Latest news with #Headlights
Sydney Morning Herald
2 days ago
- Entertainment
- Sydney Morning Herald
Indie rock's favourite songwriter keeps it real on his major label debut
Alex G, Headlights Contradictions? Alex G, full name Alex Giannascoli, has a bunch of them. The Philadelphia musician-producer shuns social media, but The Fader once called him 'the internet's secret best songwriter' as he made his name online via word-of-mouth blogs and message boards, self-releasing albums and EPs on Bandcamp. He's got a lot to say on record – he's only 32, and Headlights is his 10th album – but many interviewers have found that trying to get him to talk about himself or his music is like pulling teeth, and his stage presence was once described in a live review as 'almost shockingly dull', with that summation coming from a critic who declared Alex G was his favourite musician of the last decade. Although he's often compared to '90s indie acts, including Elliott Smith, Built to Spill and Modest Mouse, he's possibly better known to general pop audiences for contributing to eight tracks on Halsey's The Great Impersonator and for writing and singing on Frank Ocean's Blonde and Endless, and also playing in his touring band. Headlights marks a shift from indie label Domino to major label RCA, not that you'll notice a huge difference in Giannascoli's approach. June Guitar opens proceedings, not with any fanfare but with a feather-light touch, on a gauzy, meditative song that hugs a lane close to Tracy Chapman's Fast Car. First single Afterlife wears its country-folk influences on its sleeve, from the sparkling mandolins and acoustic guitar to the video set at a square dance, as Giannascoli recounts a revelation of some sort, singing 'when the light came, big and bright, I began another life'. A couple of tracks push the meter into the red – Louisiana offsets dreamy Auto-Tuned vocals with sledgehammer drums; Bounce Boy has octave-leaping bass, fuzzy synth and an electro-clap beat.
The Age
2 days ago
- Entertainment
- The Age
Indie rock's favourite songwriter keeps it real on his major label debut
Alex G, Headlights Contradictions? Alex G, full name Alex Giannascoli, has a bunch of them. The Philadelphia musician-producer shuns social media, but The Fader once called him 'the internet's secret best songwriter' as he made his name online via word-of-mouth blogs and message boards, self-releasing albums and EPs on Bandcamp. He's got a lot to say on record – he's only 32, and Headlights is his 10th album – but many interviewers have found that trying to get him to talk about himself or his music is like pulling teeth, and his stage presence was once described in a live review as 'almost shockingly dull', with that summation coming from a critic who declared Alex G was his favourite musician of the last decade. Although he's often compared to '90s indie acts, including Elliott Smith, Built to Spill and Modest Mouse, he's possibly better known to general pop audiences for contributing to eight tracks on Halsey's The Great Impersonator and for writing and singing on Frank Ocean's Blonde and Endless, and also playing in his touring band. Headlights marks a shift from indie label Domino to major label RCA, not that you'll notice a huge difference in Giannascoli's approach. June Guitar opens proceedings, not with any fanfare but with a feather-light touch, on a gauzy, meditative song that hugs a lane close to Tracy Chapman's Fast Car. First single Afterlife wears its country-folk influences on its sleeve, from the sparkling mandolins and acoustic guitar to the video set at a square dance, as Giannascoli recounts a revelation of some sort, singing 'when the light came, big and bright, I began another life'. A couple of tracks push the meter into the red – Louisiana offsets dreamy Auto-Tuned vocals with sledgehammer drums; Bounce Boy has octave-leaping bass, fuzzy synth and an electro-clap beat.
