Creatively speaking, it’s tough to tap into that reservoir of brilliance when you’ve been pouring so much into school work. I wrote about twenty pages of material in the past week, and i’m completely tapped out. That being said, nothing gets the juices flowing again like music, and I present to you Oliver Tank’s latest single ‘Different Speed’. Tank teams up with beat master Ta-ku and the result is very relaxing. It’s like instantaneous meditation.
Slow down world
136 playsArtist: Oliver Tank Album: Slow Motion Music Track: Different Speed (feat. Ta-ku)
Last night I completed my content analysis study on Top 40 music. I looked at Top 40 songs in the years 2001, 2005, 2009, and 2013 for references to both drugs and alcohol. Recent literature would suggest that there is an epidemic in modern music, a proliferation towards celebratory alcoholism and habitual drug use. Baby boomers tout that pop music is on a downward spiral towards hedonism and debauchery, and the only ‘substance’ to music is use and abuse.
Well for you music aficionados you’ll be happy to know that my study including 240 songs concluded that references to both drugs and alcohol are down significantly in 2013, by nearly half. If that wasn’t enough, the song that contained THE MOST references to alcohol was Lorde’s ‘Royals’, which is ironic in so many ways. The song blasts the champagne lifestyle abhorred by aging critics and musical cyncists. Does this signify a shift in our pop culture? Are we moving away from old club favorites like Eminem’s ‘Crack a bottle’ and Ke$ha’s ‘Tik Tok’? Have we become conscious consumers of music?
My study raises a lot of questions about the state of drugs and alcohol in top 40 music. Countless researchers have concluded that youth exposed to positive media messages about booze are far more likely to drink or increase their alcohol intake. So perhaps 2013 marks a step in the right direction, a dismissal of music made by club-aficionados Usher and the Black Eyed Peas. Perhaps 2013 is the marker of substance over style for the first time in at least 12 years. A lessened emphasis on wrist watches and date rape. What does this mean for 2014? Will the trend continue? Who decided that top 40 music has to be terrible?
Here’s the hottest song in the world right now, topping the charts for 9 full weeks ahead of pop juggernauts Rihanna, Eminem, Katy Perry, Lady Gaga and the rest.
134 playsArtist: Lorde Album: Pure Heroin Track: Royals
'Elo tumblers and tumblettes! If you're a frequenter of my blog you might be aware of a research project i've been undertaking for my sociology major. I'll be analyzing drug and alcohol references in top 40 songs since 2001. Mainstream media might tell you that things have only gotten worse in music, but you'll be happy to know that my data has, in fact, shown quite the opposite. More deets on that to come..
Rap music is pretty often the frequent culprit, to nobody’s surprise. And the data could be in fact more in line with the rise and fall of rap music on the radio over the past twelve years. Speaking of which, here’s a new tune by A La $ole from the Pro Era crew to quench your thirst for drugs and alcohol.
18 playsArtist: A La $ole Track: Been Swank
Saturday night is very special for me. I make tacos, get really high and keep my cat company. Recently, i’ve been enveloped into the world of Skyrim once again, and that childhood excitement rushes back in to my veins with great fervor. It’s all about the fantasy, and i’m very invested in the creation of an artificial world to lose myself. If you’ve ever seen any #SkyrimConfessions, you know exactly what I mean.
So to kick off the evening, here’s Only Real’s song “Get It On”. It’s heavy on the goofy side, and just the type of music I need to loosen my bolts and relax. It’s got a certain ‘who-gives-a-fuck?” kind of ‘tude to it, and that’s what I like about Only Real, he’s really just after the pursuit of fun.
Hope you’re having a fun Saturday night yourselves my friends, stay tuned
14 playsArtist: Only Real Album: Days In the City - EP Track: Get It On
Ahhhhh! I’m sorry guys! I’ve been a neglectful blogger for the past week or so, it’s heartbreaking I know, but I’ve returned to share some stellar tunes with you. I’ve been caught up in a research project analyzing latent and manifest references to drugs and alcohol in top 40 music. It’s going to be a heck of a piece, and I can’t wait to wrap it up and share the results!
