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Tag Archives: Lana Del Rey

Memo Ochoa stuntin’ on ’em

The 2014 FIFA World Cup is here, and I have a novice’s degree of knowledge as to what’s happening, as well as a small amount of sentimentality for the event. This is me traversing through work, drunken weekends, and Spotify with the World Cup either in the fore or background

Tuesday, June 17

I was staring at my screen in bewilderment at 9:05 AM. I was watching all of the American reaction videos to the second goal by John Brooks to win the game against Ghana for the United Stated. There were showers of beer, people acting in hysterics all colliding together with their wares of red, white and blue. I still couldn’t believe it. By 10:30 AM, I was still in a state of awe but it was concerning a ranking I saw on the music blog, Consequence of Sound. Lana Del Rey’s Ultraviolence received an A.

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Genres of music are being broken down into very specific, micro classifications due to the tags that taste makers, music bloggers, and critics fabricate to identify a certain styling that has yet to be labeled. At times, it can be difficult to keep up with but, at the same time, they are very fun to explore. Each week, I will explore a different sub-genre and try to explain the stains left on my shirt after climbing out of each tedious rabbit hole of musical stylings.

PBR&B (also known as indie R&B, alternative R&B, or, yikes, urban contemporary) is a relatively new sub-genre that was slapped with this distinction around the time that artists like Frank Ocean, Miguel, How to Dress Well and Theophilus London started to drop material. The sound of PBR&B is more or less defined by an exchange of ideas from several other genres such as EDM, hip-hop, rock and soul. It draws greatly upon the influence of R&B from generations past and filters it through a modern lens. The best examples of this are Ocean’s Channel Orange and How to Dress Well’s Total Loss. The former utilizes a lot of the same style techniques from legends like Marvin Gaye, Al Green in a lush, hip-hop oriented soundscape, while the latter feels more like a Ralph Tresvant record set to Gregorian chants. The artists that represent the sub-genre also diverge from the common theme that dominates the narratives of its standard bearers.

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