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WE DON'T TRUST YOU
Future
Hip-Hop/Rap - Released March 22, 2024 | Wilburn Holding Co. - Boominati - Epic - Republic
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Notably, producer Metro Boomin didn't contribute to Future's 2022 album I Never Liked You, and he later explained in an interview that he was saving material for a full collaboration between the two. WE DON'T TRUST YOU is the first album co-billed to the longtime creative partners, and it finds the rap luminaries more or less staying in their respective lanes. Metro Boomin's beats are typically cold and ominous yet lustrous, and Future sticks to familiar subjects such as drugs, sex, and luxury fashion. Kendrick Lamar pops up for a guest verse on "Like That," and as expected, his presence is so magnetic that he threatens to steal the show for a moment. Rick Ross does his thing on "Everyday Hustle," which uncovers an obscure Philly soul gem (Alfreda Brockington's "I'll Wait for You") for its beat. Other guests appearing on the album include the Weeknd, Travis Scott, and Playboi Carti. WE DON'T TRUST YOU became Future's ninth Billboard 200 chart-topper and Metro Boomin's fourth.© TiVo Staff /TiVo
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Core
Stone Temple Pilots
Rock - Released September 29, 1992 | Rhino Atlantic
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Stone Temple Pilots were positively vilified once their 1992 debut, Core, started scaling the charts in 1993, pegged as fifth-rate Pearl Jam copyists. It is true that the worst moments of Core play like a parody of the Seattle scene -- titles like "Dead and Bloated" and "Crackerman" tell you that much, playing like really bad Alice in Chains parodies, and the entire record tends to sink into gormless post-grunge sludge. Furthermore, even if it rocks pretty hard, it's usually without much character, sounding like cut-rate grunge. To be fair, it's more that they share the same influences as their peers than being overt copycats, but it's still a little disheartening all the same. If that's all that Core was, it'd be as forgettable as Seven Mary Three, but there are the hits that propelled it up the charts, songs that have remarkably stood the test of time to be highlights of their era. "Sex Type Thing" may have a clumsy anti-rape lyric that comes across as misogynist, but it survives on its terrifically lunk-headed riff, while "Wicked Garden" is a surprisingly effective piece of revivalist acid rock. Then, there's the slow acoustic crawl of "Creep" that works as well as anything on AIC's Sap and, finally, "Plush," a majestic album rock revival more melodic and stylish than anything grunge produced outside of Nirvana itself. These four songs aren't enough to salvage a fairly pedestrian debut, but they do find STP to be nimble rock craftsmen when inspiration hits.© Stephen Thomas Erlewine /TiVo
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Core
Stone Temple Pilots
Alternative & Indie - Released September 29, 1992 | Rhino Atlantic
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Stone Temple Pilots were positively vilified once their 1992 debut, Core, started scaling the charts in 1993, pegged as fifth-rate Pearl Jam copyists. It is true that the worst moments of Core play like a parody of the Seattle scene -- titles like "Dead and Bloated" and "Crackerman" tell you that much, playing like really bad Alice in Chains parodies, and the entire record tends to sink into gormless post-grunge sludge. Furthermore, even if it rocks pretty hard, it's usually without much character, sounding like cut-rate grunge. To be fair, it's more that they share the same influences as their peers than being overt copycats, but it's still a little disheartening all the same. If that's all that Core was, it'd be as forgettable as Seven Mary Three, but there are the hits that propelled it up the charts, songs that have remarkably stood the test of time to be highlights of their era. "Sex Type Thing" may have a clumsy anti-rape lyric that comes across as misogynist, but it survives on its terrifically lunk-headed riff, while "Wicked Garden" is a surprisingly effective piece of revivalist acid rock. Then, there's the slow acoustic crawl of "Creep" that works as well as anything on AIC's Sap and, finally, "Plush," a majestic album rock revival more melodic and stylish than anything grunge produced outside of Nirvana itself. These four songs aren't enough to salvage a fairly pedestrian debut, but they do find STP to be nimble rock craftsmen when inspiration hits.© Stephen Thomas Erlewine /TiVo
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A Celebration Of Endings
