The Naked and Famous, "Young Blood" (single from Passive Me, Aggressive You, Somewhat Damaged, 2010).
Of all of the songs from this particular subgenre and wave of synthpop that exploded during this period, this is still one of my favourites. The architecture is just immaculate.
The fact that the lyrics are ultimately really desperate and unsentimental, particularly on the bridge, really helps.
The Naked and Famous, "Punching in a Dream" (ibid).
When you strip away the distortion, this song is very Björk-ish. And the lyrics are even vaguer and darker. Which kind of characterises most of the band's work, really: Just a little too off to be entirely successful as pop material despite the very prominent hooks.
The Naked and Famous, "Higher" (Simple Forms, Somewhat Damaged, 2016).
I knew this was going to be disappointing. I just knew it.
I mean, there are elements that work here, and have carried over from their early work, and I see how they got to this place, but... it's like they decided that Chvrches were beating them at their own game and tried to one-up them and became almost a parody of themselves in the process. The bombast feels unearned.
Granted, this would be significantly more palatable than what's currently on the charts, but given how bad American pop music is right now...
I can hope that the rest of the album is good, at least. And I haven't actually heard their sophomore LP, or much off of their *really* early releases. Hmmm...
The Naked and Famous, "Young Blood" (single from Passive Me, Aggressive You, Somewhat Damaged, 2010).
Of all of the songs from this particular subgenre and wave of synthpop that exploded during this period, this is still one of my favourites. The architecture is just immaculate.
The fact that the lyrics are ultimately really desperate and unsentimental, particularly on the bridge, really helps.
are Party Supplies' solo records any good. He makes really good rap beats and I might go so far as to call him a peer, but I've never heard his solo work.
And idk about Fool's Gold I've heard they're kinda shady, but you're right in that their artists do tend to be at least OK (not a fan of eg. Grandemarshall but still).
he is the man on the right in this picture (other guy is Action Bronson, who is a rap singer)
Silence and Secrecy, "The Harrow (Keelhauling: A Triptych)" (ibid).
I think I did a pretty good job with the guttural vocals here, and the combination of elements feels entirely natural despite being so stylistically heterogeneous.
Comments
KMFDM does endless recursive self-reference all the time, but here they've managed to make it into a massive fuckin nostalgia bomb
This is delightfully ludicrous.
What the fuck was that guy even doing with his voice there?
And it ends with screaming and electric pianos. This album is bizarre.
the most notable thing i can discern here is either mains hum or maybe a refrigerator or an air conditioner? very kvlt
Of all of the songs from this particular subgenre and wave of synthpop that exploded during this period, this is still one of my favourites. The architecture is just immaculate.
The fact that the lyrics are ultimately really desperate and unsentimental, particularly on the bridge, really helps.
When you strip away the distortion, this song is very Björk-ish. And the lyrics are even vaguer and darker. Which kind of characterises most of the band's work, really: Just a little too off to be entirely successful as pop material despite the very prominent hooks.
I knew this was going to be disappointing. I just knew it.
I mean, there are elements that work here, and have carried over from their early work, and I see how they got to this place, but... it's like they decided that Chvrches were beating them at their own game and tried to one-up them and became almost a parody of themselves in the process. The bombast feels unearned.
Granted, this would be significantly more palatable than what's currently on the charts, but given how bad American pop music is right now...
I can hope that the rest of the album is good, at least. And I haven't actually heard their sophomore LP, or much off of their *really* early releases. Hmmm...
I think I nailed sounding ramshackle and ethereal at the same time, which is kind of neat and worth something.
I think I did a pretty good job with the guttural vocals here, and the combination of elements feels entirely natural despite being so stylistically heterogeneous.