gentle croon. He’s really improved as a singer, hitting high notes and low notes that he’s never even attempted before. His words are impressionistic metaphors: “If that is how it is / I don’t want to be a star / Or a stone on the shore.” Naturally, the simplicity of Overgrown downplays the dubstep seen in Blake’s early work. Although not entirely gone, it’s been reduced to small doses. On “Take a Fall For Me,” Blake puppeteers a creepy beat for guest emcee<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3536787&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<title>Tyler, the Creator is His Own Worst Enemy on Wolf</title>
		<link>http://entertainment.time.com/2013/04/03/tyler-the-creator-is-his-own-worst-enemy-on-wolf/</link>
		<comments>http://entertainment.time.com/2013/04/03/tyler-the-creator-is-his-own-worst-enemy-on-wolf/#comments</comments>
		<pubDate>Wed, 03 Apr 2013 11:00:02 +0000</pubDate>
		<dc:creator>Jeremy D. Larson</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[the Creator]]></category>
		<category><![CDATA[Tyler]]></category>
		<category><![CDATA[Wolf]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3535847</guid>
		<description><![CDATA[This post is in partnership with Consequence of Sound, an online music publication devoted to the ever growing and always thriving worldwide music scene. A reoccurring image on Wolf is a house, one whose deed belongs to Tyler Gregory Okonma. He doesn’t talk about waking up in a new Bugatti, he talks about waking up in his new home, where he’s got to climb “eight sets of stairs just to see where [his] fucking roof be.” The fame, isolation, space, pride, and loneliness are represented in this house that Tyler, the Creator references many times on the album. In just three years, he’s gone from sleeping on his grandmother’s couch and making blown-out angst rap with shock lyrics about rape, necrophilia and misogyny to paying the mortgage on a four-story symbol of responsibility at the young age of 22 and making an album about the trappings of an overactive imagination. If you can imagine how small the six-foot-tall rapper looks in his mansion, you’re getting a good idea of what the scene looks like on his third solo LP, Wolf. (MORE: Alt-Rock Legend Tommy Stinson Talks About Guns N’ Roses, Puff Daddy, and a Replacements Reunion) Upon first crossing the threshold into Wolf, it seems like an all-too-familiar portrait of Tyler’s macabre, solipsistic worldview. At over 70 minutes, it’s once again too long, girded with IDGAFs and “fag-” baiting, and so much self-reflexive lyricism that it feels like you’re watching Tyler yell at himself in a house of mirrors. That would explain some of the alter-egos that crop up on the album: Wolf, Sam, and Salem. The album is loosely based around these three characters and their experience at Flog Gnaw, a fictional summer camp with the same name as the Odd Future Carnival that took place in L.A. last year. And much like real summer camp, there are moments of adventure, immaturity, boredom, love, self-discovery, and, of course, an underlying feeling that you don’t really want to be at summer camp anyway. To Tyler’s credit, Wolf is a stark contrast to some of the endeavors he’s undertaken since 2011′s Goblin. Watch how much fun he has in the posse cut “Oldie” from The OF Tape Vol 2. tape and<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3535847&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<title>The Strokes Wipe the Slate Clean on Comedown Machine</title>
		<link>http://entertainment.time.com/2013/03/26/the-strokes-wipe-the-slate-clean-on-comedown-machine/</link>
		<comments>http://entertainment.time.com/2013/03/26/the-strokes-wipe-the-slate-clean-on-comedown-machine/#comments</comments>
		<pubDate>Tue, 26 Mar 2013 11:00:30 +0000</pubDate>
		<dc:creator>Michael Roffman</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[The Strokes]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3535112</guid>
		<description><![CDATA[This post is in partnership with Consequence of Sound, an online music publication devoted to the ever growing and always thriving worldwide music scene. “Don’t try and stop us, get out of our way,” Julian Casablancas last sang on 2011′s Angles. A questionable declaration then and especially now, some two years later where The Strokes have retreated from the bright festival lights and entombed themselves in the closed quarters of New York’s famed Electric Lady Studios. They haven’t toured, committed to press, or made any special public appearances — and there’s little indication that’ll change anytime soon. Even the band’s axiomatic spokesman Nikolai Fraiture has no clear answer as to what the hell’s going on with them. Last month, he told BBC Radio 1′s Zane Lowe with stunted optimism: “I feel good about the atmosphere in the band… Hopefully it can continue.” In other words, who knows? With Comedown Machine, one could speculate, Is this it? Eleven tracks and 40 minutes later, the New York outfit