So lets keep this brief! I introduce you to Lincoln Jesser, an indie-pop fanboy based in LA. It’s pretty high energy from what you might be used to on the Beachfuzz, but it’s a hell of a jam!
Enjoy your hump day!
34 playsArtist: Lincoln Jesser Track: We'll Be Fine
I wonder what kids say when they’re asked “What are your hobbies?” My generation said something along the lines of, but not limited to: video games, sports, piano, drawing, animals, woodworking, metal fabrication and spinach eating. Kids these days, their only hobby is the internet. That’s it.
"Whats your hobby young lady?"
"Looking at crafts on Etsy."
What the fuck? It’s not even fair they’ve got such better resources than us and they squander all their spare time upvoting pictures and writing blogs… erm. Well..
Music blogging is a weird hobby. I certainly don’t have a diverse library without merit, nay, I spend nearly all of my free time looking for new music. Oh.. and writing haiku’s on facebook. That’s basically all I do.
Here’s one of those time freezing lofi jams by Israeli three-piece Garden City Movement. The internet is fucking amazing in that with just a click of a button you can here an absolutely wet-dreamy song from an ISRAELI BAND. Holy shit people consider this for a moment.
Give this song all two of your ears and some grey matter.
44 playsArtist: Garden City Movement Track: Move On
BEACHFUZZ PRESENTS: Raleigh - Sun Grenades and Grenadine Skies (the following was taken from my post on The New LoFi).
The clouds had long since moved beyond the point of weeping; torrential downfall was in the forecast on a dark Wednesday night in June. Summer was a long ways off in Calgary, temperatures usually don’t peak until mid-August, and this particular evening was cold and miserable. I grimaced at the streetlight, Good lord, I mused, Hurry up and change.. we skipped over the gutter rivers and made our way towards District.
It was a predictable scene, small, cramped, dark walls haphazardly donned with aging memorabilia and tattooed waitresses working just hard enough to look lackadaisical, at best. It was the kind of place that was cool before it was trendy, punk-rock bingo and wing nights were a weekly mainstay, drawing crowds with various degrees of beardedness. Beer was on tap and on the cheap, and since we were a few hours early we grabbed a couple and meandered to the very front of the stage. No pushing and shoving necessary, the bands hadn’t even started and half of the night’s attendees hadn’t even gotten off work.
“Unknown Mortal Orchestra w/ Raleigh and guests”
I was a big UMO fan, and the opportunity to see a band I liked from only a few inches away was too good to be true. It was about 8 o’clock, and we had all the time and beer in the world to keep us company until the big act. The first band was a trio of surfer bros, followed by Calgary mainstay Devonian Gardens. After a few pints and a couple hours of heavy swaying, I realized I might’ve overestimated my ability to stand in one place and drink all night. I was awash with weariness and three hours had passed when Raleigh took the stage.
A wise man once told me “Always watch the opening acts”.
I’m not sure if it was the beer or the high-volume bubble machine, but something magical happened that evening. Raleigh’s symphonic lullabies had me in a stupor. Their drug was more powerful than beer, and I instantly fell in love. Even after Unknown Mortal Orchestra wrapped up the evening, Raleigh’s melodic brilliance was echoing in my head on the train ride home. It was a flood of emotion, and that night the rain didn’t stop. In fact, it didn’t stop Thursday either. And the result was the single most catastrophic flood in the history of Southern Alberta.
Many months later at the Calgary Folk Fest, I had a brief run-in with Raleigh at the beer gardens. I told them I was at their concert back in June before the flood, and after guitarist/vocalist Brock Geiger touted something along the lines of UMO being incredible, I sheepishly mentioned they were my favorite act of the evening. I’m not sure how seriously they took my compliments, especially since I followed it up with a cheesy picture request (see below). However, I was genuinely blown away by their eclectic performance. Brock told me about an upcoming album release, and I made sure to keep my ears to ever-shifting ground of social media.
