McBride undercooks a couple of his subplots, especially the druggy ones.
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If you have druggy parents, you'll likely be a super-serious adult.
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Everything is slowed down and filtered into a druggy, hazy fugue state.
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" If you listened to Happy Mondays or Primal Scream you were a "druggy.
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There's also a masterfully executed Boingy Drop and the druggy magic of its lyrics.
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"He's not a big druggy, but he likes a drink," confirms friend Elton John.
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A druggy blast of air-conditioning greeted us as we walked in, bells tinkling.
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I'd had those kinds of druggy conversations before with friends, but not with my mom.
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The two careen around each other's voices on "Lost," recounting the tale of two druggy lovers.
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But Someone Great isn't led by a white woman letting her freak flag fly in druggy exuberance.
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Because you know this looney movie's origin story begins with a fuzzy, druggy night and a dare.
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"A$AP Forever" makes sense, as the balmy haze of that "Porcelain" sample fits Rocky's druggy cool.
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An epitaph witty like Wilde cut-and-pasted with the druggy sci-fi insight of William Burroughs.
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There were occasions, however, when Haas would temporarily shake off the druggy haze and dazzle with his brilliance.
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"I never got that he was druggy at all — except that he was Brad, troubled Brad," said the veteran.
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We quickly realize just how dangerous the party is as the group descends into fizzle rock-induced druggy madness.
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HOER held a broad appeal for everyone from suburban tourists to druggy artists, casting a wide—and lucrative—net.
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Since, you know, Bran's druggy visions and Sam's word probably won't do much to convince the lords and ladies.
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I ended up going to quite a druggy university, when I started taking drugs on a more regular basis.
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As she abused this particular torso, another woman held his arm down, gazing benevolently down with a druggy, unblinking stare.
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Our parties weren't quite that druggy, they probably were that boozy and there were crazy dance parties on Thursday nights.
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A supremely seductive album, "Brown Sugar" is a panorama of desire, yearning, druggy pleasures and, in one song, murderous jealousy.
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Gone is the druggy propulsiveness, the ecstasy of the high that injected such improbable joy into those wretched, long-ago lives.
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Almost immediately, the song's druggy swirl and trippy lyrics made the small cloud from my joint look like it had developed consciousness.
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Elizabeth Wood directs and stars in this film about a woman indulging in druggy extremes like we haven't seen since Spring Breakers.
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On his final day of druggy debauchery, he got absolutely fucking trollied on the most serious, most dangerous drug of all: Love.
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" When the interviewer expressed surprise that Garry and Penny still talked, Garry replied, "The '70s were druggy years on a lot of shows.
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Roman Polanski's conviction for statutory rape, far from being consigned to the druggy fog of the 1970s, has only grown more troubling with time.
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He was exploring the druggy realms of Auto-Tune experimentation and flirting with the idea of fully embracing his love of rock star style.
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The bus in the background provides a hint of a less distant future: the druggy raves and festivals I would attend in the 1990s.
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Weed is different because I don't feel like "druggy" about it – sometimes if I'm too anxious I'll smoke, so it's a way to self medicate.
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The lyrics, rapped and sung in an assortment of scratchy voices, juggle the bitterness of a crumbling relationship alongside career boasts and druggy, suicidal ramblings.
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In the most alarming turn of events, Betty finds proof Hiram Lodge is personally dictating how patients' "medicine," aka the druggy fizzle rocks, are being distributed.
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The problem with Mr. Fosse is eventually summed up with one druggy limo conversation between the choreographer/director and his best friend Paddy Chayefsky (Norbert Leo Butz).
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It's a silly-smart masterpiece, with an ensemble cast entirely made up of breakout characters: a no-bull stuntwoman, a druggy club kid, a wrestling-family scioness.
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In an interview in January, Future, the Atlanta rapper behind often tragic, always druggy rap hits like "Codeine Crazy" and "March Madness," said he doesn't do drugs.
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Pink's druggy inversion of AOR, 80s soft pop, and commercial jingles reflected a fondness for the era's schlocky musical artifacts, revealing a peculiar beauty in their synthetic gaudiness.
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And the women, who agreed to be identified by their first initials, N. and M., to protect their anonymity, also see themselves in Rue's blissed out, druggy glory.
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She starts with a reference to her father—"You're no Dark Prince / Just a scam artist," essentially giving someone a reality check about how lame their druggy lifestyle is.
