Wasn’t really too big of a fan of this band, but I’m really into this song. Hope they put out a full-length on Suicide Squeeze that’s in sort of the same vein as this. Can’t really get into a lot of the super-Burger style music.
I have to write a paper about video games now. Woop woop.
I’ve seen these two Aussie lovelies twice now and both shows were wonderful. They make some somber music that I’m pretty into. This came into the station when I was working in NYC, so I didn’t get to listen to it for my job, but hey I’m okay with listening to it now. They’re also really nice people. Support this band when they come through your area.
Posted in Music
I’ve been listening to a lot of Smiths lately and this one and “That Joke Isn’t Funny Anymore” have been really resonating with me. For the longest time I always thought that The Queen Is Dead was my favorite Smiths album, but Meat Is Murder is slowly overtaking it. The Queen has the hits, and Meat Is Murder has them as well, but this one’s got the for real emotional sad boys 2003 shit on here. It also has the incredible funk of “Barbarism Begins At Home” which is totally unexpected. I love a good bassline and this song really captures that. That song actually comes right after this one I posted here. Kind of like a shot of adrenaline to the heart after a sadsack song like this one. The rain at the end puts the right amount of melodrama into this song.
OG college rock coming to me right at the tail end of college. Should have seen it coming. That’s the humor of it all.
“Well I wonder, do you see me when we pass? I have died. Please keep me in mind.”
“Gasping, dying, but somehow still alive.”
I swear I’m just being a fucking mope about this shit, but Smiths are really coming through to me right now.
Posted in Music
I saw this band on Saturday and they blew me away so much that I bought this 7″ for $10. It’s probably the most I’ve ever paid for so little music, but like, it’s worth it. Check this song out before people start bringing this band up so much it gets annoying.
Posted in Music
Hello. It’s been awhile, hasn’t it? First time posting anything since January. I’ve been busy consuming music at an alarming pace so I can hopefully spit back out some worthy finds to keep for myself, along sharing them with everyone else. It’s the summer, so there’s no reason why I shouldn’t be writing about the stuff I’m constantly doing, right?
So here we have a song off of the new LP from Emma Ruth Rundle, formerly (or currently) in band Marriages and Red Sparowes, and it satisfies all of my wants and desires that Chelsea Wolfe’s previous album, “Pain Is Beauty,” filled last year. This track is a good signifier on what the rest of the album sounds like: dark, churning, smoldering emotion bubbling in a cauldron of Rundle’s, waiting to be served up to some unlucky sap who gets caught on the wrong side of her gaze.
It’s also dripping with some pretty nostalgic 90s guitar textures, along with a pretty awesome croon by Rundle in the chorus. I’m not too well-versed in that realm of female singer-songwriter, but it did remind me of the days that my mom would blast Indigo Girls in our house when we were cleaning – in the best way possible. Not to say that Rundle is like Indigo Girls, but more that she is able to evoke that kind of specific emotion through the timbre of her voice.
It’s a HUGE album, soundscape wise. Songs echo into a dark cavern; deep bass drum and gong hits don’t just reverberate, they disintegrate into darkness. Rundle’s voice acts as a siren to lead confused soldiers into the cavern, only to have them ensnared within the alluring blackness.
Some Heavy Ocean is out on Sargent House now!
If you’re a constant reader of this blog or you’re one my friends (you don’t even need to be a close friend!), you probably know that I am absolutely infatuated with Beck’s music. Besides his extremely lo-fi anti folk releases from the early 90s, I’ve loved every single one of his records and I think the progression of sound between each album is one of the most interesting in music. Going from slacker rock anthems on Mellow Gold and Odelay, to weirdo country jams on Mutations, to sex freakouts on Midnite Vultures, to one of the most quintessential breakup albums of all time Sea Change, then to indie rock coolness on Guero, Information and Modern Guilt, I’m so excited to see where Beck goes next.
This new album is described as a companion piece to Sea Change, as it has many of the same musicians that performed on Sea Change as well as recurring tones and themes. The newest track, Blue Moon, definitely reflects that as it is mostly acoustic instrumentals and mostly sad song material. It’s immaculately produced, with a bit of cello, mando, booming percussion and of course Beck’s signature croon. The dude’s 43, but he still sounds youthful. Definitely wiser, but still has some kick. Check out the song below.
Morning Phase is out February 25th