Tuesday saw the release of Raleigh’s sophomore album, ‘Sun Grenades & Grenadine Skies’, and over the past few days i’ve been wrapping my head around their immersive sound. Or rather, their immersive sound has been wrapping itself around me.
The album begins with “Helios”, and the first few moments are akin to the sun leaking in through an abandoned and overgrown greenhouse. Piano keys roll like floral wallpaper, and fuzzed guitars wake the plants from slumber. Clea Anaïs’ voice is soft and distant, a stark contrast to Geiger’s lead-laying guitar-work. He drops cords like red bricks, smashing against the grass-cracked cement floor with fervor, while Clea’s lush subtlety brushes the weariness from our minds. It’s a peculiar blend, and as the song unfolds the ying-yang yo-yo-ing between Anaïs and Geiger subsides; time seems to pass, the world turns, and they become whole. Raleigh is at their strongest when they are harmonious, their tones meld beautifully together and one can’t help but feel that they are at their most complete. The song unfurls as time signatures dance melodically. The effect is quite introspective, as horns signify the coming end. There’s an optimism in the final few moments, a brief promise of tomorrow’s sun.
“Inside Lines” picks up on everything beautiful with “Helios” and runs with it. It’s a high-energy frolic, but don’t be fooled. An expertly crafted fall awaits, a dark forest, uncertainty. Geiger tries lulling us asleep menacingly, a clever trick, and the next few moments are sheer fear. Anaïs’ cello sends shivers down the spine, and as the tension mounts we are lifted from the mist. Cautious comfort, has the storm passed? The heart pounds as the harmonious duo lifts us to the clouds once more, only to set us back down gently into the rolling hills. We are left where we started, the sun ablaze on the horizon. It’s a roller coaster of emotions, and it couldn’t possibly personify a contemporary day any better, it’s stressors and reliefs, if it tried. At the end of the night, we’re blessed to be home where it all began. “Inside Lines” is undoubtedly, one of my favorite songs on the album.
“Carebear” has a no-look-back attitude. A true sidewalk slapper, an upbeat nursery rhyme, and a testament to Raleigh’s versatility. Lyrically, Anaïs and Geiger sound as if they’re reading free-form poetry. The meanings aren’t easy to grasp, but the meanings are only comprehensible insofar as they are connected with the sounds. “Carebear” starts out as a walk, is brought to a run through Matt Doherty’s percussions, and towards the end completely vanishes. “Fresco” swallows the lead-in and ties us up with masterful string-work. It’s caught in a spiderweb of sound, only we’re the spider. There’s some truly beautiful instrumental work at play, and “Fresco” is Geiger’s first opportunity on the album to reveal to us his perspective. It’s haunting, certainly, but unlike the panic of “Inside Lines”, there is no fear. The bright moonlight leaves “Fresco” aglow in its own contemplation, and five minutes seem to melt away.
In a rare show of emotion and clarity, “Still light” is a framed reflection. If “Carebear” was a brisk walk uphill, “Still light” is an evening staring out the window. The pace is never quite slow enough to lose our attention, and drifts along like fleeting thought. There’s a certain hopeless romanticism in Raleigh’s lyrical composition, a potential that waxes and wanes as signatures blend and change. “Pen That” stirs somewhere deep, and low basslines add a palpable element to Anaïs’ storytelling. The emotional buildup is akin to Wye Oak’s rushing waves of sonic sound, yet right at the boiling point Clea’s near-lethargic energy skips a beat, bewitches, and becomes a folklore colloquialism. She casts a powerful spell.
