Word: intros
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Dates: during 2000-2009
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...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...
...more direction on “Paper Trail,” which turns away from glorifications of the drug game and highlights T.I.’s more profound moments. That isn’t to say that the gloating is gone, too. “56 Bars (Intro),” “Every Chance I Get,” and “I’m Illy” are typical of the College Park swaggerer and self-styled king of the south. And what would a T.I. album be without some club burners like...