Biffy Clyro
Alternative & Indie - Released August 14, 2020 | Warner Records
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Following 2019's ambitious soundtrack Balance, Not Symmetry, Scotland's Biffy Clyro return with their ninth studio album, 2020's brightly attenuated A Celebration of Endings. The album again finds them working with producer Rich Costey, who'd previously helmed 2016's Ellipsis and who has worked with similarly inventive indie rock luminaries like Muse, Fiona Apple, and Supergrass, among others. Since their emergence as a wiry post-grunge outfit in the early 2000s, Biffy Clyro have matured into a reliably consistent power trio known for their prog-inflected anthems that balance pop hooks with kinetically aggressive rock arrangements. It's a sound they brought to fruition on 2009's Only Revolutions and one which they've continued to hone. In a post-millennial streaming world of individualized tracks, Biffy Clyro are somewhat of a throwback to the album-oriented alt rock of the '80s and '90s. Which is to say that while there are stand-out songs here, not every track is meant to play like an immediately gratifying three-minute earworm. There are those kinds of cuts here, including the propulsively galloping "Weird Leisure," with its crackling guitar leads and Queen-like harmonized falsetto backing vocals. Equally compelling is the rollicking "Tiny Indoor Fireworks," with its head-rush chorus about conquering obstacles, real or imagined, in which frontman Simon Neil sings, "I fire it up then blow it out/I build it up then tear it down/Summit the ocean, scale the lake/And I'll pray for the better days." Primarily though, on tracks like "The Champ," "End Of," and "The Pink Limit," they take a more sonically circuitous route, indulging in pummeling guitar riffage, off-kilter drum grooves, and Teutonic fuzz-tone bass bombast. There are also more languid moments as they expand their sound with orchestral flourishes, as on "Space" and the acoustic ballad "Opaque." Ultimately, A Celebration of Endings fits with Biffy Clyro's long-standing knack for combining stadium-sized rock uplift with an undercurrent of wry post-punk thrills.© Matt Collar /TiVo
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Bloody Kisses
Type O Negative
Metal - Released January 1, 1993 | Roadrunner Records
Bloody Kisses was Type O Negative's major step forward, maintaining the long, repetitive song structures of albums past, but adding more atmospheric synths and left-field Beatlesque pop melodies. The quantum leap in songwriting is what really drives the album, but it also coincides with a newfound sense of subtlety. Aside from a couple of smart-aleck rants, Peter Steele's dark, melodramatic songs address heartbreak and loneliness in what sounds at first like deadly serious overkill. But not far beneath the surface, he's also satirizing his own emotional excesses, and those of goth rock in general. Steele's lyrics gleefully wallow in goth clichés -- sex, death, Christianity, vampires, more sex, and death -- and he even sings most of the album in an intentionally vampiric croon straight from the depths of an ancient crypt. Among other things, that delivery lends hilarious irony to a glum cover of Seals & Crofts' soft rock hit "Summer Breeze"; it's also perfect for the deadpan mockery of the goth-girl character sketch "Black No. 1." Hardly any of the songs need to be as long as they are, but that ridiculous excess is all part of Type O Negative's sly, twistedly affectionate send-up of goth rock conventions. Though it sounds like a funeral, Bloody Kisses' airy melodicism and '90s-style irony actually breathed new life into the flagging goth metal genre, and the album is an often overlooked forerunner to alternative metal's limited appropriation of goth style.© Steve Huey /TiVo
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Live At The Sahara Tahoe
Isaac Hayes
Soul - Released November 18, 2016 | Stax
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Booklet
You could expect Isaac Hayes to be in his element at a resort venue -- lounge soul was his forte, and this double album offers almost two hours of it. Hayes demonstrates his versatility by getting "Shaft" out of the way right off the bat and alternating between originals and covers of a wide range of tunes, including "Light My Fire," "Never Can Say Goodbye," "Rock Me Baby," "Stormy Monday Blues," "Feelin' Alright," and "It's Too Late" (yes, the Carole King song). Often these are linked together, of course, by Hayes' brotherly raps; for Bill Withers' "Ain't No Sunshine," he tests the limits, stretching the tune just past the ten-minute mark.