The emotion continues to flow in “Astray”, Geiger’s introspection becomes raw at the 45-second mark, “Looks like I messed up this one”.. it’s an intimate aside. His inner monologue continues like broken thought, a humble defeat, and certainly not the first. “Astray” is that cigarette you shouldn’t be having. A smokescreen of critical insecurity. Geiger shines his brightest in these moments of vulnerability. It’s Raleigh’s fullest song, not in the sense of “Helios” and “Inside Lines” as emotional hills and valleys, “Astray”s strength lies in it’s utter completeness in sound, and unlike previous efforts, we feel wholly in one place at one time. Taken with “Still Light”, we hear Raleigh at their most expertly crafted, it’s red-raw emotion, an exercise in easy-listening bliss.
As the album shifts to the later songs, the sounds of “China Flowers” are a familiar trip. Once again, the technical brilliance of Raleigh’s instrumentals becomes the main focus. The composition drips with talent, and the opportunity for Anaïs and Geiger to lay some heavy notes is all too perfect. “China Flowers” is a rock song at its core. “Puritan” follows, only to lead us down the rabbit hole. It’s a bizarre sensory experience, an amalgam of noise and static, truly lost in space. The destination is unclear, and our time of arrival is completely skewed. The last few moments are a breakneck flurry, with horns rampantly fading into the distance while the sounds of an incoming transmission materialize. “Puritan” is a strange trip, undoubtedly, and the most experimental song of the bunch.
There’s no telling how many days have passed as “Sun Grenades…” begins to come to a close. “Ostinato” is the march back home. The cautious optimism and nervous moments are replaced with certainty. Anaïs shines with confidence as she leads the way. It’s a carefree beginning to the end, a wry smirk of achievement, capped off with a wave goodbye. We’re reminded of “Carebear”s no-look-back attitude, only “Ostinato” subsitutes whirlwind speed with Anaïs’ highest and most vibrant display of poise.
“Sun Grenades & Grenadine Skies” ends much in the same way it began with “Helios”. Piano’s bounce us back and forth playfully, while our lead singers trade soliloquies to and fro. For a moment, the journey seems to come to an abrupt stop. But the pace only slows to cue the climax and dramatic grand finale. “It Will Rise” finishes quite exquisitely. It brings “Sun Grenades” full circle, and we’re once again assured the promise of sunrise to the tune of Raleigh’s vocal dichotomy. All is connected, as the story ends it also begins, and Raleigh leaves us feeling like we just woke up from a lengthy lucid fantasy into their imagination.
Although we made some songs available for promotional purposes, the album truly merits a full listen. One of Raleigh’s strong points with “Sun Grenades…” is how fleshed out the album is as a whole. We’re only providing you with the partial effect at best, so support them if you can
20 playsArtist: Raleigh Album: Sun Grenades & Grenadine Skies Track: Still Light
It’s been a daze of a week at the Beach Fuzz. Without dipping too deep in to personal deets i’ve been a real busy body for a few days with school and the like. But now it’s smooth sailing! ON THAT NOTE, hit play.
"is he even speaking english?"
"so terrible changed the channel immediately"
If you have faith in the human race, just spend a few moments perusing comments on any video on the internet. These were just a couple bad ones on King Krule’s appearance on Conan three nights ago. I wouldn’t usually like to spread the hate, but in this particular instance I thought it would be a good example in terms of musical subjectivity. To some, Archy is a musical god-send, some sort of supernatural being of immense skill and potential. But to others, well…
I’ve always had a weird relationship with music in that sense. For the longest time I thought my tastes were empirically tuned. The reality is that music does different things for different people, and as much as i’d like some people to understand the raw and visceral talent of King Krule, most people cannot be convinced. Even if they were a bit more entrenched in the ‘new music’ scene, I doubt it would change anything. It’s not even a matter of exposure, I feel. Most people won’t like the same music you do. It’s a shame, but it’s reality. Our ears have tastebuds.
So if you’re into soulful blues with a bratty UK boy twist, give him a listen. If not, i’m sure Katy Perry has a new single out..
… ah fuck I was doing so well avoiding sounding pretentious.. shit..
