Articles by AD Amorosi
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…
Radiohead, “A Moon Shaped Pool”
Never before have Radiohead made anxiety such a singular concern, or unease such an agonized-over art form, as they have here.
J Dilla, “The Diary”
The man behind the beats of Common and Erykah Badu goes for a robo-flow.
Lush Life: The Sirens Return
Recently reunited and with a new EP to prove it, Miki Berenyi and Emma Anderson harmonize together once again to talk past, future, and why they would still prefer not to be called “shoegaze,” thank you very much.
Clark, “The Last Panthers” [soundtrack]
That means that every time you see skinny, wrinkly John Hurt tooling around a stolen set of diamonds, Clark’s man-machine ting and moaning musical tones can’t be far behind.