complete their infamous five album contract to RCA Records — and they don’t keep that a secret. The album’s faded cover art touts the label’s vintage logo right at the top, poking fun at said agreement and satiating the band’s longtime compulsion with retro fetishism. By factoring in the artwork, the album’s title (which could also double as a clever name for a Bush cover band), the lack of press or involvement on the band’s part such as a new video that’s nothing more than a nostalgic-leaning compilation of old footage, and suggestive track names like “Tap Out,” “Happy Endings,” or “Call It Fate, Call It Karma,” this could very well be it. (MORE: Why Prince Triumphed With Gen X) Whatever fate comes their way, it’s still the end of an era for The Strokes. It wipes their slate clean, shattering any legal constructs or feelings of immediacy that’s lingered over their heads since they put ink to paper pre-9/11. That’s both an exciting and erratic degree of change for Casablancas &#38; Co., a collective who’s butt enough heads over the past decade to suffer<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3535112&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<title>David Bowie Challenges Listeners on The Next Day</title>
		<link>http://entertainment.time.com/2013/03/11/david-bowie-challenges-listeners-on-the-next-day/</link>
		<comments>http://entertainment.time.com/2013/03/11/david-bowie-challenges-listeners-on-the-next-day/#comments</comments>
		<pubDate>Mon, 11 Mar 2013 15:50:39 +0000</pubDate>
		<dc:creator>Cap Blackard</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Bowie]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3533538</guid>
		<description><![CDATA[This post is in partnership with Consequence of Sound, an online music publication devoted to the ever growing and always thriving worldwide music scene. When The Next Day was announced, speculation ran rampant. The first single, “Where Are We Now?”, presented David Bowie musing on the Berlin he inhabited almost 40 years ago. The radical album art defaces the centerpiece of his “Berlin Trilogy,” “Heroes.” Tony Visconti, his frequent collaborator who produced that period, was back. It was all quite transparent: after 10 years between albums, Bowie hasn’t returned to shelve out some catchy art rock, he’s come back to make a statement. You can chalk “what is that statement?” up on the list of puzzles to solve. The Next Day is a dense and varied body of work that Bowie has all but outright challenged fans to cross examine. Invoking the “Berlin Trilogy” suggests that The Next Day might be more than meets the eye conceptually, and at the very least, should serve as a red flag that listeners’ wits should be about them. None of the record’s 14 tracks are casual affairs, and only few of them are catchy enough to overcome a passive listen. The latest single, “The Stars (Are Out Tonight),” is as easy as Bowie will go on listeners without a greater investment of time, and that track still offers a multi-layered experience. (MORE: David Bowie: Back to His Mysterious Best) It’s been suggested that the title, The Next Day, could refer to the track “Heroes.” If “we could be heroes, just for one day,” then this would be the day afterward. However, the title track is another thing entirely. Inspired by a recent interest in medieval history, Bowie writes a thrashing rock song of priestly conspiracies, angry mobs, and a heathen “not quite dead… body left to rot in a hollow tree.” Instead, it’s the somber first single, “Where Are We Now?”, that serves as the only strict tie to “Heroes.” “Had to get the train from Potzdamer Platz,” sings Bowie, mentioning a key landmark where the Berlin Wall formerly divided the city. The song could be not only Bowie’s<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3533538&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<title>Atoms for Peace, Thom Yorke&#8217;s Side Project, Isolated and Lost on Amok</title>
		<link>http://entertainment.time.com/2013/02/28/atoms-for-peace-thom-yorkes-side-project-isolated-and-lost-on-amok/</link>
		<comments>http://entertainment.time.com/2013/02/28/atoms-for-peace-thom-yorkes-side-project-isolated-and-lost-on-amok/#comments</comments>
		<pubDate>Thu, 28 Feb 2013 16:23:24 +0000</pubDate>
		<dc:creator>Michael Roffman</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Atoms for Peace]]></category>
		<category><![CDATA[Thom Yorke]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3532667</guid>
