Severance Time

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On new pop music: reviewing tracks by Charli XCX and Camila Cabello/Playboi Carti
Supernormal stimuli in "B2b" and "I LUV IT."

September 2023

Writing about music: "I went to heaven and it was the scariest thing in the world"
On work by DJ K, DBX, nondi_, Kevin Gates, and Michael Fried.

August 2023

Jim The Office Face
Some notes on the camera-as-mirror and failed processes of identification.

May 2023

December 2022

On the vibe-oriented practice of Taylor Swift, LDR, and Lorde producer Jack Antonoff
Considering the banal sublime, the producer-as-creative director, and pop music in the 2020s.
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November 2022

Review of The Dare at Freakquencies, 11/10
Including thoughts on "indie sleaze," the figure of the "downtown scene," and other topics.

August 2022

Towards a theory of the creator
A survey of the 21st century content creator's most important characteristics.

June 2022

Millennial Adult Contemporary
Listening to Drake, Beyoncé, and Lady Gaga's vocal house.
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Music, sound, and time on TikTok
Kate Bush's "Running Up That Hill" is now 100 different songs.

May 2022

New essay on defi, prop bets, derivatives, and time
Live now on Outland.

December 2021

Interview: d'Eon
On making nice music to listen to, the legacy of Hippos in Tanks, the shock of hi-fi.

November 2021

Rethinking 'Travis Scott and Fortnite present: Astronomical' in light of Astroworld 2021
On the metaverse, sovereignty, and celebrity.
© 2024 Alexander Iadarola
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