:) much love
60 playsArtist: King Krule Album: 6 Feet Beneath the Moon Track: A Lizard State
Goood eeeeveening boos and ghooooouls!
I think everyone goes through that phase where they think Halloween is ‘lame’, sometime before we have kids and sometime after we’re done getting shitfaced and dressing like anthropomorphic skanks. But i’ve turned a corner this year and started embracing this holiday for what it truly is; fun.
Candy is great (in small doses), and so is dressing up (in small doses). Also, talking to strangers in small doses is recommended for a healthy lifestyle. This is the holiday of moderation..!
Wait, no it’s not. It’s pretty excessive. In fact it’s the holiday for hyperbole..
Well! Whatever Halloween means to you personally, universally it is an opportunity for our culture to warmly permit the concept of supernatural monsters and psychopathic murderers. And any excuse to shake our increasingly politically-correct day-to-day yoga attendance and overarching general “whiteness” is welcome in my books!
In celebration of the waning hours of Halloween (chances are all the mischief of the evening has come to an end), here’s the spookiest song I could find on my playlist.
Kavinsky is this radical dude with blue skin, red eyes, and manga-inspired physical features who wears Letterman jackets and drives 80’s sportscars. For anyone who saw the movie ‘Drive’ with Canadian dreamboat Ryan Gosling, you’ll recognize this song as the opening track. I don’t think a lot of people really made the connections between Kavinsky and the main character of the film (the likenesses are quite profound), but I certainly did.
I’m getting a wee bit off point here… AHEM. NIGHTCALL IS A SPOOKY SONG. LIKE PRETTY SPOOKY. WOLVES HOWL. It’s like electro-Thriller. And in lieu of playing actual Thriller I give you NIGHTCALL. So here you go
HAVE A MODERATELY SPOOKY EVENING
871 playsArtist: Kavinsky Album: Nightcall Track: Nightcall
The subtle undertones in the lyrical composition of Wet’s self-titled album really strike a chord with me. On the songs “Don’t wanna be your girl” and “U da best”, you can’t quite tell if the lead singer is truly in love, or wants to break up. It’s that bipolar relational attitude that best captures my emotions; never quite sure of one’s own feelings in general. Lyrics bounce from “lonely when you hold me” to “you’re the best”, and even in the break-up jam “Don’t wanna..” it’s not entirely clear what the artist wants.
Now, there’s not a whole lot known about Wet right now, other than the fact that they are an NYC three-piece allegedly signed to HAIM’s label. Their debut EP is avaiable for a paltry four dollars, and we are bound to hear a hell of a lot more about them in the next year.
Their style is a more soulful take on the dreamwavey-synth acts we catch these days, borrowing elements from bands like CHVRCHES and the aforementioned HAIM, but adding unique elements of all-female 90’s R&B. Most noticeably, the music is incredibly polished, far beyond their resume, and it’s quite shocking to think that they’ve virtually come out of the woodwork in the past few months.
This is the third song i’ve posted off their four-song EP, and although it’s impossible to call favorites, this is my jam at the moment.
30 playsArtist: Wet Album: Wet Track: Dreams
"Of course, i’m talking about more reputable sources than wikipedia.." she glared in my direction with a faint sense of disdain.
I couldn’t quite figure out why this girl seemed to hate me. We’d spoken not more than five words to one another in class, and yet I could feel the negative vibrations every time we caught eachother’s eye. She was referring to an off-hand comment I made a few minutes earlier in front of the class, “A child in Africa with a smartphone could learn more about the world today in 30 minutes on wikipedia than someone 30 years ago might learn in a lifetime" Her snarky pot-shot in front of the class wasn’t only inaccurate, but she completely missed the point. My argument had nothing to do with the validity of wikipedia, rather, the concept that the internet has forever changed the intellectual landscape of our planet. The sheer power of the information age has given unlimited knowledge to even the most disenfranchised. However, not everyone is lucky enough to have a few bars of Wi-Fi connection, and even if they are, they might be under siege from an oppressive government that limits access.