© Richie Unterberger /TiVo
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Bloody Kisses
Type O Negative
Rock - Released August 17, 1993 | Roadrunner Records
Bloody Kisses was Type O Negative's major step forward, maintaining the long, repetitive song structures of albums past, but adding more atmospheric synths and left-field Beatlesque pop melodies. The quantum leap in songwriting is what really drives the album, but it also coincides with a newfound sense of subtlety. Aside from a couple of smart-aleck rants, Peter Steele's dark, melodramatic songs address heartbreak and loneliness in what sounds at first like deadly serious overkill. But not far beneath the surface, he's also satirizing his own emotional excesses, and those of goth rock in general. Steele's lyrics gleefully wallow in goth clichés -- sex, death, Christianity, vampires, more sex, and death -- and he even sings most of the album in an intentionally vampiric croon straight from the depths of an ancient crypt. Among other things, that delivery lends hilarious irony to a glum cover of Seals & Crofts' soft rock hit "Summer Breeze"; it's also perfect for the deadpan mockery of the goth-girl character sketch "Black No. 1." Hardly any of the songs need to be as long as they are, but that ridiculous excess is all part of Type O Negative's sly, twistedly affectionate send-up of goth rock conventions. Though it sounds like a funeral, Bloody Kisses' airy melodicism and '90s-style irony actually breathed new life into the flagging goth metal genre, and the album is an often overlooked forerunner to alternative metal's limited appropriation of goth style.© Steve Huey /TiVo
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Mental Trillness
Juicy J
Hip-Hop/Rap - Released March 31, 2023 | Trippy Music LLC
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The Complete Roadrunner Collection 1991-2003
Type O Negative
Rock - Released November 14, 2012 | Roadrunner Records
Type O Negative's goth metal sound grew from thrashy beginnings over the course of several records until the 2010 death of band founder and vocalist Pete Steele. The Complete Roadrunner Collection 1991-2003 collects the lion's share of the group's best-loved material, beginning with its morally questionable earliest albums Slow, Deep and Hard and the fake live album The Origin of the Feces. Transitioning from thickheaded misogyny and shock rock metal tactics on these albums, the set includes the more sophisticated musicianship of 1993's Bloody Kisses and 1996's October Rust as well as latter-day albums World Coming Down and Life Is Killing Me.© Fred Thomas /TiVo
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SremmLife
Rae Sremmurd
Hip-Hop/Rap - Released January 6, 2015 | Mike WiLL Made-It
Looking like a combination of Kriss Kross and Das Efx while sounding like neither, Tupelo, Mississippi rappers Swae Lee and Slim Jimmy came on hard in 2014, taking Migos' bright style of trap music and adding a little of David Banner's sway to the bottom end. They aren't so gangsta, and their early hits came with arguably "positive" messages when compared to folks like Chief Keef, as the brilliant "No Type" ("I ain't got no type/Bad bitches is the only thing that I like/You ain't got no life/Cups filled with ice and we do this every night") is a booty-fueled ode to keeping one's mind open, while "No Flex Zone" believes it's better to be a "trill ass individual" than a crowd follower. That latter hit put Rae Sremmurd (or Ear Drummers backwards, a reference to producer Mike WiLL Made It's record label) on the cover of a Marvel comic book relaunching Captain America as a racially diverse title, and in this case, the hype machine and talent work in tandem as SremmLife surrounds its hits with worthy follow-ups. Stoned roller "Lit Like Bic" is just happy to sit in "poppa's chair" now that these teens are entering their twenties, then "Up Like Trump" spits out witty bits like "I do my own stunts" and "wear my hat to the front, like I drive a truck," and like everything here, it's highly infectious. SremmLife can also be a surprisingly diverse and sure, as "Throw Some Mo" saddles up next to a strip clubbin' Nicki Minaj with so much swagger that no one will bother to check these kid's I.D.s. Big Sean's feature lands on "YNO," a crucial cut that's one-part zombie walk, one-part come-up anthem ("Tokyo drift through the hills/Used to have to walk, no wheels"). There are moments when the LP feels a bit rushed, but there's also more refinement and purpose here than expected from such a supernova act. The coming-of-age and kinetic SremmLife reminds listeners that jumping into "poppa's chair" was a thrilling mix of pride and new opportunities, plus, the album doubles as a guaranteed party soundtrack.© David Jeffries /TiVo
