Random Music Talk LIV: A Wretched Hive of Scum and Villainy (and Mac & Cheese)

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A lot of acts who highlighted 2009 for me (Phoenix, The XX, Dan Deacon, Grizzly Bear, Passion Pit) are releasing new material this year. You know who really needs to join that list? Bat For Lashes. I've had Daniel in my head a great deal lately.
 
LemonMelon said:
A lot of acts who highlighted 2009 for me (Phoenix, The XX, Dan Deacon, Grizzly Bear, Passion Pit) are releasing new material this year. You know who really needs to join that list? Bat For Lashes. I've had Daniel in my head a great deal lately.

Fair to say the new Something for Kate album is my most anticipated release of 2012. Phoenix hinted their album would be more experimental than Wolfgang. Their label said "it's very hard to beat Wolfgang Amadeus Phoenix, but this could be revolutionary."
 
A lot of acts who highlighted 2009 for me (Phoenix, The XX, Dan Deacon, Grizzly Bear, Passion Pit) are releasing new material this year. You know who really needs to join that list? Bat For Lashes. I've had Daniel in my head a great deal lately.

The other day I listened to Veckatimest and got nostalgic for 2009.

That was really weird.
 
The Sad Punk said:
The other day I listened to Veckatimest and got nostalgic for 2009.

That was really weird.

Half of 2009 comprised the best overall time of my life, and half was fucking horrible. Veckatimest might have been one of the only legitimately good things about the second half, which makes this one of the most depressing posts I've ever made.

I will say that you can be nostalgic for basically anything.
 
It's really well done. I almost feel like it's art and I should be able to post it here as such
 
Shouter would probably get a tattoo of that. The most reviled character in the universe got it done.
 
I can't imagine the sort of individual that would re-create a nude model of Jar Jar Binks. Only Laz dedicates so much thought to vulgarity.
 
My name too, thank you.


art-021708.jpg
 
Stargate and Ester Dean, Making Music Hits : The New Yorker

Their second attempt was more promising. Dean carried her iced coffee into the recording booth, which adjoined the control room. She was dimly visible through the soundproofed glass window, bathed in greenish light. She took out her BlackBerry, and as the track began to play she surfed through lists of phrases she had copied from magazines and television programs. She showed me a few: “life in the fast lane,” “crying shame,” “high and mighty,” “mirrors don’t lie,” “don’t let them see you cry.” Some phrases were categorized under headings like “Sex and the City,” “Interjections,” and “British Slang.”

The first sounds Dean uttered were subverbal—na-na-na and ba-ba-ba—and recalled her hooks for Rihanna. Then came disjointed words, culled from her phone—“taking control . . . never die tonight . . . I can’t live a lie”—in her low-down, growly singing voice, so different from her coquettish speaking voice. Had she been “writing” in a conventional sense—trying to come up with clever, meaningful lyrics—the words wouldn’t have fit the beat as snugly. Grabbing random words out of her BlackBerry also seemed to set Dean’s melodic gift free; a well-turned phrase would have restrained it. There was no verse or chorus in the singing, just different melodic and rhythmic parts. Her voice as we heard it in the control room had been Auto-Tuned, so that Dean could focus on making her vocal as expressive as possible and not worry about hitting all the notes.

After several minutes of nonsense singing, the song began to coalesce. Almost imperceptibly, the right words rooted themselves in the rhythm while melodies and harmonies emerged in Dean’s voice. Her voice isn’t hip-hop or rock or country or gospel or soul, exactly, but it could be any one of those. “I’ll come alive tonight,” she sang. Dancing now, Dean raised one arm in the air. After a few more minutes, the producers told her she could come back into the control room.

“See, I just go in there and scream and they fix it,” she said, emerging from the booth, looking elated, almost glowing.

:sad:
 
Intonation was everything in the conversation I just overheard, but the major jist of it was two people lamenting the state of music today. And I quote, "There's no more Three Days Grace, no Creed! "
 
bono_212 said:
Intonation was everything in the conversation I just overheard, but the major jist of it was two people lamenting the state of music today. And I quote, "There's no more Three Days Grace, no Creed! "

LemonMelon said:
I will say that you can be nostalgic for basically anything.

.
 
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