But while we’re on the topic, why is there this inaccurate assumption in academia that wikipedia is not a reliable and valid source of information? It was eight years ago that a study by Nature showed that wikipedia was only marginally less valid than the Encyclopedia Britannica. Nevermind the more recent news that the print edition of the EB no longer exists. The comparisons are over.
The most common argument against wikipedia is that any jackass with an internet connection can edit material and provide misleading information to millions. This is of course, only true in part. When I was nineteen, I moved back to my parents house in a small town an hour outside of Calgary. As a bit of a joke, I edited the wikipedia page for the little hamlet, stating that I was moving in to town and I was “kind of a big deal”. Within a matter of hours, my work was completely removed. And this may come as no shock to you, but it is important to note that the population of the town floats somewhere around 250. Not only that, but the majority of that 250 is made up of near-senior citizens.
The point being that falsifications and biased editing are usually caught within a few clicks. Encyclopedia Britannica made this image, lambasting Wikipedia for being edited by ‘your neighbour’ while EB had contributions from a modicum of Nobel Prize winners and a handful of Presidents. And despite all the scientific and political prestige, EB couldn’t keep up with our neighbours, and that we’re somehow supposed to believe that’s a bad thing.
Excuse me? Do you really believe that a select group of intellectual elites should have free reign over information widely accepted as natural laws and fact? Does that really seem a more viable and logical approach than giving access to everyone? It sounds to me like they were arguing in favor of an autocracy. And I think there’s nothing more powerful in this world than the silent majority becoming the speaking majority. Wikipedia is hounded on a constant basis by over 19 million 'editors' and 'rollbackers' from across the globe. The sheer content is staggering, with 30 million articles in 287 different languages, including 4.3 million English articles. The content is exhaustive, and unapproachable by any printed encyclopedia of any sort. And the power, truly, resides in the people.
Nevermind the fact that wikipedia is still publicly funded, running off massive donation campaigns and contributions from users and fans alike. Wikipedia has also spawned a number of influential and creative niche clones, such as Encyclopedia Dramatica, a absurdist satirical stab at Encyclopedic information using the MediaWiki engine (ironically garnering a higher search frequency than the ever-so-serious Encyclopedia Britannica it parodies). And of course, WikiLeaks, the biggest political and social watchdog on the planet. (It should be noted that Wikipedia and WikiLeaks have no affiliation, for those who don’t know).
So where’s the argument that Wikipedia isn’t a reputable source? With 30 million articles under constant surveillance from nearly 20 million active users, 287 languages represented on a public funded webbase, and recent pilot studies arguing that Wikipedia has now surpassed the accuracy of EB.
So, you smug little brat in your fucking Aldo scarf, I don’t think there are more reputable sources for mass information that Wikipedia. Regardless of the fact that you missed the entire point of what I said. And if I had the time and the patience to lambast you in front of our class, I would have. But I take solace in writing this post for a tumblr audience instead.
Here’s a song by a 16-year-old Australian producer. Incredible vibrations, and it’s the kind of music i’d urge someone to listen to if they just went on a lengthy diatribe over an off-handed comment made in passing.
9 playsArtist: Japanese Wallpaper Track: Breathe In Ft. Wafia
Really big in to Wet right now, this band of super-cool synthetic slow jammers from New York City. I haven’t been listening to a whole lot of break up music lately, mostly due to the fact that i’ve been in a long term relationship for quite some time. But I assure you, deep down, i’m always sad.
Hahah that sounded terrible, and I hope my girlfriend doesn’t read this (she won’t). But i’ve always had a soft spot for sad tunes, mostly because i’ve always been sad.
But that’s okay. There’s nothing wrong with being a little melancholy. I think it gives perspective. Plus I don’t trust those ‘happy’ people. Right?
Anyhow, give this jam a peanut butter.
