Bedlam punk rock dating
with a bit of seemingly arbitrary misdirection, “I Forgot That You Existed” is the kind of catty diss track—possibly aimed at Kanye West and/or Calvin Harris—that cemented the very reputation Swift laments in the lyrics.
But it feels like a caricature of a Taylor Swift song, a defanged version of more satisfying clapbacks like “Bad Blood” and “This Is Why We Can’t Have Nice Things.” lacks a unified sonic aesthetic, ostensibly from trying to be something to everyone—the surest tell that it’s as much reaction as it is creation.
Renaissance lute songs may only call for one singer and one lute, but they cover the gamut of human experience: love, lust, religion, and everything in between.
Lute songs are Bedlam's specialty, and Pegasus Early Music presents this acclaimed, Eastman-trained duo — soprano Kayleen Sánchez and lutenist Laudon Schuett — this weekend in a program of French and English lute songs by Jehan Chardevoine and Thomas Campion, as well anonymously written selections.
It also helps that, at a tidy 40 minutes, the album’s brevity keeps the melancholy in check.Despite its parodic title, though, Del Rey’s latest doesn’t so much subvert an idealistic notion of the American dream as perform a postmortem of it.On “Venice Bitch,” which is rife with references to quintessential American icons like Robert Frost, Del Rey pines for a world that had already coughed its last gasp by the time she was born.After two albums that found Del Rey doubling back to the hip-hop-inflected baroque pop of her 2012 breakthrough, left off.The singer has aptly described the new album as a “mood record,” a heady collection of psych-rock and piano dirges that pour into each other and rarely shift tempo from track to track.