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Since her debut single Genie in a Bottle in 1999, Christina Aguilera has always been a rebel in the world of pop music – breaking away from the “girl next door” stereotype that other pop stars clung to. While he may not have wanted to be a rebel, he certainly made a career out of it.
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Although the world calls him a pop star, his music has lived up to expectations. Before Carly Rae Jepsen and Lady Gaga, Aguilera’s genre-defying pop ethic changed the musical landscape. Over the course of her previous seven albums, Aguilera has constantly reinvented herself for a certain era, challenging her creativity and methods of self-expression. I like the albums
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Four years ago, but it’s been six years since his last album. Since then, she has gone through many changes, including remaining one of the four judges in the American version.
It’s a record of empowerment—something that’s always been ingrained in Aguilera’s music, but is more relevant now than ever. with
, there was no limit, with Aguilera recruiting several collaborators, including Anderson Paak, Kanye West, Che Pope, Mike Dean, and Tyla Parks.
He said the record was inspired by hip-hop and R&B – something that comes through in some of the songs, but it’s impossible to categorize the record. “Where are you? Are you there?” Aguilera seems to be asking his inner child in the opening interlude.
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Is symphonic and dramatic – everything Aguilera fans would want from an album. But like most Aguilera albums, it has its hits and misses.
“Sick of Sittin'” stands out as a gospel rock song reminiscent of “Fighter” and showcases Aguilera’s restlessness. Western fans will immediately recognize his familiar, cinematic production from the club “Maria” and “Acceleration”. For fans of both Aguilera and Demi Lovato — two of the best vocal artists in the game — their passionate feminist anthem “Fall In Line” is a standout on record.
Ballads including “Illes It’s With You” produced by Ricky Reed and the rare “Twice”. “Sometimes I don’t think I deserve you / So I talk shit to hurt you,” Aguilera sings with self-awareness on “Deserve.”
In “Masochist” he also manages to create his own brand of 80s dream pop. But songs like “Right Moves” and the reggae-tinged “Pipe” seem monotonous. But there’s a lot of Aguilera’s heartfelt authenticity throughout
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. It might not be pop or hip-hop or soul, but it’s definitely an Xtina record.
There’s no playbook on how to grieve when someone close to you dies—especially your bandmate, best friend, or both. Linkin Park’s Mike Shinoda knows this better than anyone. Last summer, he lost not only one of his best friends, but also his bandmate, Chester Bennington. In order to survive, he started playing music without pretense since January
The EP contains three raw songs and videos of his creative process. This mini-album was the warm-up for his debut solo album, and that’s no accident.
LP is rooted in confusion, sadness, trauma and the forced reset button. It’s not Linkin Park, it’s not Fort Minor: it’s just him. Where To Begin is a melancholic meditation on the aftermath of Bennington’s death, featuring audio messages from loved ones paying their respects. Rap-oriented tracks “Over Again” and “Watching As I Fall” deal with the never-ending cycle of disappointment that comes with loss. The dark song “Nothing Makes Sense Anymore” deals with Shinoda’s insomnia after the tragedy and his need to focus on his art.
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Chester Bennington (right) and keyboardist Mike Shinoda of Linkin Park perform at the opening concert of the VOLT festival in Hungary last month.
Bennington performs with guitarist Slash at the 9th Annual MusiCares MAP Fund Benefit Concert in Los Angeles in 2013
Linkin Park’s Chester Bennington performs on day two of the 2012 iHeartRadio Music Festival
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With the help of partners BASECAMP and blackbear, “About You” was a mix of various rap songs; it was also to be the first non-Bennington song. Shinoda said that despite his attempts to write a song that isn’t about him, people perceive it that way, and he understands that. An interlude aptly titled “Bark” separates the process of grieving from recovery.
“Crossing A Line”—one of the most radio-friendly tracks—also happens to be one of the album’s most innovative takes: “They tell you I don’t care anymore/And I hope you know it’s a lie/Because I found something I’ve been waiting/But getting there means crossing a border.’
At this point in the drive, Shinoda begins to focus on himself. “Can’t Hear You Now” and “Running From My Shadow” instead focus on Shinoda coming to terms with his inner demons. Until the end of the year
, you realize that Shinoda is right: this record is as much about Bennington as it is about him, but that’s what makes it so vulnerable and such a triumphant debut.
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Melody’s second album Echo Chamber was released six years after Melody Prochet’s debut. In seven short songs, Melody’s Echo Chamber manages to create its own candy dream.
There’s no stopping her – she experiments with her soprano vocals, European folk music, Swedish jazz, groove and electronica – which seems to be inspired by her time living in Sweden and working with Fredrik Swann of The Amazing and Reine Fiske of Dungen in a combination of creative . Except for the 2016 mini-album, which is only available online
, he found himself struggling to get the following. Prachet worked alone for two years to complete his second album, but nothing came of it.
By then, everything had changed for him – Sweden allowed him to become a place where he could enroll. Vocals are secondary
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, but they also help the music flourish. Opener “Cross My Heart” could be several tracks in one, as he constantly evolves his sound and even includes a hip-hop review in the middle of the seven-minute track, paying tribute to his vocal vessels.
The rebellious “Desert Horse” wildly changes time changes and instruments, combining vocoders with acoustics. Visions of Someone Special, On a Wall of Reflections is a deconstructed tribute to Serge Gainsbourg’s Ford Mustang. with
, it really feels like Pratchett lost himself in his voice and let it lead him. In his own musical liberation, Pratchett does something strange and wonderful.
Various genre labels have been attached to Chromeo during their 16 years together, including electro, disco and synth pop. In reality, however, you don’t have to look much further than their Twitter to find out where the Montreal duo’s musical roots really lie. they rather cheekily describe themselves as “FUNKLORDZ”, and certainly beneath the pristine electronic surface, the heart of Chromeo’s musical circuit has always been James Brown, Chaka Khan and George Clinton, and no one else. modern.
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So how must they have felt to see the style enjoy such a mainstream revival in recent years? After the rise of Nile Rodgers and Chic (who will release their first album in a quarter of a century this year), as well as Daft Punk’s “Get Lucky” and Mark Ronson’s “Uptown Funk,” the crowd went global. clearly supports Chromeo and all of their funk-influenced counterparts, who the pair could have viewed as either potential rivals or collaborators.
, Dave 1 and P-Thugg opened up about their creative process and enlisted outside help, and the result was a true evolution. Using hip-hop upstarts like French Montana and Stefflon Don, they’ve crossed over to R&B, but in a way that feels more like a nod to the 80s than the present; check out the irresistible opening of “Must’ve Been” and “Don’t Sleep” for proof.
Elsewhere, Chromeo’s more classic tracks — “Juice” and “Count Me Out” are standouts — benefit from an all-star cast of backing musicians, including Raphael Saadiq and Rodney Jerkins; it’s as close to a live iteration of Chromeo as one of their records gets. Also, his arrival in early summer seems like wild timing; this could be their moment.
Much of the early talk about Coastal Fever’s Rolling Blackouts drew favorable comparisons to their compatriots The Go-Betweens or the jungle-pop style that dominated New Zealand label Flying Nun in the 80s. In fact, more modern parallels with the soft side of white denim and parquet courts might be more accurate.
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At the core of the Melbourne quintet’s sound are the band’s three songwriters: Fran Kinney, Joe Russo and
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