Yahoo
4 days ago
- Entertainment
- Yahoo
Alex G's ‘Headlights' Is a Low-Key Gem in a Catalog Full of 'Em
Hitting play on a new Alex G album can feel a little bit like that sequence in Alan Moore's Watchmen comics where Doctor Manhattan sits on a rock on Mars, pondering the nature of time. It's 2014. I'm listening to an oddly moving song that Alex G recorded by himself in a small room in Philadelphia… It's 2019. I'm listening to an oddly moving song that Alex G recorded by himself in a slightly bigger room in Philadelphia… It's 2022. I'm listening to an oddly moving song that Alex G recorded by himself in yet another room in yet another part of Philadelphia… It's 2025. That brings us to Headlights, the indie-rock hero's tenth album, and his first for RCA Records. There was a time — let's call it the Nineties — when an artist like Alex Giannascoli signing to a major label would have felt like a seismic shift, complete with passionate arguments both pro and con in photocopied zines across the land. But that world is long gone, thanks in part to the revolution that Giannascoli and his generation of DIY auteurs led in the 2010s. He was one of the first and finest acts to break through to a national audience by posting his home-recorded music straight to Bandcamp starting in his teens. By the time publications like Rolling Stone began writing about him, he was already four years and several albums deep into a catalog full of low-key profundity. More from Rolling Stone Alex G Announces New Album 'Headlights,' Shares First Track, 'Afterlife' Alex G Unveils 2025 North American Tour Dates Jack White, Cigarettes After Sex, Alex G Lead Desert Daze 2024 He hasn't veered far from that course in the decade-plus since then, and why should he? His tried-and-true methods haven't stopped yielding uncannily compelling results, no matter the size of the label releasing them. Find a seat on that Martian landscape and pop on some headphones for Headlights, and you'll be greeted by the chiming chords and quiet wisdom of 'June Guitar.' 'Love ain't for the young, anyhow/Something that you learn from falling down,' Giannascoli sings in one of many choruses you'll find echoing through your gauziest daydreams for years to come. He's the only musician credited on that song — playing acoustic guitar, bass, drums, and what sounds like a harmonium, with longtime co-producer Jacob Portrait behind the boards — and his ability to create a sound this magical and lived-in that way remains remarkable, like whole histories of folk and rock music are expressing themselves through this one chill guy. His live bandmates have even less presence on this album than usual, appearing on just one track, the energetic closing singalong 'Logan Hotel (Live)' (which he has admitted is 'basically a studio song' despite that subtitle). Otherwise, this is Alex being Alex. There's some back-porch strumming, some ambiguous yet powerful imagery, and an occasional splash of vocal processing, all presented with an appealing, off-the-cuff looseness. On the casually tuneful 'Real Thing,' he opens with a couple of verses that sound like honest reflections of his (or someone's) life — 'Hoping I can make it through to April/On whatever's left of all this label cash' — before lapsing into a wordless coda. On 'Is It Still You in There?' he lets a trio of guest singers including Molly Germer, his partner of many years, deliver his words of eerie self-interrogation: 'Has your wish come true?/Is there nothing left between the world and you?' And despite those hints of doubt elsewhere on the record, songs like the warm, nostalgic 'Oranges' and the bright, bluegrass-tinged 'Afterlife' are up there with his most life-affirming exaltations. The bottom line is the same as it's always been: You either find this stuff brilliant or you don't. The number of people who do now includes enough true believers to fill many large theaters, as well as celebrity fans like Halsey and Frank Ocean (both of whom have tapped him as a session guitarist, as he's no doubt tired of being asked about in interviews). Alex G's cult audience has never been bigger or more welcoming. Whether you've been riding with him for years or you're thinking of joining up today, Headlights is an album that won't make you regret that choice. Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked Solve the daily Crossword
Hamilton Spectator
7 days ago
- Entertainment
- Hamilton Spectator
Music Review: Cult hero Alex G's ‘Headlights' is an introspective meditation on fame