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Most of the DJs at Polygon fly in from abroad, but when they do, they appreciate the enthusiasm of the crowd, which was much less druggy than I'd expected.
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The visual branding also recalls lo-fi house, with videogame screenshots and trippy cartoon images, playing on the same druggy nostalgia as artists like DJ Seinfeld and Ross From Friends.
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Her presence in this whirlwind of murder and mayhem and druggy porn parties grounds the whole thing with some sense of skepticism, and her exasperation stands in for our own.
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A hot, druggy, wildly charismatic lightning bolt, ready to tell you exactly how she perfected her artfully smudged eyeliner and what kind of pills she took while she did it.
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There are some signs of the times, including a druggy love-in, references to the draft, a roving gang of vaguely Mansonish thugs and a repeated Buffy Sainte-Marie song.
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Instead, the tone and loose narrative draw on the druggy paranoia of A Scanner Darkly, the fragility of what it means to be human in Do Androids Dream of Electric Sheep?
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Which isn't to say that it's a druggy record, per se—more that Freedom is a modern psychedelic album that involves guitars, isn't Tame Impala, and has a bunch of hooks.
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It seemed to start to give it some identity, and before long we were building up this thing that did have a fantastical sort of futuristic, druggy, underworld fairytale-ness about it.
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But Doctor Strange is rooted in a fuzzier and more mystical universe, inspired by a 1930s radio serial and heavily infused with the trippy, druggy mysticism of his 1960s and 1970s heyday.
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On DVD In late 21988, Alejandro Jodorowsky's druggy, mystical western "El Topo" opened at the Elgin Theater in New York with no more fanfare than a small notice in The Village Voice.
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Known for his hip-hop productions, Rhomberg experiments in a variety of different genres and lands on a bold throwback sound, a far cry from the dark, druggy beats rule the radio.
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The result was a cultural link stretching from techno to psych-edged guitar acts like Stone Roses, and druggy dancefloor funksters Happy Mondays, united in a haze of ecstasy pills and baggy trousers.
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While reportage around Lovato's hospitalization hasn't necessarily teetered into mocking territory—the unacceptable "druggy!" headlines of the early 00s haven't yet appeared—the media haven't always been kind to her over the years.
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Read: I Tried a Drug Driving Simulation Suit, But it Wasn't Very Druggy Authorities in Thailand are trying to curb drunk driving incidents by making offenders hang around dead people, the Associated Press reports.
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The acid-house scene that Hopkins loved was associated with a druggy, wide-eyed spirituality; this tradition is easy to mock, but Hopkins found compelling ways to revive it, without apology and without irony.
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I was hugely dubious about any effort to put Doctor Strange on-screen, given the basic story's regressive stereotypes, druggy cosmic nonsense, and distance from the rest of the world the MCU has been building.
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At his best, he expanded the druggy-outlaw lens into a picture of the world at large, a picture built of a generosity of interest in people that almost none of his contemporaries could reach.
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It was that mixtape — a 13-track collection of druggy and ecstatic hip-hop so goofy it sometimes sounded like nursery rhymes — that propelled Chancelor Bennett from underground Chicago upstart to slightly less underground Chicago upstart.
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The composition begins with a steady pattern of hi-hats, and as it rattles on, layers of oscillating melodies, druggy acid lines, and polyrhythmic drum beats are added as the track grows in power and dread.
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Where the Beatles harnessed that druggy swirl to embody confusion in a chaotic and overwhelming way, the sample tapestry of "Seigfried" unfurls gently, mimicking your synapses firing as you fall into a deep and dream-filled sleep.
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Basically, he turned tunes that were designed to put people in a druggy trance into a method of sending secret messages across an entire open-air beach rave, without most people noticing what they're really listening to.
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To get a bit further into this, The Weeknd is not great because he has hazy, druggy production and "dark" lyrics, although those are all stylistic choices that make his music work as well as it does.
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R&B spent the decade evolving from a critical backwater to the province of serious art, largely by swapping out the alcohol-soaked neon clubscapes that ruled the radio for the druggy, brooding introspection that ruled the blogs.
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As a result the world now has an innovative infrastructure capable of developing synthetic variations on established druggy themes with ease, whether it is to circumvent laws on ecstasy in Europe or to meet the rocketing demand for opioids in America.
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For the last two decades, the Scottish author of the 1993 seminal classic, Trainspotting, has cranked out titles including The Blade Artist, The Sex Lives of Siamese Twins, and Porno, each exploring the druggy, seedy underworlds of Edinburgh and beyond.
