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Bijan Stephen
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Bijan Stephen is a music critic for The Nation . He lives in New York and his other work has appeared in The New Yorker , The New Republic , Esquire , and elsewhere.
SOPHIE’s Oil of Every Pearl’s Un-Insides and Blood Orange’s Negro Swan capture two high-wire acts of musical reinvention.
July 19, 2018
The genres that West and Drake once defined are now the domain of a new generation of musicians.
May 3, 2018
His new album, Everything Was Beautiful, and Nothing Hurt , sounds teleported directly from 1999.
Mount Eerie’s Now Only and David Byrne’s American Utopia both try to find meaning in a world of loss and death.
MGMT and Poliça’s new albums offer songs of solace and alarm.
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Despite all of the sex baked into Blood , the album is striking for the sense of solitude that lurks beneath its surface.
January 30, 2018
The exhilarating freedom and daring of Ephorize .
The Awl showed many of us that diving into the weird and marginal could be fun and meaningful—and still produce great writing.
Gustav Åhr was emo-rap’s most visible representative and the genre’s most mainstream success, but what set his music apart was not its despair but its deep sense of hope.
November 17, 2017
On Revelations , he trades the glitz and brashness of his early work for a more ruminative and uncertain sound.
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