Osmosis Tones

By Eleni Haberis The Districts are a band of the classic alt rock archetype: small town sad boys. And while it would’ve been easy for them to fall into a prototypical “I hate this town” sound, they've built on their initial promise to produce a blend of indie rock and folk that’s fervent and exploratory. Sound exploration is particularly prevalent on their latest album, You Know I’m Not Going Anywhere , along with an increase in aura and ambiance. Part of this album’s appeal is how inspired it feels, as if the band heard Arcade Fire for the first time and thought “oh THIS is how it's supposed to be done.” The album starts with the eerie-but-smooth “My Only Ghost,” a dreamy folk tale that introduces the listener to the themes of the record, implicitly rather than explicitly. Throughout the record are stories of secrets and memories and themes of detachment and death, but the Districts meander through them, not hurdling like an adolescent. It’s a gentler approach than th

By Luke Robinson As every hardcore dude in their mid-20s says, I’ve been with Code Orange since they were “kids.” In 2012, I saw them play in a Chicago garage, and was blown away with the veracity and musicianship of their music. It was sludgy powerviolence done with this youthful, feminine energy. They were wimps that could kick your ass wearing short shorts. But with each coming album, they began to shed this image. I Am King saw them drop the “Kids” moniker in order to reinvent themselves as macho metalcore, reviving the screeching panic chords and chugging breakdowns made famous by bands like Disembodied in the early 2000s. Despite it being a bit generic, it showed promise with some choice cut gems in the mix.  Still, Code Orange demonstrated desire towards making their sound more aggressive and diverse. This brought them to Forever , their magnum opus - and one of my favorite hardcore records of all time. The album introduced industrial and electronic elements to the ba

A Note From The Editor As the number of confirmed cases of COVID-19 continues to increase, paranoia from misinformation and irresponsibility of leadership skyrockets while the American economy grinds to a halt. Those who need access to proper testing and medical care fear that they won't receive it, all the while the bell curve of the American healthcare system desperately needs to be flattened. Unemployment is only increasing, and the arts and services community - two of the most pivotal influences in my life - have been ravished to a point where a "bounce back" may not be enough.  Essentially, everything is terrible. But to not maintain hope at this time would be the gravest mistake of all. While the new normal has undoubtedly brought forth new trials and tribulations for every single human being, we must follow the guidelines set forth by our public health officials - no exception. Beyond our duties as citizens, we must not forget to face the horro

By Tommy Delone If you ONLY know Grouplove as the band that made “Tongue Tied,” it's no fault of your own. Ever since their 2011 debut, Never Trust a Happy Song , the peppy synthpop band have stayed true to their millennial selves, crafting pop/rock anthems that possess carefree energy and blatant accessibility. They’ve been incredibly consistent, but their lack of depth has been to a fault. While perfect for day-drinking your Saturday away at the beach, beyond their shine n’ sheen, their albums are rather inessential listens. As a result, Grouplove never feels like a band with anything to prove, partially because there aren’t greater demands or expectations for them.   But if Grouplove proves anything on Healer , it’s that they just might have the right message to address the plight of humanity. Healer is the insightful, refreshing escape we need from the current chaos of the modern world, with new twists and turns that demonstrate the band isn’t complacent. Thematical

By Eleni Haberis When a memory is so vividly attached to music, it stays like that forever. The first time I heard Bad Bunny, I was in a nightclub in Argentina; every time I've listened to him since, I have been transported back to that moment. Not because I am an overly nostalgic little baby (this time), but because Bad Bunny’s spirit, voice, and energy just throws me there - I have no choice. His new album, YHLQMDLG (Spanish for Yo Hago Lo Que Me Da La Gana, English for “I Do Whatever I Want”) is no exception. Bad Bunny, born Benito Antonio Martínez Ocasio, rose to fame only about two years ago. But the diversity of his tracks, and his ability to blend genre characteristics of trap, dancehall, dembow, and AutoTune crooning with modern flair makes his discography feel like that of a Latin industry veteran. You can hear this throughout YHLQMDLG on its variety of songs, or, if you're in a rush, all in one! Songs like “Safaera” have enough tempo changes and early 20

Sometimes, you can't cover everything - and it looks like we have some catching up to do. Here's a brief roundup of recommendations from the Osmosis Tones staff that we haven't had the chance to formally review! 

By Kenny Cox 2020 has lasted but only three months, but the world already feels like it’s on fire. With pandemic sweeping across the globe, wealth inequality only growing, and anxiety becoming standard operating procedure for most people, the chaos of modern life can feel utterly paralyzing and unintelligible. But for singer, songwriter, and producer Meg Remy, it's the foundation for exuberant, flourishing pop tracks that try to make sense of the pandemonium that has become the new normal. Under the name U.S. Girls, Remy’s newest record Heavy Light is a collection of fearless, incisive pop tracks that aim to take on the turbulent present, while simultaneously reconciling with the past. Following in the footsteps of the most recent U.S Girls release, In a Poem Unlimited , Remy draws upon the richly produced, groovy sounds of ‘70s disco, funk, and pop, making the dance floor her site of political protest. The album’s opener, “4 American Dollars” best exemplifies Remy’s appr

By Zach Zollo In every practical sense, Eternal Atake is Lil Uzi Vert’s attempt at crafting what all canonized MCs of hip hop’s pantheon have: a classic. Since 2016, the 25-year-old Philadelphia rapper has been at the vanguard of hip hop’s SoundCloud generation, defining the sub-genre of “emo rap” with his melodic flows, high-register vocals, anguished lyrics, and infectious instrumentals. He’s a certified megastar, a beloved Internet personality, and subject of THREE of the greatest interviews Nardwuar has ever produced. With songs like “Money Longer,” “20 Min,” and the billion-times streamed “XO Tour Llif3,” Uzi will ostensibly be remembered as one of the most cherished rappers of the 2010s...and yet, not a single one of his projects can be deemed a classic due to cloying production, bloated run times, and repetitive thematics. But a change has (mostly) come with Eternal Atake , Uzi’s most complete declaration of artistry yet. The well-documented gestation period for

By Luke Robinson We should all know by now that Archy Marshall, London’s working class pasty ginger, is actually a reincarnated delta blues singer. As King Krule, Archy has endlessly showcased his  monstrous, whisky-barrel aged baritone croon, glazing it with his thick English accent as he charges into crippling belches and screams. He commands a room in the tradition of voice-driven singer-songwriters, but his style - rooted in dissonance as much as emotional longing - is unlike any other.  6 Feet Beneath The Moon , a decade-defining (10/10) album, seamlessly fused the trip hop stylings of Portishead and Massive Attack with the post-punk onslaught of Gang of Four. The jazzy instrumentation enveloped in a spanky, Stratocaster tone only further defined his unique bent. Sadly, his last album - 2017’s the Ooz - was extremely undercooked. The lack of well-composed songs led to an album that wandered on aimlessly, without the same caliber of atmosphere and accessibility that mad

By Zach Zollo 2020 is shaping up to be an excellent year for new music. Here's a recap of my favorite releases from last month, and what YOU should be checking out!