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She's also so socially anxious she wants to disappear — until she befriends an aspiring artist named Stevie who persuades her to spin her culinary gifts into a secret supper club that will be equal parts art project, fine dining, and druggy, rowdy fun.
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In Jesus' Son—the story collection by which most readers come to know him—he seems to revel in forcing the reader to ask how much of the druggy insanity they see is "real," and how much of it Johnson himself personally acted out.
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Despite these brief fits of bug-eyed energy, much of the film slowly drifts from one lengthy, druggy scene to another as though only half-conscious, with Cosmatos aiming for a hallucinatory tone similar to David Lynch or Enter the Void director Gaspar Noé.
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One of my favorite tidbits about the Melvins is that, while they released this album and have generally served as messy spiritual forefathers to all manner of sluggish, ugly, difficult, druggy heavy music, band mouthpiece and chief hair farmer King Buzzo doesn't even smoke weed.
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His dreamy, aqueous style ("cloud rap," as taxonomists would say) has informed not only the druggy haze of contemporary SoundCloud rap, but also the reticent shimmer of alternative R&B — and, more indirectly, the recent gradual enervation of mainstream pop, getting ever slower and more echoey each year.
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A dour druggy interlude in the 2002 movie Morvern Callar—based on the novel by Alan Warner which is dedicated to Czukay; Warner would later on write a whole book about Can's Tago Mago—which ends in a three, all set to a series of Czukay and Can's zooted dance.
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It is as much farce as elegy — his dreamy, druggy interludes vie with deathbed scenes and recollections of a childhood of poverty and abandonment, spent in the brothels where his mother worked, changing her name "with the nonchalance with which other women dye or perm their hair" — Lorena, Vicky, Juana.
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EMCDDA's report hails the technique as a way to carry out a more geographically detailed analysis, and even as a method to spot drugs whose use is still unknown: by placing the urinals near notorious druggy hangouts, you'd have a useful pee-based update of what's hot on the city's drug scene.
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Haney's clip unfurls like a rousing high, all smiles and washed out, kaleidoscopic pastel colors, and it feels like a nod to the work of French director Stéphane Sednaoui, whose work on U2's "Mysterious Ways" and the Red Hot Chili Peppers' "Give It Away" clips carried the same druggy, dreamlike quality.
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Valee' became the latest signee to G.O.O.D. Music in February and he marked the occasion by releasing the single "Miami," featuring label prez Pusha T. Now that song, which has nothing to do with Will Smith's 90s classic, has received a druggy new video that plays well with Valee''s wonderfully space-cadet hook.
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Any name rapper can hire a cadre of otiose guest producers and/or vocalists to weigh down their project; few can sound this weighed down, stunned, out of it, in the grain of the voice as well as the beats, what with all the hypnotic synth trickle and insinuatingly eerie keyboards and drippy, druggy hazy daze.
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It's hard to wrap your head around the fact that a record so easily compared to the most beautifully druggy moments of the Beatles was written and recorded by a high schooler, but that's the magic and the mystery of Julien Chang—who, as a reminder, can't legally drink a glass of wine for two more years. Cheers.
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The song's cavernous, brooding atmospherics somehow encapsulated and suffused the '80s: druggy mania and comedown; sex laced with fear and death; capitalism tickling your fancy and burying you up to your neck; the almost cartoonish specter of global annihilation; technological unease; white suits; fluorescent everything; and an unquenchable, cinematic emptiness that either evoked the end of history or a dodgy batch of cocaine.
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Day 119: "Playing with Fire" – Tha Carter III, 2008 Among Lil Wayne's many claims to fame in the pantheon of rap, he was, a few years ago, given the distinction from Complex of having written the "most ignorant" lyric about Martin Luther King Jr. The lyric in question is: It's rapped with a conviction and sincerity that can only come from spending the previous several years repeatedly insisting that you are the greatest living exemplar of your field while also expressing a running certainty of impending death while also existing in a druggy isolation bubble where the realities underpinning your lyrics are abstract at best.
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We don't mean the druggy, slaggy princess who looks like Kate, nor her brother the crowd-surfing prince, brilliant though they both are.
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Colin Joyce from Spin called it "a lovely, druggy futurist and (Future-ish) single". Calling it a "high powered" song, C. Vernon Coleman II of XXL wrote that Brown "comes up with the catchy chorus".