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The Least Worst Of
Type O Negative
Metal - Released October 30, 2000 | Roadrunner Records
New York City goth rockers Type O Negative have always been a scary proposition. Though the band, led by bassist singer Pete Steele, often uses irony and humor to poke fun at the goth genre, to the casual ear (i.e., parents) Type O sounds like the kind of group who retires to a torture cave and sacrifices lambs after its set is over. That perception is not helped any by Steele's vampire vocals and bent for the morbid, even if he can be tongue-in-cheek at times. The Least Worst Of, aside from being a great title, is a career retrospective that includes favorites handpicked by the band, as well as a few new tracks to boot. The group's one brush with the charts, "Black No. 1," is included, but so are obscure tracks such as "Hey Pete," a death metal remake of Hendrix's "Hey Joe" that sees the narrator employing an axe to exact revenge on his cheating girl. And the group's penchant for offbeat covers (they once did Seals & Crofts' "Summer Breeze") is also carried on with an industrial version of Neil Young's "Cinammon Girl," a track that appeared on October Rust, the group's 1996 bid for a chart success that never quite materialized. New tracks such as "It's Never Enough" find the group experimenting with upbeat tempos and more energized riffs, but Steele's trademark moan is every bit as present as before and, after hearing all their old faves, fans of the band will be made happy all over again by the new stuff.© Steve Kurutz /TiVo
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Core
Stone Temple Pilots
Alternative & Indie - Released May 22, 2012 | Rhino Atlantic
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WE DON'T TRUST YOU
Future
Hip-Hop/Rap - Released March 22, 2024 | Wilburn Holding Co. - Boominati - Epic - Republic
Hi-Res
Notably, producer Metro Boomin didn't contribute to Future's 2022 album I Never Liked You, and he later explained in an interview that he was saving material for a full collaboration between the two. WE DON'T TRUST YOU is the first album co-billed to the longtime creative partners, and it finds the rap luminaries more or less staying in their respective lanes. Metro Boomin's beats are typically cold and ominous yet lustrous, and Future sticks to familiar subjects such as drugs, sex, and luxury fashion. Kendrick Lamar pops up for a guest verse on "Like That," and as expected, his presence is so magnetic that he threatens to steal the show for a moment. Rick Ross does his thing on "Everyday Hustle," which uncovers an obscure Philly soul gem (Alfreda Brockington's "I'll Wait for You") for its beat. Other guests appearing on the album include the Weeknd, Travis Scott, and Playboi Carti. WE DON'T TRUST YOU became Future's ninth Billboard 200 chart-topper and Metro Boomin's fourth.© TiVo Staff /TiVo
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Core
Stone Temple Pilots
Rock - Released September 29, 1992 | Rhino Atlantic
Stone Temple Pilots were positively vilified once their 1992 debut, Core, started scaling the charts in 1993, pegged as fifth-rate Pearl Jam copyists. It is true that the worst moments of Core play like a parody of the Seattle scene -- titles like "Dead and Bloated" and "Crackerman" tell you that much, playing like really bad Alice in Chains parodies, and the entire record tends to sink into gormless post-grunge sludge. Furthermore, even if it rocks pretty hard, it's usually without much character, sounding like cut-rate grunge. To be fair, it's more that they share the same influences as their peers than being overt copycats, but it's still a little disheartening all the same. If that's all that Core was, it'd be as forgettable as Seven Mary Three, but there are the hits that propelled it up the charts, songs that have remarkably stood the test of time to be highlights of their era. "Sex Type Thing" may have a clumsy anti-rape lyric that comes across as misogynist, but it survives on its terrifically lunk-headed riff, while "Wicked Garden" is a surprisingly effective piece of revivalist acid rock. Then, there's the slow acoustic crawl of "Creep" that works as well as anything on AIC's Sap and, finally, "Plush," a majestic album rock revival more melodic and stylish than anything grunge produced outside of Nirvana itself. These four songs aren't enough to salvage a fairly pedestrian debut, but they do find STP to be nimble rock craftsmen when inspiration hits.© Stephen Thomas Erlewine /TiVo
