Pop music coverage moves from Click Track to the Style blog
Like the song says, it’s time to move.
After 27 months of non-stop pop music bloggery, we’re moving our music coverage from Click Track to The Style Blog where we’ll be talking about pop music alongside the keystrokes of other arts critics from the Washington Post Style section.
Each Tuesday morning, we’ll post a roundup all of the week’s album reviews and concert coverage in one handy package, and we’ll be chiming in on the world of pop music throughout the week. (If you only want to read about music on The Style Blog, bookmark this page right here.)
For in depth preview coverage, visit the Going out Guide’s GOG Blog where David Malitz will continue to keep you up to speed on the area’s best musical events.
And next week, we’ll begin spitting out nearly all of our pop music coverage to the Twittersphere from our new account, @WashingtonPostMusic. Follow us. (Chris Richards and David Malitz are on Twitter, too.)
What will our music coverage look like on the The Style Blog? It’ll include all of the best elements of Click Track — interviews with folks like Big Boi, Robyn, Will.I.Am, Foster the People, Oneohtrix Point Never, Yelawolf, Lil B and more.
And while we’re at, here are some other Click Track highlights:
Thanks for reading Click Track and see you over on the Style Blog!
Quick spins: Andrew Bird, Shooter Jennings, Zieti
And in case you missed it in Sunday’s Washington Post Magazine, the cover story about the making of a documentary on legendary rock drummer Ginger Baker is well worth your time.
Singles file: Arcade Fire, Willis Earl Beal, Gunplay
A weekly playlist for the listener with a one-track mind...
Arcade Fire: “Abraham’s Daughter”
On the leadoff song from “The Hunger Games” soundtrack, AF’s typically rococo indie rock is set to a spare, almost martial beat.
Willis Earl Beal: “Monotony”
More understated perfection from the buzzed-about acoustic blues singer, whose debut, “Acousmatic Sorcery,” drops next month.
Actress: “Actress Meets Shangaan Electro”
2010’s “Shangaan Electro” compiled some of the African dance sub-subgenre’s finest cuts. The new “Shangaan Shake,” from which British producer Actress’s souped-up, vaguely techno-minded track hails, feeds them into a dance-floor blender.
Gunplay: “Jump Out”
Gunplay was a Maybach Music also-ran who reinvigorated his career a few weeks back with a killer contribution to Kendrick Lamar’s “Cartoon & Cereal.” He seals the deal with this steroidal new banger.
Adam WarRock: “Downton”
We would have expected a “Downton” homage from the Lady Edith-like Laura Marling, or maybe from 50 Cent (whom we like to think is secretly a fan). But it turns out the best cure for Downton Withdrawal comes from nerd MC WarRock, who gets bonus points for his concise explanation of complicated British entail laws.
In today’s Post: New Springsteen album feels dutiful; Young Jeezy kicks off tour at Fillmore; Radiohead to headline Verizon Center
In today’s Washington Post:
- Bruce Springsteen’s new album “Wrecking Ball” takes aim at the the “robber barons” of Wall Street, but feels dutiful, according to a review from Chris Richards: “Springsteen doesn’t sound angry. He sounds angry on our behalf.”
- Rap star Young Jeezy is a long way from the streets that raised him, but Sarah Godfrey says he kicked off his national tour at the Fillmore Silver Spring on Saturday with his street cred in tact: “He seemed as relevant, and as beloved, as ever.”
- And over on the Going Out Guide, Radiohead announces a Verizon Center concert on Sunday, June 3. Will it go down without a disaster? David Malitz recounts the cataclysmic rains and freak accidents that have occurred at the band’s previous Washington-area performances.
So how was that Lauryn Hill show?
Lauryn Hill has done plenty over the past decade to earn a reputation as a baffling and disappointing live performer. On Wednesday, though, she reminded people why she was once considered a leading musical visionary.
“Her performance at the Warner Theatre on Wednesday night was unpredictable in all the right ways, transforming her sepia-toned R&B into twitchy, aggressive, hard-edged music that resembled vintage progressive rock,” our own Chris Richards reports. “It didn’t always satisfy, but it was consistently provocative — as if the quirks that initially made her songs so magnetic had grown monstrous fangs.”