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Reception for the song was positive. Amy Hanson of AllMusic describes the song as "While the beat here is slow, druggy, and deep, what ultimately drives Angel is the wall of guitars that are reminiscent of a very early Cure".
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Lyrics are often introspective or existential in nature. In the view of Simon Reynolds, dream pop "celebrates rapturous and transcendent experiences, often using druggy and mystical imagery". According to Rachel Felder, dream pop artists often resist representations of social reality in favour of ambiguous or hallucinogenic experiences.
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He was tempted to go the druggy route, even to become a male escort. But he knew how much trouble he would have got into with his parents back in Nigeria, so he kept to the straight and narrow. In fact, around this time, Muyiwa discovered the church.
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Mike McGonigal of Pitchfork described Dragging a Dead Deer Up a Hill as "druggy and sexy and arty and pretty, but never pretentious", calling it "an arresting album of pastoral psychedelic pop". In 2018, Pitchfork ranked it at number six on its list of the 30 best dream pop albums.
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As a child, Niagara was enamored of John R. Neill who illustrated works by L. Frank Baum and others. Niagara told Swindle magazine, > The first art style that I identified with was Art Nouveau. Then I > discovered Decadent Art (1850s-era England), the Pre-Raphaelite movement: > haunted, pale, druggy women. I read constantly.
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In 2012, Kami released his debut mixtape, Light. In 2017, he released Just Like the Movies, which featured guest appearances from Vic Mensa, Towkio, and Joey Purp. It was described by Noisey as "the fascinating extension of rap's current druggy, emotive melodicism into the more extreme sonic possibilities". In that year, he also released an EP, Superstar.
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The comic book's detailed artwork by Michael Zulli, which focused primarily on wildlife and nature, was superposed to a loose narrative with a druggy, dreamy, new age apocalyptic atmosphere. This de-structuralizing of the main narrative increased dramatically in later issues, with the second half of the series often taking the form of illustrated prose poetry within an associative narrative.
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" Writing for The Ringer, Justin Charity called the album "a rebuke to the druggy concerns of a younger generation of rappers." He commented further saying, "KOD is a curious treatise on how hip- hop might revise its principles in light of the genre's growing discomfort with the personal darkness that some very recent rap stars, proud addicts and abusers, have wrought.
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Additionally, Lewis Corner of Digital Spy ranked it at number 14 on his list of the best singles of 2014, and Reed Fischer of Rolling Stone described it as a "sadness vs. inebriation tug-of- war". Neil McCormick of The Daily Telegraph called it a "radical remix" that reduced the original song to a "druggy wisp". However, "Stay High" also received mixed reviews.
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Meanwhile, Durty Curt is determined to settle the score with Razor, who has fallen in with prison kingpin Eddie Mathematic (Sticky Fingaz). As a showdown approaches, a cast of players, from prison guard Capt. Pierce (Giancarlo Esposito) to gay bookie Clever (William L. Johnson) to fast-talking druggy (David Banks) to Michael's illiterate cellmate, Smalls (Marcello Thedford), take sides and place bets on the outcome.
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Alexander Walker called Honest "An ugly, ratty-looking load of jazzy cliches buried in flashy has-been styles, including slowmo frolicking in the Trafalgar Square fountains, strobe-lit druggy sessions and accelerated action on the mattress."Alexander Walker, The Evening Standard, 26 May 2000. British film historian I.Q. Hunter later listed Honest as one of the candidates for the title of "Worst British film ever made".
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The band's music has been described as suggesting druggy languor, which inspired the British music press to trumpet Madder Rose as the second coming of the Velvet Underground. A 1994 review in Rolling Stone characterized their sound as an "alloy" of grunge and "the buttercup sighs of The Cranberries". Their sound progressed from indie pop rock, not unlike peers Velocity Girl, Lush, Helium, and Juliana Hatfield, to shoegaze and trip-hop.
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Jones was a popular fashion model and Studio 54 habituée before starting her recording career. Her first three albums "were heavily influenced by disco and cemented her presence in the club scene." These records "operated around the camper end of the spectrum," and built a large gay cult following around the singer. According to Pitchfork, these albums "were fun but somewhat facile, cover-filled reflections of the druggy hedonism of the disco era".
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He wound up living with a different, distant uncle, "a young Nigerian guy, very flashy and a druggy", who made Muyiwa feel physically imperilled. “I lived there for a couple of years," he recalls. "But I didn't beg my mum to take me back – it wasn't part of the culture, to challenge the wisdom of adults.” This period in his life was, he admits, "traumatic – I felt like I was in a daze".
