Feels Like We Only Go Backwards | Tame Impala
(via wecansexy)
Spotify Playlist: Best Music of 2012
One girl’s opinion on the best music of the past year.
I only counted things that were released in 2012, not things that were released earlier and got popular in 2012. Therefore, no Gotye on this list, even though Smoke and Mirrors would have been in the top 5.
Return of the Monoculture
To capture the year in pop, let’s think back to some of its most memorable songs:
- A left-field hit sung almost entirely in a foreign language, whose throbbing dance beat masked lyrics that were more political than one might suspect.
- A rock-pop crossover smash about holding onto youth into your thirties, even when your head is throbbing from self-reflection and encroaching decrepitude.
- A fluttery, buttery pop classic about a girl fretting over — yet exulting in — not knowing where that boy’s head is at or where he thinks he’s going.
- And the No. 1 record of the year — a rocker–ballad hybrid with egocentric yet self-lacerating lyrics, and an improbably catchy, minimal, skeletal sound.
Quick, what year am I talking about?
Why, 1984, of course.
(Source: Spotify, via degreesvvc)
Kirby 64: The Crystal Shards | Snow
reblogged this last xmas & reblogging it again 1 year later cuz xmas forever! merry christmas errybody// <3 yallll
*:.｡..｡.:*･’(*ﾟ▽ﾟ*)’･*:.｡. .｡.:*
I may very well have posted this last year as well, but it’s a very Christmassy song, so enjoy again!
I definitely did not post this last year or any of the three Christmases before that I’ve had this Tumblr. Nevertheless. Merry Christmas!
LET IT BE KNOWN
For the first time ever, I am in Slow Train and absolutely hating the music selection. Why would I ever want to be listening to a remix of a crappy Fun. song? Cue me putting my headphones in and turning the Mountain Goats up.
(Source: palegreen-things)
a difficult situation
What is a music fan to do when one of their favorite artists says something which they don’t just not agree with, but consider extremely problematic?
The artist in question is Chris Keating, lead singer of Yeasayer. The thing said was — I quote —“I think [Frank Ocean] is a good new face for the R&B world right now, to kind of usher out – no pun intended – some of these folks,” Keating said. “Because, let’s get real, R.Kelly is a terrible person. I like R.Kelly and how crazy he is, but he’s a terrible piece of shit, a horrible person, really bad all around. Let’s get rid of him. Let’s gay it up a little [in R&B].”
Problem Number One with this statement: CK is white, and he is dictating what should happen in a field of music traditionally performed by POC, telling the Rolling Stone audience what is “right” and “wrong” about something he’s not even involved with.
Problem Number Two: He’s saying “gay it up a little.” If the person making this statement was an openly LGBT person, this would be excusable. Keating, however, is heterosexual and white, in contrast to Frank Ocean, who is bisexual and black. If Keating was trying to express delight at the new LGBT representation in R&B, he picked some poor words to do so.
Problem Number Three: R. Kelly is easy to dislike because of his past offenses; I’m not his biggest fan. Less delicately, I think he has a long history of acting like a piece of shit. However, for Keating to say that he loves how “crazy” Kelly is, then say that he’s a piece of shit, is not okay. It reduces Kelly to less than a caricature of a destructive, racist stereotype.
I’ve been a fan of Yeasayer’s music going on a year and a half, I pre-ordered Fragrant World, and I think the album got slightly shafted by Pitchfork. At least a 6.5, please. However, how much of a fan can I call myself when the face of the band says things like this? It’s problematic, to say the least.
Does anyone have anything to say about this?
"The process of idling at the airport, taxiing, and taking off (to say nothing of the flight itself) is a series of changing drones. Idling, for instance, is a constant c#, with an ever-changing top note: f#, e#, or e. All of this is slightly flatter than a=440. The ventilation system insists on a kind of extra-flat g#, but the whole thing is gorgeously rooted on the everpresent c#. When the plane levels out, though, a g# in the bass reframes the whole thing, so you end up with a chord in a strange position: confident, but with a changing root. I feel like I would be very happy listening to even a transcription of this music."
Nico Muhly, “Plane Drone”
(Spot on, sir. Air conditioner symphonies are also the best.)
This song was on repeat in my head during my high school graduation.
I wonder who Yasmin is.
(Source: Spotify)