		<description><![CDATA[This post is in partnership with Consequence of Sound, an online music publication devoted to the ever growing and always thriving worldwide music scene. A lone rat scurries about on a floating piece of driftwood. A melting palm tree slumps towards its inevitable fall near Crossroads of the World. A passenger’s struggling hands materialize on the backseat window of a sinking wagon. A lost traveler clutches the bow of his dinghy, while an ominous hooded seaman navigates at ease nearby. Not too far away, a man clutches a winded telephone pole, no doubt screaming for help towards the erratic soldier a street over, who stands guard above the apocalyptic wasteland that is Los Angeles. Not even Disneyland makes it out alive in Stanley Donwood’s gloomy artwork for AMOK, presented in full at the album’s terrifying official site. Similarly, loneliness floods the debut album for Thom Yorke’s star-studded side project, Atoms For Peace. Despite being surrounded by some of the industry’s top-level talent – Radiohead producer Nigel Godrich, Red Hot Chili Peppers bassist Flea, all-star session drummer Joey Waronker, and Brazilian percussionist Mauro Refosco — AMOK comes off as an email attachment from the deep, dark abyss that is Yorke’s mind. Words like “processed” or “mechanical” spur to mind, which isn’t exactly surprising given the songwriter’s hints to Rolling Stone last fall: ”One of the things we were most excited about was ending up with a record where you weren’t quite sure where the human starts and the machine ends.” (MORE: The Harlem Shake Is Dead; Long Live the Harlem Shake) Disappointing isn’t the right word to describe the end result, but it’s close. With the release of 2006′s The Eraser, Yorke didn’t have to deal with any adrenalized expectations, simply because he didn’t tout unique collaborations as he does withAMOK. Flea was still busy carving out his double-album Stadium Arcadium, Waronker was flirting with Hollywood scores, and Refosco was putting together his outfit, Forro in the Dark. Now, with a full band and not just a laptop of possibilities, Yorke sets the bar high for a team effort that could be unique and maybe even intimidating<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3532667&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<title>Nick Cave &amp; the Bad Seeds Rush Into the Unknown on Push the Sky Away</title>
		<link>http://entertainment.time.com/2013/02/20/nick-cave-the-bad-seeds-rush-into-the-unknown-on-push-the-sky-away/</link>
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		<pubDate>Wed, 20 Feb 2013 14:30:07 +0000</pubDate>
		<dc:creator>Zach Schonfeld</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Nick Cave]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3531118</guid>
		<description><![CDATA[This post is in partnership with Consequence of Sound, an online music publication devoted to the ever growing and always thriving worldwide music scene. This year marks the 30th anniversary of the Bad Seeds. The arrival of Push the Sky Away, however, falls close to another: the tenth anniversary of 2003’s Nocturama, widely greeted as the group’s weakest — or at least most disjointed — studio effort yet. To many critics, still reeling from the all-consuming balladry of 2001’s No More Shall We Part, the record was proof positive that the King of Noir had lost his edge. In Allmusic, Tim Sendra’s verdict was especially unflinching: “It is truly sad when artists with great vision and imagination, whose work is filled with power and beauty, just kind of lose it all at once.” (MORE: Local Musicians Find a Global Audience on Balcony TV) Joke’s on us, I guess, because reports of Nick Cave’s creative death have been greatly exaggerated. With Grinderman and its Bad Seeds counterpart, 2008’s Dig, Lazarus, Dig!!!, Cave relit the fire in his loins for brash garage-rock numbers like “No Pussy Blues” and “Dig, Lazarus, Dig!!!” With Push the Sky Away, he leaves that era behind and rushes into the unknown for an astounding work of sparse, trembling noir-rock. The lesson here is that Grinderman regained a sense of urgency that can be expressed well beyond their coarse, primal vocabulary. Richly arranged, masterfully sequenced, and full of brooding, Push the Sky Away combines the stately beauty of The Boatman’s Call and No More Shall We Part with the intensity of Grinderman/Lazarus-era Cave while managing to sound like neither. For that matter, it sounds unlike anything the Bad Seeds have done before. Like Leonard Cohen’s I’m Your Man (a favorite of Cave’s), it’s an unexpected late-period masterpiece, full of self-reflexive humor, and jarring modern lyricism and musicality. (MORE: A New Album from My Bloody Valentine Is a Welcome Blast From the Past) The album’s lush dynamics likely stem from the 2009 departure of Mick Harvey, Cave’s guitarist and collaborator of over 30 years. With the absence of a prominent lead guitar, the arrangements emphasize small ensembles of bass, strings, bare guitar plucking,<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3531118&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<title>Ron Sexsmith Brings Tightly Packed Pop to Forever Endeavour</title>
		<link>http://entertainment.time.com/2013/02/15/ron-sexsmith-brings-tightly-packed-pop-to-forever-endeavour/</link>
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		<pubDate>Fri, 15 Feb 2013 13:00:53 +0000</pubDate>