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The album received mixed-to-favorable reviews. Consequence of Sound called the album "a very mellow, bizarre and sure-to-be-discussed fall album", writing that "their weird brand of indie will certainly strike a chord with the crowd that has been building up decade after decade". AllMusic's review was favorable, writing that it "brings back the druggy joys of the younger Dandys [The Dandy Warhols] circa Dandys Rule OK? and Come Down".
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The video, shot at Broadway Studios in the Astoria district of New York City in September 1998,Q, October 1998 was filmed in stop-frame photography to get what Stipe called a "really druggy, really great look." It features Stipe as the office worker who goes to work at night. All three band members then wear pajamas and bed socks, while failing to get to sleep during the day. The video was directed by the Icelandic Snorri brothers.
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Fletcher stated that Marta became more "dark and ludicrously disturbing" as the series progressed. He predicted that she would be murdered by the end of the series. The writer concluded that "when not watching her own violent, druggy sex tapes, she's making threats to John Ross, doing some crazy-eye, head-wobbling manic acting and generally causing mayhem for the entire Southfork clan." Vanessa Millones from Latina magazine also believed that Marta was crazy and lived up to the "Latina loca stereotype".
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" Stephen Hunter, in his review for the Washington Post, wrote, "It tells no story at all. Little episodes of no particular import come and go...But the movie is too grotesque to be entered emotionally." Mike Clark, of USA Today, found the film "simply unwatchable." In The Guardian, Gaby Wood wrote: "After a while, though, the ups and downs don't come frequently enough even for the audience, and there's an element of the tedium usually found in someone else's druggy experiences.
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In all, only four tracks included the whole band, and were released in their intended form. The remaining songs replaced David Aguilar's vocals with session musician Don Bennett and added embellished instrumentals. Music critic Bruce Eder described the material on the album as "highly potent, slashing, exciting, clever pieces of music". Even though the original tracks were tampered with, and did not actually feature the complete band, the songs still achieved an equal balance of gritty garage rock and the druggy ambiance of psychedelic rock.
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The song's title is a reference to cocaine, and it was based upon Moroder's soundtrack American Gigolo (1980). Robbin Daw considered its lyrics "fit the overall druggy feel" of the film, and Harry commented about it is "[a]s far as the films' themes and the lyrics [she] wrote, they were pretty much up to [her]." The song also became Harry's debut single as solo artist after Blondie's breakup. Moroder worked with Pete Bellotte, with whom he co-wrote "Scarface (Push It to the Limit)", "She's on Fire" and "Turn Out the Night".
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Messages is the debut studio album by English singer and musician Steve Swindells, released in 1974 (see 1974 in music). Produced by his manager Mark Edwards, Swindells felt the production poor despite the presence of quality musicians. A follow up album Swallows was recorded, mastered and test pressings manufactured, but "Edwards had blown Steve’s deal with RCA by sweeping everything off the managing director’s desk with his umbrella in a drunken/druggy rage". The 2009 re-issue of the album includes a bonus CD of this previously unreleased second album.
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It's all in house, it's the same Q. Like the fans, I'mma give 'em what they want." In March 2013, Schoolboy Q once again stated the album was four songs away from being completed. That month, Schoolboy Q revealed to Vibe that he decided to continue his "Druggy's wit Hoes" song series, for the album. He revealed it's one of the easier songs for him to do, as it comes natural: "I go to the studio, get faded, said, 'Cuh Soul, I got Druggy Wit Hoes Part 3,' and he said, 'I'm on my way.
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The "Run Baby Run" single release was backed with b-sides "Honeybee" and "Never Be Free", both recorded during the album sessions for Bleed Like Me. Butch Vig described "Honeybee" as "Neil Young-esque, with a druggy feel","Q magazine March 2004 issue" while Manson described it as "pretty dark and twisted. It's a lusty, yearning moan". "Honeybee" featured drums performed by Matt Walker, while "Never Be Free" credited John5 with guitar. All three tracks were written and produced by Garbage, although "Never Be Free" may have originally been a John Lowery co- write.
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Yahoo! Music's Jairne Gill reviewed the single positively, giving it 7 stars out of 10. Though he felt Snow Patrol usually made "ugly empty anthems", the single was a "rather lovely little song" and "modest" and "chimingly melodic". Gill praised the lyrics of the song, calling it "a pretty little knife which Gary Lightbody seems to be twisting into his own chest, a list of druggy regrets and lost loves" and also said that, though the song's "gentle, skipping rhythm threatens to go BIG", it doesn't and "a pretty and intimate song is preserved".
