The Student Playlist

Showcasing the Best New Music, Curating the Classics

Tag Interscope

REVIEW: Eminem – ‘Revival’ (Aftermath / Shady / Interscope)

Marshall Mathers’ latest attempt at resuscitating his credibility on his ninth Eminem album ‘Revival’ tries hard, but leaves very little impression on the listener’s memory.

REVIEW: Imagine Dragons – ‘Evolve’ (KIDinaKORNER / Interscope)

Despite the title, Imagine Dragons show absolutely no sign of moving forwards from the shiny, anthemic bombast of their previous albums.

REVIEW: Kendrick Lamar – ‘DAMN’ (Top Dawg Entertainment / Interscope / Aftermath)

Whether ‘DAMN’ will be the cultural crossover its predecessor was remains to be seen, but what is clear is that Kendrick Lamar’s fourth album is another glorious record.

REVIEW: Lady Gaga – ‘Joanne’ (Interscope)

‘Joanne’ is an incredibly strong album and does not disappoint her hardcore fans, and should even win back some of the ‘Artpop’ critics.

REVIEW: M.I.A. – ‘AIM’ (Interscope / Polydor)

If ‘AIM’ really is Maya Arulpragasam signing off, it’s the sound of her doing so in solid, unspectacular style rather than with a bang.

REVIEW: Rae Sremmurd – ‘SremmLife 2’ (EarDrummers / Interscope)

by John Tindale In a world where Kanye West and Chris Brown grab the spotlight, it is Atlantan brothers Khalif ‘Swae Lee’ Brown and Aaquil ‘Slim Jxmmy’ Brown who are beginning to attract a few headlines of their own.

REVIEW: ScHoolboy Q – ‘Blank Face’ (Interscope / Top Dawg)

by John Tindale It has been a tough time for Top Dawg Entertainment in recent years. Yes, there has been the unrivalled success of Kendrick Lamar and his classic To Pimp A Butterfly, but on the whole, the label’s reputation and visibility has certainly dropped from its peak buzz back in 2012. Jay Rock’s 2015 album 90059 remains painfully underrated and Ab-Soul’s These Days was passable at best, but in ScHoolboy

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REVIEW: Band Of Horses – ‘Why Are You OK’ (Interscope)

by John Tindale To say that Band of Horses have been the victims of their own hype would be a fair statement based on the amount of expectation put on the then-Seattle-based band. Debut album Everything All The Time saw the band soar to the attention of mainstream media, because of both the excellently crafted folk-tinged rock (see ‘The Funeral’) and of the back story of lead vocalist Ben Bridwell (google

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REVIEW: Kendrick Lamar – ‘untitled unmastered’ (Aftermath / Interscope / Top Dawg)

by John Tindale Kendrick Lamar may already have registered himself as one of the greats before the age of 30; having released the classic good kid, m.A.A.d city in 2012, he went on to better himself with what will certainly be regarded as one of the very best records of the decade, To Pimp A Butterfly, last year, so the surprising news that we are now getting some extracts from the

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