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TANTRA
Yung Bleu
R&B - Released November 11, 2022 | Moon Boy University - EMPIRE
Not resting after Moon Boy hit the Top 20 in 2021, Bleu released an EP at the end of that year, and mere weeks later started offering previews of his full-length follow-up. First was "Walk Through the Fire," an atmospheric piano ballad featuring Ne-Yo, and then came the sad banger "Love in the Way," a heart-to-heart with Nicki Minaj that became Bleu's fourth Hot 100 single as a headliner. TANTRA, containing both cuts, alternates between commercial and street-oriented material, a quality most obvious in the drastic shift from the sleek and yearning pop of "Fire Inside" (featuring ZAYN) to the trap-styled broadside "Fuck Her Face." Lil Wayne, Kelly Rowland, and Lucky Daye are among the additional guests. Bleu co-produces nine of the tracks (credited under his Moon Boy alias), the majority of which are among the album's emotionally deep moments.
© TiVo Staff /TiVo
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A Celebration of Endings (Live from The Barrowland Ballroom Glasgow)
Biffy Clyro
Rock - Released August 14, 2020 | Warner Records
Hi-Res
Following 2019's ambitious soundtrack Balance, Not Symmetry, Scotland's Biffy Clyro return with their ninth studio album, 2020's brightly attenuated A Celebration of Endings. The album again finds them working with producer Rich Costey, who'd previously helmed 2016's Ellipsis and who has worked with similarly inventive indie rock luminaries like Muse, Fiona Apple, and Supergrass, among others. Since their emergence as a wiry post-grunge outfit in the early 2000s, Biffy Clyro have matured into a reliably consistent power trio known for their prog-inflected anthems that balance pop hooks with kinetically aggressive rock arrangements. It's a sound they brought to fruition on 2009's Only Revolutions and one which they've continued to hone. In a post-millennial streaming world of individualized tracks, Biffy Clyro are somewhat of a throwback to the album-oriented alt rock of the '80s and '90s. Which is to say that while there are stand-out songs here, not every track is meant to play like an immediately gratifying three-minute earworm. There are those kinds of cuts here, including the propulsively galloping "Weird Leisure," with its crackling guitar leads and Queen-like harmonized falsetto backing vocals. Equally compelling is the rollicking "Tiny Indoor Fireworks," with its head-rush chorus about conquering obstacles, real or imagined, in which frontman Simon Neil sings, "I fire it up then blow it out/I build it up then tear it down/Summit the ocean, scale the lake/And I'll pray for the better days." Primarily though, on tracks like "The Champ," "End Of," and "The Pink Limit," they take a more sonically circuitous route, indulging in pummeling guitar riffage, off-kilter drum grooves, and Teutonic fuzz-tone bass bombast. There are also more languid moments as they expand their sound with orchestral flourishes, as on "Space" and the acoustic ballad "Opaque." Ultimately, A Celebration of Endings fits with Biffy Clyro's long-standing knack for combining stadium-sized rock uplift with an undercurrent of wry post-punk thrills.© Matt Collar /TiVo
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Interstellar Lullabies: Electronic Ambient Space Relaxation
Relaxing Chillout Music Zone
Electronic - Released March 1, 2023 | Hyperimmersion Concept
Suppose you have a more precise idea of what you want. If you are searching for the album "Bad" by Michael Jackson, type michael jackson bad. The album in question will be displayed at the top, as it is the most relevant.
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