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Shortly thereafter, they changed their name to The Open Mind and in July 1969 released a self-titled LP which has since become a highly sought-after collectible. The band, however, is best known for its druggy August 1969 single, "Magic Potion", which did not appear on the album. The Open Mind disbanded in 1973; its members wanted to move into jazz- influenced music, but The Open Mind was too well known as a psychedelic band. The band members (minus Phil Fox) went on to form Armada, which lasted about three years but did not release any recorded material.
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The "Sex Is Not the Enemy" single release was backed with b-sides "Honeybee" and "Never Be Free", both recorded during the album sessions for Bleed Like Me. Butch Vig described "Honeybee" as "Neil Young- esque, with a druggy feel","Q magazine March 2004 issue" while Manson described it as "pretty dark and twisted. It's a lusty, yearning moan". "Honeybee" featured drums performed by Matt Walker, while "Never Be Free" credited John5 with guitar. All three tracks were written and produced by Garbage, although "Never Be Free" may have originally been a John Lowery co- write.
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In New York, he met the members of the Cramps, a formative psychobilly group. After moving back to Memphis in April 1978, Chilton produced music by the Cramps that appeared on the group's Gravest Hits EP and Songs the Lord Taught Us LP. In 1979, Chilton released the album Like Flies on Sherbert in a limited edition of 500 copies. Produced by Chilton with Jim Dickinson at Phillips Recording and Ardent Studios, it features Chilton's interpretations of songs by artists including the Carter Family, Jimmy C. Newman, Ernest Tubb, and KC and the Sunshine Band, along with several originals. While criticized by some as a druggy mess, this album is considered by many to be a lo-fi masterpiece.
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In 2006 The Drunken Bakers were the subject of an exhibition by Mark Leckey at Tate Britain. Leckey created a film using frames from the original strips to construct a narrative and added a soundtrack spoken by himself and his colleague Steve Claydon in Liverpudlian accents. According to Emily Mears, In Roberta Smith's words, Leckey constructs "dreamy, druggy, disjointed variants on music videos...He has ingeniously filmed the comic strip with close-ups and jump- cuts, creating a kind of stop-action animation, and added a skillfully explicit soundtrack replete with convincing belches, slurps, breaking glass and vomiting." Smith says that Leckey's artwork is less an original work than an "adaptation or an homage" of the original cartoon.
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"Doctor Robert" was one of the three songs from the Revolver sessions, all written by Lennon, that were given to Capitol Records in early May 1966 for inclusion on the US release Yesterday and Today. In other countries, it appeared on Revolver, where it was sequenced as the fourth track on side two of the LP, between "For No One" and "I Want to Tell You". The album was released on 5 August, shortly before the Beatles commenced their final concert tour, in Chicago. Author Shawn Levy describes Revolver as pop music's "first true drug album" rather than merely a "record with some druggy insinuations", and he attributes this especially to Lennon's contributions.
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In 2012, Reynolds wrote that the album "infuses everyday life with a perpetual first flush of spring." John Bush of AllMusic described the album as "one of the indisputable classics of electronica, and a defining document for ambient music in particular." Reviewing the album after it was reissued by PIAS America in 2002, Rolling Stone's Pat Blashill called it a "gorgeous, ethereal album" in which James "proved that techno could be more than druggy dance music." David M. Pecoraro of Pitchfork noted "the creeping basslines, the constantly mutating drum patterns, the synth tones which moved with all the grace and fluidity of a professional dancer," describing the album as "among the most interesting music ever created with a keyboard and a computer" despite its "primitive origins".
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Album of the Year assessed the critical consensus as 70 out of 100, based on 18 reviews. In his review, Craig Jenkins of Billboard states, "The spite of 2014 mixtape Monster, the woe of 2015's Beast Mode, and the devilish glee of his No. 1 album DS2 have all chilled into a dull malaise here". He concluded with "Evol doesn't break any rules or set many new ones, but as the latest in a seemingly never-ending series of wonders Future and his team wield in their creation of druggy, downcast afterparty dispatches, it is a joy." Matthew Ramirez of Pitchfork found that while Evol "has slightly more misses than hits, the highs are high—arguably higher than Purple Reigns".
