MARVIN Music News: The Neighbourhood Amplify the Static on (((((ultraSOUND)))))+, Lana Del Rey Unveils “White Feather Hawk Tail Deer Hunter,” and Baby Keem Raises the Stakes on Ca$ino, Featuring “Good Flirts” with Kendrick Lamar and Momo Boyd
The Neighbourhood Turn the Volume All the Way Up on (((((ultraSOUND)))))+, A Distorted Expansion of Their Noir Universe
Silhouettes first. Static next. Then the pulse.
The Neighbourhood re-emerged February 20 with (((((ultraSOUND)))))+, an expanded, sharpened transmission from their ever-evolving alt-noir world. If their earlier work felt like smoke curling under a streetlight, this feels like the streetlight exploding.
The project leans harder into tension—thicker basslines, warped production, and Jesse Rutherford’s signature half-whispered vulnerability stretched to its limit. It’s anxious. It’s amplified. It’s still unmistakably The Neighbourhood.
Where minimalism once simmered, (((((ultraSOUND)))))+ vibrates. The band isn’t rewriting their identity; they’re distorting it in real time. The grayscale remains—but now it flickers.
Lana Del Rey Mythologizes the American Wild on “White Feather Hawk Tail Deer Hunter,” Her Latest Cinematic Confession
Photo by Todd Owyoung
No one romanticizes ruin like Lana Del Rey.
Released February 17, “White Feather Hawk Tail Deer Hunter” reads like a hymn whispered through tall grass at dusk. The title alone feels like folklore carved into wood, and the song follows through with sparse instrumentation and hushed, devotional storytelling.
Lana leans deeper into her Americana fixation here—spiritual imagery tangled with longing, reverence, and quiet rebellion. It’s restrained but heavy, delicate but deliberate. She doesn’t deliver hooks; she delivers hauntings.
The result is less a single and more a slow-burning vignette—another chapter in her ever-expanding, self-built mythology.
Baby Keem Bets Big on Ca$ino, A High-Stakes Statement Album Featuring “Good Flirts” With Kendrick Lamar and Momo Boyd
High risk. Higher reward.
Baby Keem dropped Ca$ino on February 20, a full-length project that plays like a night under neon lights—flashy, unpredictable, and impossible to ignore. The album leans into Keem’s signature volatility: elastic flows snapping into place, beats that pivot without warning, and hooks that feel both chaotic and meticulously engineered.
At the center of the spectacle is “Good Flirts,” a slick, competitive sprint featuring Kendrick Lamar and Momo Boyd. The track moves like it’s three steps ahead of itself—flirtation as flex, swagger as strategy. Kendrick slides in with surgical precision, matching Keem’s sharp turns bar for bar, while Momo Boyd adds tonal contrast that keeps the momentum restless. The chemistry is instinctual, familial—but undeniably competitive.
Ca$ino doesn’t just gamble with sound; it doubles down. It’s calculated excess, controlled chaos, and proof that Baby Keem thrives when the stakes feel highest.
