NA BATIDA DO MORRO

There has always been distortion somewhere in beabadoobee’s music. Sometimes it sat right at the surface, as on the fuzzier moments of Fake It Flowers. Sometimes it was softened by the dreamy architecture of Beatopia. And on 2024’s This Is How Tomorrow Moves, it frequently became part of a more polished kind of alternative pop, one that suggested Bea Laus was getting increasingly comfortable making records big enough to match the audiences now waiting for her. On Pylon, her fourth album, she turns the guitars back up. Released September 18 through D irty Hit/Interscope, Pylon arrives two years after This Is How Tomorrow Moves and pushes beabadoobee toward a heavier collection of reference points: grunge, Midwest emo, ’90s alternative radio, and the sort of emotionally oversized guitar music that can make a private grievance sound enormous. That direction is apparent in the album’s guest list alone. Hayley Williams is here. So are Turnstile’s Brendan Yates, Deftones singer Chino Moren...

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 Teste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste Teste

 Teste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste Teste

 Teste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste Teste

 Teste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste Teste

 Teste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste Teste

 Teste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste Teste

 Teste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste Teste

 Teste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste Teste

 Teste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste Teste

 Teste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste Teste

 Teste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste TesteTeste Teste Teste

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Tyler, the Creator   has put together a hell of a discography. From his early days making wildly ambitious (and rebellious) albums like  Goblin  and  Wolf  to more melodic (and commercially successful) albums like   Flower Boy  and  IGOR , his career arc has been fascinating to watch over the past 15 years. For as much talk as there is about how much Tyler has grown, though, it’s not like he completely changed his tastes and sensibilities along the way. Going all the way back to his debut solo mixtape,  Bastard , you’ll find the creative seeds that ultimately blossomed into his most recent albums,  CHROMAKOPIA  and  DON'T TAP THE GLASS . His technical abilities have improved every step of the way, but the ideas have been there from the very beginning. A couple of weeks removed from the surprise release of the brisk, jubilant  DON'T TAP THE GLASS,  there’s been a lot of talk about how it compares to the rest of Tyler’s...