Word: intro
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...venomous heartbeat”—could come off as immature if the song wasn’t delivered with such style.Less straight-forward but just as impressive is “Dorothy’s a Planet.” In constant transformation starting from its acoustic intro, the song is almost unrecognizable by the end, but the build always makes sense and is never rushed or jarring. The psychedelic lyrics—“She’s a person fast at play / She’s a planet on display?...
...Kurstin of the retro-pop duo the Bird and the Bee, the music robs every genre it can in the pursuit of anything that might stick in your ears. There's a klezmer-inspired accordion that morphs into a glossy Abba-worthy chorus on "Never Gonna Happen" and an intro that sounds like an electronic version of "Rawhide" on "Not Fair," all of which succeeds in creating enough of a melodic diversion to make you forget that the songs are split-timed and almost mechanically verse-chorus-verse...
...album “Evolver,” he announces in his sultry voice that he has stepped up his game. “Evolver” moves with a smooth, soulful momentum, powered by sweet lyrics, satisfying bass lines, and tightly constructed songs. After a sexy, morning-after intro that perfectly blends atmospheric piano with a heartbeat bass drum and muted horns, the album explodes with first single “Green Light,” a catchy, danceable track featuring respected hip-hopper André 3000. Legend shows a provocative side to his sweetheart persona, singing...
...warbling guitar riffs, they now uncannily resemble the many bands they have influenced, and leave us wondering who is influencing whom. “4:13 Dream” begins with the six-minute “Underneath the Stars,” featuring an epic two-minute intro including a drum machine, chimes, and—eventually—Smith’s echoing voice. Already it becomes clear that The Cure are enjoying the technology the recording studio has to offer. This fixation on a pop sound has created a strange dichotomy between the subject matter of many...
...definitely not sound vomit, but with the exception of several moments of brilliant clarity, most of the album is just a tad too hectic to really serve as anything more than background music.The record kicks off on a great note—despite its cheesy autoharp intro, “Nonpareil of Favor” is a big track. Framed on top of some beautifully repetitive, pounding Sonic Youth fuzz, Barnes begins the album-long musings about his cracking and complicated relationships. How can the guy who wrote the music for the Outback Steakhouse commercial have relationship problems...