49 playsArtist: Wet Album: Wet Track: Don't Wanna Be Your Girl
I look at my playlist and it gets very difficult to find anything that isn’t synthetic. The dreampop, chillwave, and synth revolution in general has taken over many an iPod. And the proclivity of laptop pop is only on the rise.
And that’s what makes We Were Promised Jetpacks the most relevant. In a time of ultra-artificiality, there are still some bands that use actual instruments, and are quite good at it.
Adam Thompson can absolutely belt it out, and he’s no stranger to commanding a room. This track is off their first album from 2009 “These Four Walls”, I would’ve liked to have posted “Sore Thumb” from their most recent 2011 release, but tumblr and their damned 10MB rule shot that plan to shit.
No word yet on any new material, however they’re currently playing Haddow Fest in Edinburgh for you Scots out there.
53 playsArtist: We Were Promised Jetpacks Album: These Four Walls Track: It's Thunder And It's Lightning
Nobody seems to want to read my long-winded rants nowadays, so I will keep this one short. Tennis is a husband/wife band that makes radical music. They had a huge 2011/2012 and I suppose they aren’t slowing down.
This particular jam is most radical, and their most recent single. Aren’t they so cool?
13 playsArtist: Tennis Track: Mean Streets
We’re two months away from the cavalcade of year end posts. The blogosphere will be swamped with list after list, ranging from the simple top tens to the impossibly exhaustive ‘Top 100’ albums of the year. It’s a veritable feeding frenzy for music aficionados, but it is a good thing?
Pitchfork, the leading source of all things music on the internet, is a pioneer of such lists, and a pioneer of ranking music as a whole. Music is completely subjective; the experience cannot be quantified and taste is widely variable. So how can we possibly RANK art? The entire notion seems absurd to me, imagine a team of contemporary art judges getting together and creating a list of the ‘best paintings of the year’, and then imagine about 50,000 others with no qualifications doing the exact same thing.
What makes a good song? What makes a song BETTER than another? I think it’s preposterous to even consider one sound empirically superior to the next. But defenders of this system will scoff and say;
“it’s all opinion, and seasoned musical veterans have an acquired taste for music and thusly their ‘rankings’, while subjective, reflect knowledge and fair judgment"
And I don’t doubt the musical knowledge of Pitchfork, or any other experienced blogger. Admittedly, my own spectrum of know-how is very limited, however, with journalism of all varieties, there is a certain claim to ‘unbias’ that is simply too absurd to support. It would be foolish to think that the big names in music blogging don’t have an agenda of their own, and when we’re judging based on personal taste, there’s no possible way we can call these rankings valid, in any form, other than to the listener who ranked them. And if you argue against that point, then you must argue in favor of the idea that certain people have better taste than everybody else.
I don’t blame the blogs, I love reading the year end lists myself, but it just feels like a tired formula, and is certainly devoid of any validity. But it’s only part of capitalist society. NOW SLOW DOWN THERE BEACHFUZZ, THAT’S SOME MARXIAN SHIT RIGHT THERE. No no, hear me out. Our entire culture structure is built around the concept of competition. There are winners, there are losers. There are high-quality products and low-quality products, good restaurants and bad ones, and we determine all of this things by popular vote. Of course, if you’ve made the connection already, you would say “But music blogs aren’t guided by the votes of the people”, and I would agree. They’re often an autocracy, and sometimes an oligarchy, and you certainly wouldn’t trust Castro to provide a list of the ‘Top Ten Cubans of the Year’ (rest his bearded soul). But they are operating on the age old market concept of hyper-quantification. As a culture, western civilization is obsessed with lists, especially in the realm of entertainment.
In lieu of going on an even lengthier tirade, i’ll halt the conversation here. Misun is a band without definition, there are elements of electro, 50’s swing, 90’s dance pop, and who knows what else. Where does this song and this band rank this year? Who cares. Somewhere near awesome and above great. A genuinely unique sound.
Misun - Hills and Trails
2 playsArtist: Misun Album: www.facebook.com/misunband Track: Hills and Trails