Father John Misty, “I Adulation You, Honeybear” ***
Singer-songwriter Father John Misty’s meandering agreeable career seems to accept acclimatized ytic able-bodied in the abandoned realm. His latest album, “I Adulation You, Honeybear,” offers a abundant attending at love, activity and the curiosities that complicate it all.
Joshua Tillman, who performs as Father John Misty, sings beautifully back he’s not singing too abundant on the generally bombastic 11-track album. The lyrics are heavy, and conceivably alone the arcane aristocracy will t all his nuances.
If there’s a post-sadcore movement these days, Misty is its acceptable leader. He pens antagonistic lyrics about relationships gone amiss and knows whom to accusation for their undoing. But generally there’s almost any allowance for the music to breathe, as on “I Adulation You, Honeybear” and “Chateau Lobby (hash) 4.”
When Misty does abeyance for air, he’s accomplished on standout songs like “Bored in the USA.”
— Ron Harris, Associated Press
Fall Out Boy, “American Beauty/American Psycho” ***
It’s a acceptable affair soulful emo-core popsters Abatement Out Boy bankrupt up, had awful abandoned careers, and reunited aloof in time to save bedrock ‘n’ cycle with their 2013 anthology alleged “Save Bedrock and Roll.” That bust-up active the quartet to become added adventuresome songwriters/arrangers than in the past. And, as quick as you please, this new album! Debuting at cardinal one on the Billboard Top 200, American Beauty/American Psycho is aggregate you could appetite in a acquiescently frazzled, pop-cultural-conscious Abatement Out Boy record, additional accurate samples of The Munsters theme, Suzanne Vega songs, disco and more.
From the bleared “The Kids Aren’t Alright,” with its cutesy, whistling hook, to the surf-rocking dart “Uma Thurman,” you get the activity that acute body man Patrick Stump and corybantic pop-punk Pete Wentz accept as abounding kitsch chuckles up their sleeves as they do berserk addictive tunes. That’s not to say that American Beauty/American Psycho is silly. Jittery dance-rawk cuts such as “Novocaine,” the steadily allure “Centuries,” the acquiescently fanboy-ish “Favorite Record,” and the rolling bareness of “Twin Skeletons (Hotel in NYC)” complete the trumpets for agitating lyricism and tensely affecting melodies.
— A.D. Amorosi, Philadelphia Inquirer
Various artists, “The Last Five Years” ***1/2
Hollywood went to two actors with Broadway backgrounds to brilliant in the blur adaptation of the agreeable “The Last Five Years” — and it paid off.
Anna Kendrick and Jeremy Jordan brilliant as a adolescent New York brace who abatement in, and again out, of love. She’s a disturbing actress. He’s a biographer who finds success. Both Kendrick and Jordan accept Tony Award nominations on their resumes, and they accept absolute choir for the sometimes affecting lyrics, which trace the couple’s accord in an adroit way.
The soundtrack keeps all the production’s songs, some ablaze and aerated and others sad and somber. Kendrick and Jordan let the affections appear through their singing voices. He tells her, glottal with anger, “No one will accord you courage. No one can thicken your skin.” Earlier on, in a blue tone, she sings that she’s “covered with scars I did annihilation to earn.”
“The Last Five Years” isn’t a appearance abounding with addictive tunes, but it does appetite to booty you through carefully accounting songs that acquaint the adventure of all of the affections that go into a relationship. Let them.
— Caryn Rousseau, Associated Press
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