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"Tangerine" is a "spacey, acid dipped slow burner", with a verse by rapper Big Sean in the middle, followed by the chime-heavy "Tiger Dreams" with Ariel Pink as a background vocalist. The eighteenth track, "Evil Is But a Shadow", was compared to Portishead; when heard with "Tangerine" and "Tiger Dreams", it has "druggy" and "hypnotic" elements. In "Cyrus Skies", Cyrus sings "I’ve been alive but I’ve been a liar" in an exaggerated manner over an "opulent pop" beat which "comes off like a horror movie Lana Del Rey." "1 Sun" has been called a "Lady Gaga-Sky Ferreira hybrid" with an "industrial- electro-tinged" production and environmentally-conscious lyrics reminiscent of "Wake Up America" from Cyrus' second studio album, Breakout (2008).
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The German writer W. G. Sebald (born 1944) lived in Manchester when he first settled in England, and the city features prominently in his novel The Emigrants. The Scottish crime writer Val McDermid (born 1955) lived in the city for many years and set her Lindsay Gordon and Kate Brannigan series in Manchester. Jeff Noon (born in Droylsden in 1957) set his early novels, including Vurt, in a future dystopian Manchester. Nicholas Blincoe set his first three novels in Manchester, including Acid Casuals (1995), based around the Haçienda nightclub and Manchester Slingback (1998), focusing on the Gay Village. Carl Hart's druggy lovestory The Obvious Game (2006) is set amongst the straight and gay night life of Manchester in the early 1990s.
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During the 1960s and 1970s, Gunn's verse became increasingly bold in its exploration of drug taking, homosexuality, and poetic form. He enjoyed the bohemian lifestyle in San Francisco so much that Edmund White described him as "the last of the commune dwellers [...] serious and intellectual by day and druggy and sexual by night". While he continued to sharpen his use of the metrical forms that characterised his early career, he became more and more interested in syllabics and free verse. "He's possibly the only poet to have written a halfway decent quintain while on LSD, and he's certainly one of the few to profess genuine admiration for both [Yvor] Winters (the archformalist) and Allen Ginsberg (the arch ... well, Allen Ginsberg)", critic Daniel Orr has written.
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Chris Willman of Entertainment Weekly remarked, "In burying Johansson's vocals so deeply in the druggy ambiance, producer David Andrew Sitek [...] means well but ends up obscuring Waits' great tunes." Stephen M. Deusner of Pitchfork viewed the album as "a Brooklyn update on vintage 4AD bands like This Mortal Coil or Cocteau Twins", but noted that "[t]he only thing we've learned about her is that she really, really likes Tom Waits. That's more than enough to avoid catastrophe, but not quite enough to make Anywhere I Lay My Head much more than a curio." Rolling Stones Will Hermes critiqued that "Johansson's voice is unremarkable and her pitch sometimes unsteady", dubbing her "a faintly goth Marilyn Monroe lost in a sonic fog".
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It deserves to, and should, blaze a path for its makers, from DatPiff to the dark side of the moon." Pitchfork Media gave the mixtape an eight out of ten saying, "While many of their contemporaries subscribe to a school of rap that extols the joys of drug use, gleefully cataloguing chemicals consumed, the Underachievers' Issa Dash and AK treat mind-altering substances like sacraments, like battering rams at the doors of perception. Their debut mixtape, Indigoism, is druggy, but aesthetically so; beneath the surface lies a work of art-damaged mysticism and pyrotechnic wordplay." Jesse Fairfax of HipHopDX stated, "Indigoism is a refreshing first effort for Issa Dash & Ak whose themes of consciousness and psychedelics boost their creativity in developing something vaguely familiar while not exactly derivative, a rarity in this day and age.
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This contributed to the culture created at the Warehouse. It was a place where people could be open and "this sexual openness enabled the club to be unusually free of aggression”. Chicago house was a specifically black gay genre in many ways for many years and the Warehouse was a specific space that cultivated that scene in a safe way. Black music was at the heart of the disco era and it is impossible to separate the roots of disco from the disenfranchised queer people of color that flocked to it. House is connected to disco in that "it mutated the form, intensifying the very aspects of the music that most offended white rockers and black funkateers: the machinic repetition, the synthetic and electronic textures, the rootlessness, the ‘depraved’ hypersexuality and ‘decadent’ druggy hedonism.