		<dc:creator>Nick Freed</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Ron Sexsmith]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3530747</guid>
		<description><![CDATA[This post is in partnership with Consequence of Sound, an online music publication devoted to the ever growing and always thriving worldwide music scene. Ron Sexsmith is in a difficult spot: Despite his well-structured pop songs and praise from the likes of Elvis Costello and Paul McCartney, his music has been confined to critical darling status. It’s a shame, because Sexsmith’s music comprises orchestral, Brian Wilson-esque love odes at times, and at others, contemplative, Sea Change-era Beck tunes. His newest album, Forever Endeavour, fuses those elements into an album of tightly-packed pop goodness. Sexsmith is at his best when he doesn’t try to do too much. Songs like the jaunty “Nowhere Is” and the slow-rolling “Lost in Thoughts” are simple country-folk structures that showcase Sexsmith’s old soul vocoal with rising and falling strings and slide guitars. The latter track could easily be a ’70s Leonard Cohen cut (who’s another strong supporter of Sexsmith), gliding over the ears like a sea breeze. (MORE: Local Musicians Find a Global Audience on Balcony TV) “Sneak Out the Back Door” lets Sexsmith’s words take front and center — just him and his guitar. He tells the story of a relationship falling apart and how he’s “never been good at saying good-bye” so he’s just going to “sneak out the back door.” The old sad-words-over-jolly-melody trick works fantastically— especially at the end, when he sings, “When my life is over / gonna sneak out the back door / Hadn’t much of a Midas touch / No luck for sure / Give my regards to the people in charge / As I sneak out the back door.” The few missteps on the album are the too-pristine “Back of My Hand” and the forced Dixieland stomp of “Me Myself and Wine,” The production and extraneous instruments make the songs sound overwrought, particularly the horns on the latter. Overall, though, the album is crisp and straightforward, making Forever Endeavor a big step toward Sexsmith gaining household-name status. Essential Tracks: “Lost in Thought”, “Sneak Out the Back Door” More from Consequence of Sound: Bonnaroo to announce 2013 lineup<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3530747&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<title>Four Tet Rarities Release is A Fun, Intentionally Disjointed Listen</title>
		<link>http://entertainment.time.com/2013/02/13/four-tet-rarities-release-is-a-fun-intentionally-disjointed-listen/</link>
		<comments>http://entertainment.time.com/2013/02/13/four-tet-rarities-release-is-a-fun-intentionally-disjointed-listen/#comments</comments>
		<pubDate>Wed, 13 Feb 2013 13:00:49 +0000</pubDate>
		<dc:creator>Chris Bosman</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Four Tet]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3530540</guid>
		<description><![CDATA[This post is in partnership with Consequence of Sound, an online music publication devoted to the ever growing and always thriving worldwide music scene. 0181, the latest release from Keiran Hebden’s Four Tet project, is a collection of rarities recorded from between 1997 and 2001, the time period during which his first two records were released. The time period shows, not because it sounds dated, but because you can trace the mishmash of samples and sounds to Hebden’s similarly focused Dialogue and Pause, with some of the contemplative melodies of 2003′s Rounds hinted at as well. (MORE: The Best and Worst of the 2013 Grammys) This makes 0181 a fun, intentionally disjointed listen. It jumps unapologetically from any ideas that threaten to run their course, with some ideas lasting no longer than a few bars, while others are seen fit to run their course. It’s also significantly brighter than the darkened neon hum of his later records, a nod to his earlier atmospherics, and that lends the whole 38 minute piece an enjoyable buoyancy. If you’re one of those people that “liked his earlier stuff,” to coin a phrase, then there’s a lot to enjoy in 0181. (MORE: The Music of Mali: 8 Musicians and Bands to Check Out Now) The freely-released Soundcloud record also serves as a nice entry point into that era of Hebden’s career; a nostalgic little photo album of sorts, complete with baby pictures in the form of some infant coos around the 17-minute mark. The fact that this is throwaway stuff for Hebden is astonishing, as he predicts or nails a wide variety of sounds, from Brainfeeder percussive virtuosity to smooth jazz cutups. As last year’s compilation record Pink showed, and as latest release 0181 reiterates, Hebden has a lot to offer, even among his scraps. More from Consequence of Sound: Bonnaroo to announce 2013 lineup on February 19th More from Consequence of Sound: Watch St. Vincent perform a song on Bob’s Burgers<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3530540&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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