Something sunny and bright swells in Valdés’s acoustics, I’m not sure what. There’s a glimmer of romance to it.
Smart music supervision is kind of like the Astroglide (I’m sorry) of great TV.
21-year-old Darian Chen splits his time between Edmonton, Canada, and a remote mountain village in China called Anhai. Darian is FaceTiming me from Edmonton, where it’s snowing and face-burningly frigid. He tells me he needed some fresh air, regardless of the cold, because he was cooking fish in his apartment and ended up burning it.
We all have our favorite pop eargasms. What makes an eargasm is not dextrous songwriting, complex verses or a skillful song structure. A song does not have to be envelope-pushing or exceptionally crafty to be addictive; I’m strictly talking about music that sounds so good it renders you speechless. We’re talking about sonic bliss. An
First, everyone called PC Music, a collective of producers and artists headed by names like Charli XCX, A.G. Cook and SOPHIE, the future. Oft-likened to banging pots and pans together (usually SOPHIE gets that designation), PC Music, or hyperpop, or glitchpop (I can’t really keep track) has since been labeled as more an ‘expression of
British-born singer Tom Aspaul, who has writing credits with megastar Kylie Minogue, producer duo Snakehips and vibe purveyor AlunaGeorge (though Aluna is out on her own and her debut solo album is amazing), is a new gay about town. Black Country Disco, released in September, marks Aspaul’s first album. And what a triumphant entry! Black