LOS ANGELES (AP) — Fame is a double-edge sword. Though it comes with obvious perks — money, opportunity, praise — it can also prompt a kind of existential reckoning. Now what? Is this all there is? Am I changed because of it and, if so, for better or for worse? This is the kind of wrestling Alex Giannascoli, better known as the influential indie rocker Alex G, performs on 'Headlights,' his 10th album and first on a major label. 'Has your wish come true?' he asks, perhaps of himself, on the aptly titled 'Is It Still You In There?' Although Giannascoli achieved quiet success early in his career — collaborating with Frank Ocean on his critically acclaimed 2016 album 'Blonde ' and joining the R&B superstar on tour — Giannascoli has, until recently, been more frequently labeled a cult indie figure than a household name. But the 32-year-old has risen to prominence in recent years, particularly after his 2022 album, 'God Save the Animals,' which marked a distinct shift from his austere, lo-fi sound to more robust production and instrumentation. He has since collaborated with the pop star Halsey on her latest record and scored filmmaker Jane Schoenbrun's A24 horror hit, 'I Saw the TV Glow.' That trajectory informs Giannascoli's contemplative poignancy on 'Headlights,' releasing Friday. 'Some things I do for love / Some things I do for money / It ain't like I don't want it / It ain't like I'm above it,' he admits on the 'Beam Me Up,' his whirring guitars strumming mesmerizingly against airy background vocals. Many of his lyrics here, like in the past, are poetically inscrutable. But there are also moments of explicit frankness about ambition, self-doubt, transition and success. 'Hoping I can make it through to April / On whatever's left of all this label cash / No I never thought I was the real thing,' he croons on 'Real Thing,' as a pan flute synthesizer whistles underneath him. With 'Headlights,' Giannascoli continues further down his 'God Save the Animals' sonic pivot to higher fidelity — perhaps to be expected on an album coming from a major label like RCA Records — recording in studios in lieu of his home for a more ornate sound. Think dreamy synths and reverb-soaked riffs. Subdued lyrics and a distorted guitar solo almost turn 'Louisiana' into a shoegaze track. 'Louisiana / Wild and Free / The only one who wanted me,' he repeats with distorted vocals. If there is a central message to 'Headlights,' it appears on the song 'Bounce Boy.' 'I'm up in the clouds and I pray,' he sings with pitched-up vocals, one of his signature effects. 'Say goodbye / To the life / That you knew for so long.' For better or for worse, there is no turning back.
Hindustan Times
14-07-2025
- Entertainment
- Hindustan Times
Music Review: Cult hero Alex G's 'Headlights' is an introspective meditation on fame
LOS ANGELES — Fame is a double-edge sword. Though it comes with obvious perks — money, opportunity, praise — it can also prompt a kind of existential reckoning. Now what? Is this all there is? Am I changed because of it and, if so, for better or for worse? Music Review: Cult hero Alex G's 'Headlights' is an introspective meditation on fame This is the kind of wrestling Alex Giannascoli, better known as the influential indie rocker Alex G, performs on 'Headlights,' his 10th album and first on a major label. 'Has your wish come true?' he asks, perhaps of himself, on the aptly titled 'Is It Still You In There?' Although Giannascoli achieved quiet success early in his career — collaborating with Frank Ocean on his critically acclaimed 2016 album 'Blonde ' and joining the R&B superstar on tour — Giannascoli has, until recently, been more frequently labeled a cult indie figure than a household name. But the 32-year-old has risen to prominence in recent years, particularly after his 2022 album, 'God Save the Animals,' which marked a distinct shift from his austere, lo-fi sound to more robust production and instrumentation. He has since collaborated with the pop star Halsey on her latest record and scored filmmaker Jane Schoenbrun's A24 horror hit, 'I Saw the TV Glow.' That trajectory informs Giannascoli's contemplative poignancy on 'Headlights,' releasing Friday. 'Some things I do for love / Some things I do for money / It ain't like I don't want it / It ain't like I'm above it,' he admits on the 'Beam Me Up,' his whirring guitars strumming mesmerizingly against airy background vocals. Many of his lyrics here, like in the past, are poetically inscrutable. But there are also moments of explicit frankness about ambition, self-doubt, transition and success. 'Hoping I can make it through to April / On whatever's left of all this label cash / No I never thought I was the real thing,' he croons on 'Real Thing,' as a pan flute synthesizer whistles underneath him. With 'Headlights,' Giannascoli continues further down his 'God Save the Animals' sonic pivot to higher fidelity — perhaps to be expected on an album coming from a major label like RCA Records — recording in studios in lieu of his home for a more ornate sound. Think dreamy synths and reverb-soaked riffs. Subdued lyrics and a distorted guitar solo almost turn 'Louisiana' into a shoegaze track. 'Louisiana / Wild and Free / The only one who wanted me,' he repeats with distorted vocals. If there is a central message to 'Headlights,' it appears on the song 'Bounce Boy.' 'I'm up in the clouds and I pray,' he sings with pitched-up vocals, one of his signature effects. 'Say goodbye / To the life / That you knew for so long.' For better or for worse, there is no turning back. This article was generated from an automated news agency feed without modifications to text.
