Both in his work with Fall Out Boy and on other projects, the bassist and lyricist frequently compares heaven to a nightclub with playful yet powerful references to the pearly gates.
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The cult classic movie, “But I’m a Cheerleader,” is an amusing take on a dark topic. The soundtrack is full of teen angst and punk sensibilities that takes a topic so horrifying, and makes it comically camp.
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Singing from a woman’s perspective, Fiona Apple gives “Across the Universe” a level of sincerity that The Beatles never could.
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The “Ezio’s Family” motif transcends the boundaries of any single protagonist of the Assassin’s Creed series, binding them together as part of something far greater than them and proving that none of them are alone in committing to the fight against evil.
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When an addict searches for a murderer in an isolated Midwestern town, the only logical soundtrack is the haunting honesty of Led Zeppelin.
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The Tumblr classic, Electra Heart, has officially turned ten. Despite housing many hits and solidifying Marina’s place as a quintessential pop act, the album has garnered a complicated legacy for its impact on 2010s adolescents.
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The music of The Cure is often recognized as gothic rock, yet the band’s most commercially successful album strays from the darkness of their previous efforts, leaving behind a legacy of pop hits.
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With a dazzling soundtrack teeming with powerhouse vocals, 2010’s “Burlesque” is a flashy display of the cabaret scene through the eyes of stars like Christina Aguilera and Cher. But the gaudiness of the soundtrack brings up the negative depictions of sex workers that Hollywood likes to perpetuate.
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“The mystery of life isn’t a problem to solve, but a reality to witness.”
At the core of “Dune” is an atmosphere of mystery, and the score behind Denis Villeneuve’s latest adaptation helps the film translate this sense of ambiguity not simply into a visual experience, but into a sweeping sonic landscape.
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After attracting worldwide acclaim for its whimsical score, “Euphoria”’s music continues to dazzle audiences in its second season, this time with more throwback hits and retro sounds.
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It’s the album which set an entire genre in motion, and though the duo have grown and evolved since, the band never forgot its blackened roots.
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This record bridges the gap between Smith’s indie-folk bedroom records and his grander early ’00s productions, establishing him as a lyrical and melodic tour de force.
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William Miller may be “too sweet” for rock and roll, but the ”Almost Famous” soundtrack definitely isn’t.
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Another iteration of the age-old tale of failed love, this time backed by a slew of hipsters.
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Beach House didn’t invent dream pop, but their influence on the sound transformed '80s shoegaze into its own art form.
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From Angelica Schuyler's hyper-awareness of her place in society to Luisa Madrigal’s search for worth in her service to others, Lin-Manuel Miranda’s soundtracks perfectly encapsulate the emotions of immigrant older sisters growing up in the United States.
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It has now been 15 years since the release of Amy Winehouse’s second and final album Back to Black. But no matter how many years since its release, the music, lyrics, and voice that make up this masterpiece will remain just as impactful long past Winehouse’s tragic passing.
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Beastie Boys’ Licensed to Ill was released 35 years ago last month. Though an undeniably seminal work, and a part of a process that saw the growth of hip-hop’s popularity, some questions about its continued relevance continue to crop up: What did the growth it brought about entail, and what does Licensed to Ill say about that process?
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