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September 3, 2020

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by Admin

Brion’s strings and general sense of kooky bombast make for a consistently challenging album that never forgets that it’s still a pop record. On his 2018 debut, Ballads 1, the Japanese-Australian singer’s heartsick lamentations blended together in a mass of chilled-out piano and sleepy falsetto, but at the time it seemed that Miller, stripped of his outrageous internet persona, lacked an artistic identity. Such authenticity is an anomaly on the album. The Shins’ fourth LP, Port of Morrow, had a lot to live up to, but the result is well worth the wait. The album answers affirmatively, in the form of a robust and deeply enjoyable sequel to the 2016 collaboration between rapper 21 Savage and producer Metro Boomin. “Forever ‘92” falls flat in its attempts to summon the spirit of the titular era, and the drifting, Sade-esque rhythm of “Stay Tomorrow” isn’t robust enough to anchor the song’s theme of “sailing away.” That’s partly why 2004’s Anniemal, with its innovative production and impeccably crafted hooks, remains such an enduring and satisfying pop debut. 21’s dark, foreboding presence and tone are borne of an early acceptance of death’s omnipresence and randomness; he lays down spiky bars with a sneering swagger but also a pointed humbleness. The woozy synthesiser that opens the title track is exactly the sort of thing the latter might have come up with around the time XTC and their psychedelic alter-egos the Dukes of Stratosphear started to blur into one. Right from the start, the album feels like a Shins record. Glimpses of idyllic love are momentary, their inevitable end always in sight, as on the doting “Like You Do,” where Miller worries, “If you ever go, all the songs that we like will sound like bittersweet lullabies.” At the risk of wallowing, he braves such powerlessness, which similarly informed the best tracks on Ballads 1. 21 is more often than not the stabilizing force around which Metro paints and creates elaborate designs. The triumphant, confetti-cannon fire of “Simple Song” eased my doubts when I first heard it earlier this year. Even with the break, the band has not sacrificed any of their appeal. What’s more, Miller’s presence on these songs doesn’t display the range of a chameleonic workhorse so much as relegate him to second-in-command. Freeman’s contributions, especially a delightful rejoinder on the midpoint interlude “Snitches & Rats,” are performed with a mock gravitas that 21 Savage and Metro Boomin frame with equal parts levity and seriousness. The Life of Pablo is a masterwork because it pairs Kanye’s best executed musical ideas with the most revealing expression of his character. Sam C. Mac, Ye’s emotional claustrophobia is at times effective: As a chronicle of living with mental illness, this is Kanye’s most unsparing work to date. The album’s opening track, “Ew,” finds Miller exploring the uncomfortable feelings that arise from losing in love. He’s heavy-hearted and thoughtful, a register he’s confidently grown into since arriving on the scene as primarily a horrorcore rapper. Before the ego-infused outbursts, before the anti-academic motifs became hopelessly stale, The College Dropout found Kanye as a relatively blank slate, as well as the first rapper to score a hit single with his jaw wired shut. Warmth. On first listen I have already enjoyed nearly everything I have heard, short if a couple more plays of the ten track album, this fourth outing strikes me how high a standard they have set, if not before, then now, for themselves. Pioneered by their predecessors and labelmates 2NE1, this dark streak—the “black” referenced by the group’s name—manifests itself in the quartet’s hard-hitting choreography, edgy fashion, and braggadocious verses. It's an album that clearly prizes craft over spontaneity, and at it's least distinguished Port of Morrow could be the work of anyone operating on the border where putatively "alternative" rock shades into something more commercially ambitious – a place where some pretty boring music gets made. Their departure marks the latest stage in the Shins – or rather Mercer's – fraught progress from the faintly rackety alt-rock band of 2001 debut album Oh, Inverted World to a mainstream concern. Port Of Morrow is a return to form from indie outfit The Shins. 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