![]() Conway isn't content to be the cipher killer. He gave purists their fix on tracks like "Nothin Less," "Fear Of God", and "Lemon" with Method Man, but the swagger of "Anza" with Armani Caesar and the sensitivity of "Forever Dropping Tears" demonstrate different facets of his game that help vault the project near the top of the Griselda canon. Once an artist reaches that plateau, they're entitled to delve into the kind of meta-boasting that Conway did on "Spurs 3," where he noticed, "lotta albums are suddenly startin' to feel a lil' more Griselda-esque." Ironically, he said this on a project that successfully bolstered the Griselda Records blueprint, supplementing the brooding loops and face-wrenching piano melodies with polished production that allows him to reaffirm his versatility. If you're talking spitters, you're talking Conway, who's been destroying every beat he's come across to the degree that revered lyricists like Eminem and Jay Z have sought proximity to the wave he's created. The album is a meditative homage to teen angst so potent that it might even make you miss the suburbs. ![]() "Yer' Song" is pure Siamese Dream-fuzzy, anthemic, and sneering-while tracks like "Emmadazey" and "Night Tryst" conjure memories of blissfully headbanging to Deftones and Silverchair back when we all had chain wallets. ![]() While nostalgia for that decade abounds in contemporary rock music, Narrow Head really nails the era when grunge, FM radio, and the underground converged into guitar music that was huge-sounding, but still satisfyingly edgy. This tension between youth and adulthood is the axis of Narrow Head's 12th House Rock, a love letter to 90s alternative rock and the angsty feelings that inspired it. Your adolescent years should be all about getting into mischief, sneering at the perceived stupidity of authority, and finding a lookout point in your hometown where you can make out and smoke weed with your friends. Sorry, kids, but while all of us are missing various social engagements, you're really missing out. Teenagers got such a raw deal in 2020, all cooped up and claustrophobic on Zoom. Not unlike 100 Gecs across the pond, though, they lean into the clear-eyed melodic lines and emotional maximalism of EDM and nu-Metal just enough (or some "in quotes" version of those genres) that the sensory overwhelm never feels oppressive instead, we catch a whiff of what it once felt like to process our collective disenchantment in person, in a foggy black room at peak time. Though the Finland-born Martti Kalliala and Ville Haimala finished Tearless before the pandemic started, its punishing rhythms, aggressively distressed textures, robotic voices, and loose themes of climate change and information overload certainly feel right on time. Over an infectious-but-scorched-sounding vocal melody from Brazilian producer and singer Lyzza, a succession of faces appears-each confined to the same rectangular frame, screaming and spinning and contorting itself into the most ghastly of grimaces as though it's trying to break free. While we were all busy adjusting to the homebound life this spring, Berlin electronic duo Amnesia Scanner released a video that captured what life feels like when social media is your only window to the world.
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