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" Celina Murphy of Hot Press felt that MGMT "have achieved what they set out to do and you have to admire them for risking their successful hides for a walk on the psychedelic side." Spins Charles Aaron wrote that "despite being haunted by the group’s flip from rock-star charade to reality, Congratulations still brims with mischievous energy. And for a series of druggy Dada setpieces, it feels uncommonly, emotionally honest. In Mojo, writer Shelby Powell noted the group's homage to British rock musicians Dan Treacy of Television Personalities and Brian Eno, complete with faux accents in MGMT's delivery on a few songs; Eno, who is the subject of one of the songs, described the work as "very flattering", and added: "I appreciate the way they managed to make the song both fond and tongue in cheek at the same time".
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In very crude terms, he took the spirit of such White Album songs as "Long, Long, Long", "Julia" and "While My Guitar Gently Weeps", and re-rooted them in a lovelorn, druggy demi-monde... Smith, however, was no mere pasticheur. As ever, his chord changes and arrangements betray an inventiveness seemingly borne of brilliant instinct. Moreover, the songs that form this album's spine find him striding away, not only from his own influences, but the approach that had defined his last couple of records. Those who found Figure 8 and parts of XO too in thrall to the musical ways of the West Coast – slightly over-airbrushed, maybe a little too lush – will be cheered by the fractured, frankly grungey likes of "Don't Go Down" and "Coast to Coast": in their own controlled way, as messy and imperfect as the experiences described therein.
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Together with further studio tricks such as varispeed, the song includes a droning melody that reflected the band's growing interest in non-Western musical form and lyrics conveying the division between an enlightened psychedelic outlook and conformism. Philo cites "Rain" as "the birth of British psychedelic rock" and describes Revolver as "[the] most sustained deployment of Indian instruments, musical form and even religious philosophy" heard in popular music up to that time. Author Steve Turner recognises the Beatles' success in conveying an LSD-inspired worldview on Revolver, particularly with "Tomorrow Never Knows", as having "opened the doors to psychedelic rock (or acid rock)". In author Shawn Levy's description, it was "the first true drug album, not [just] a pop record with some druggy insinuations", while musicologists Russell Reising and Jim LeBlanc credit the Beatles with "set[ting] the stage for an important subgenre of psychedelic music, that of the messianic pronouncement".
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It was too druggy, in a way, which is a kind of weird thing, 'cause the song is all about drugs so I think we just pushed ourselves a bit more with it and gave it a lot more space – countered by the list and the list was kind of sort of inspired by the life of JFK and his need to have 28 drugs everyday of his Presidency just to keep him functioning." Albarn described "Caravan" as "a kind of song that you could play anywhere. And I mean I remember we just finished it and when everyone left to go back to London, I went down to Mali for a couple of days 'cause Honest Jon's [were] still working with musicians and stuff. I was sitting in a mango grove with a wild turkey and had a little CD player and I put it on there.
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In addition, the laid-back, druggy ambiance of the cover of Randy Newman's "I've Been Wrong Before" serves to give an indication of the musical direction that the band would follow on their second album, H. P. Lovecraft II. The album's centerpiece is the song "The White Ship", which was directly inspired by author H. P. Lovecraft's short story "The White Ship". Written by Edwards, Michaels, and the band's lead guitarist Tony Cavallari, the six-and- a-half-minute opus made use of baroque-style harpsichord, droning feedback, somber harmonies, and the chiming of an 1811 ship's bell. The song was released in an edited form as a single, shortly after its appearance on the album, but it failed to reach the Billboard Hot 100. In addition, the full- length album version of "The White Ship" went on to become something of an underground FM radio favorite in America.
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MacDonald deems Lennon's remark about the Beatles' "god-like status" in March 1966 to have been "fairly realistic", given the reaction to Revolver. He adds: "The album's aural invention was so masterful that it seemed to Western youth that The Beatles knew – that they had the key to current events and were somehow orchestrating them through their records." MacDonald highlights "the radically subversive" message of "Tomorrow Never Knows" – exhorting listeners to empty their minds of all ego- and material-related thought – as the inauguration of a "till-then élite-preserved concept of mind-expansion into pop, simultaneously drawing attention to consciousness-enhancing drugs and the ancient religious philosophies of the Orient". Author Shawn Levy writes that the album presented an alternative reality that contemporary listeners felt compelled to explore further; he describes it as "the first true drug album, not a pop record with some druggy insinuations, but an honest-to-heaven, steeped-in-the-out-there trip from the here and now into who knew where".
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