Articles by AD Amorosi
Black Rebel Motorcycle Club, “Wrong Creatures”
“Wrong Creatures” doesn’t have the fixation of Black Rebel Motorcycle Club’s best moments, yet it doesn’t come across as blurrily unmoored either.
Thelonious Monk, “The Complete Prestige 10-Inch LP Collection”
The handsomely-curated vinyl box set revisits the early albums that set the tone for Monk’s mad aesthetic.
Hüsker Dü, “Savage Young Dü”
The reissue tells a story of teens from Saint Paul, Minnesota, finding themselves and their searing, rock-out identities.
Congratulations Tim and Eric on Your Ten-Year Anniversary, Great Job!
Back before Weird Internet was truly a thing, Tim Heidecker and Eric Wareheim were practically swimming in it. Ten years after they changed comedy, we look back on the making and legacy of “Awesome Show, Great Job!”
Cornelius, “Mellow Waves”
Twenty years have passed since Cornelius’s sugary cut-collage classic “Fantasma,” and the Japanese electronic sound sculptor known for excursions in Shibuya-Kei has grown in ways unimaginable from that elastic landmark.
In Conversation: Hans Zimmer Wasn’t Made for Pop Music
One of the planet’s most experimental film composers gets out from behind the boards for Dunkirk, a live tour, and more.
In Conversation: Ice Cube Is Still Steady Mobbin’
Twenty-five years after he released one of the most controversial records in hip-hop history, the LA rapper-turned–family man has regrets—but not many.
Phoenix, “Ti Amo”
Though short and sweet, “Ti Amo” hides something frank, hard, and troubled beneath its lustful sheen and rainbow hues.
Black Lips, “Satan’s Graffiti or God’s Art?”
There’s buoyancy and shockingly tight musicianship to Black Lips’ prattling-on proceedings here that you won’t often find elsewhere in the garage band’s catalog.
Three Millennia and Counting: The Return of “Mystery Science Theater 3000”
It’s no mystery. It’s not rocket science. It only looks like it.
The Flaming Lips, “Oczy Mlody”
The oddball, acid-laced soliloquies that characterized Coyne’s Mad Hatter aesthetic from the start are still part-and-parcel of what drives his merry-to-morose ensemble.
Bruno Mars, “24K Magic”
The “Uptown Funk” star can be both trite and torrid when it comes to plastic, flossy funk.
Stardust Memories: Revisiting the Sound and Vision of Nicolas Roeg, David Bowie, and “The Man Who Fell to Earth”
On its fortieth anniversary, the sci-fi classic is getting a 4K re-release. Here, the earthlings involved—including cinematographer Tony Richmond and Bowie’s co-star Candy Clark—talk about the moment the star became a man.
Danny Brown, “Atrocity Exhibition”
Gleeful arts and farts from Detroit’s finest.
Bon Iver, “22, A Million”
Justin Vernon’s latest is a gorgeous victory and a righteous revival of a talent, but does it go as far as those song titles would have you believe?
Shakey Tales: Getting Lost Again on Neil Young’s “Human Highway”
While still riding the wave of what could possibly have been the greatest run of recorded music in rock and roll history, Neil Young decided to make a movie. And not just any movie. A movie so strange that it barely saw the light of day—until now.
Clams Casino, “32 Levels”
He’s no astronaut, but Michael Volpe know how to scale dizzying heights.
Various Artists, “Day of the Dead”
Various Artists Day of the Dead 4AD 7/10 For its twentieth edition in a series of fund-raising various-artist projects, the Red Hot Organization—an international charity…