On Sept. 6, Post Malone released his third album: “Hollywood’s Bleeding,” which is here just in time for spooky season.

The 17-track album was produced by Brian Lee and Louis Bell and has a run time of about 51 minutes. Post Malone, formally known as Austin Richard Post, is famous for mixing and matching different genres of music together seamlessly, and this album is a great example of his work.

Within the album, Malone has a mix of rap, hip-hop, slow beats and heavy metal, along with a variety of guest appearances including a comeback from the bat-eating man himself — Ozzy Osbourne. Other features include DaBaby, Future, Halsey, Meek Mill, Lil Baby, Travis Scott, SZA, Swae Lee and Young Thug.

Unlike his first two albums “Stoney” and “Beerbongs & Bentleys,” this one has a more personal feel to it. Malone has gone through major shifts outside of his music as well, with him parting Los Angeles and buying a home in Utah.


Death Cab for Cutie’s "The Blue EP" was released earlier this month on Sept. 6 with five new tracks from the Washington-based band. The album title aptly describes the songs within the EP:  It explores the Bellingham Olympic Pipeline accident, a car crash and a disappointingly middle ground sound between classics like their fourth album "Transatlanticism" and their push towards the band’s 2015 evolution with "Kintsugi."

Rich Costey serves on this album as the band’s production replacement of founding member Chris Walla. He continues to be a wonderwall for the bands growth that they’re pushing for. Costey came on for "Kintsugi" and has production credits for Muse, Foster the People, Interpol, Sigur Rós and Biffy Clyro, among others.

On Sept. 1, local show house, the Toy Barn hosted an art collective comprised of local musicians, ranging from hip-hop to, post-punk,  and visual artists publishing their photography and stickers. The venue has hosted similar events but, according to most of the attendees, none to this scale.

At the event, the Daily Lobo interviewed some of the bands, encompassing what each act was about:

BROCKHAMPTON released their fifth studio album, “Ginger” on Aug. 23. The 12 tracks trudge through the boy band’s recent emotional turmoil and Shia Labeouf’s studio meditation sessions, following the removal of founding member Ameer Vann. 

Contrary to comments made by Kevin Abstract, a founding member of the band, declaring Ginger to be a summer “feel good” record, the album is heartbroken, bitter and flustered.

Notable songs on the album are “BOY BYE,” “ST. PERCY,” “DEARLY DEPARTED” and “VICTOR ROBERTS.” 


Concert Review: Dr. Dog soothes; Rad Trads bubble

Performing for about two decades now, the Philadelphia based rock band Dr. Dog has their show down to a science. 

This was proven during their sold-out show last Sunday night at the reality-bending Santa Fe Meow Wolf.  Doors opened at 8 p.m., lasting until the concert ended at 11 p.m. Their set list included songs off of their albums “Fate,” “Shame, Shame,” “Be the Void,” “B-Room,” “Abandoned mansion” and “Critical Equation,” along with a song off of their latest, 2019 album. Behind the band, psychedelic projections danced across the House of Eternal Return, tracing the trimming along the roof shingles and making the stage come to life.

Review: "Doom Days" offers enticing musical story

British band, Bastille, released their third studio album on Friday, June 14. This is the band’s first venture into concept albums. Exploring the themes of escape, “Doom Days” narrates what may happen when things might not be going as well as they could be.

Beginning with “Quarter Past Midnight,” and ending with “Joy,” the album follows the path of a night out at a party while the world outside is in turmoil. Each of the 11 tracks represents a time during the night, going from 12:15 a.m. with ‘Quarter Past Midnight’ to 8:34 a.m. with ‘“Joy’.” 

Though each song is intertwined with one another through the main narration, the musical styles vary greatly, going from a somber ballad in “Divide” to the gospel choir assisted euphoric sound of “Joy.”  Some songs feature the simple sounds of a plucked guitar, while others feature lead vocalist Dan Smith’s self harmonization. Some even have an ‘80s style synthesizer.

Concert Review: Superorganism visits Meow Wolf, rocks the stage

Meow Wolf welcomed English indie-pop band Superorganism last Thursday to their flashy stage. With a colorful set decorated by the band in glitter face paint, hooded cloaks and projections of prawns, they brought an engaging and entertaining show.

Though the eight-person group seemed organic on stage, they did not always preform together. In fact, the band is an amalgamation of musicians from across the world. 

List: Songs to check out for your next 420

With medical marijuana being legal in our state for over a decade and recreational legalization on the horizon, marijuana's effect on popular culture is nearly inescapable. Whether you're a medical patient, or have to escape to our northern border of Colorado to celebrate, I sincerely hope you get to enjoy a lovely day, regardless of whether or not its accompanied by cannabis. These songs feature a mix of explicit cannabis references, our favorite stoners, and sounds that will help keep the vibe right on your 4/20. Here are some blazed beats for your hazy holiday.  

Concert Review: Kero Kero Bonito comes to Sister Bar, plays eclectic mix of genres.

Kero Kero Bonito is one of those bands you come to know even less about the more you listen to their music. The image they create from each song becomes shattered on the next, and so on and so on. 

The indie pop trio from London recently brought their eccentric, and often bizarre, live show to Sister Bar in Albuquerque on April 8, redefining their signature fusion of indie rock, J-pop and other genres. 

Sister was nearly-packed as the show began (surprising for a Monday night show), with many of those in attendance donning extravagant costumes and multi-colored hair. 

Any review of Kero Kero Bonito would be incomplete without the voice and face of the group, lead singer Sarah Bonito. While already a charismatic vocalist, the energy she exuded on the stage served as the linchpin of the entire performance. 

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