novice Buddhist, expert neurotic. writer. aspiring adult.
sophcw at gmail dot com
Post with 11 notes
I can clearly remember as a high schooler downloading St. Vincent’s first album, Marry Me, and struggling to understand what all the fuss was about. At that point, her music was too strange for my developing tastes. The songs threatened to go in one direction and then suddenly did a 180, as if backing out of a promise. The themes were obscure, as was her sincerity. There wasn’t a single song I felt I really understood. Foryears after, I remained unmoved by St. Vincent’s stranger music, while obsessing over the poppier tracks that dotted her albums. Something changed with the release of Strange Mercy. Though I initially cared mostly for the anthemic “Cheerleader” and sugary yet stinging “Cruel,” eventually, the songs in between began to speak to me in stronger voices than I’d ever imagined. I returned to her first album and I found compelling arrangements with lyrics I could easily relate to. They felt, somehow, like me. Upon my first few listens to St. Vincent, I noticed a similar phenomenon. I was drawn not to the “singles” like the stomping opener “Rattlesnake” which shouted to be noticed, but instead to those slithering in between, like “Huey Newton,” whose intentions are more obscure. The obvious explanation for my change of taste would be my exposure to a much wider variety of music in the years between Marry Me and St. Vincent. But I think there’s more to it thank that. I think it’s also because I’m getting older.
When I was in high school I liked music that was as dramatic as my teenaged feelings, and catchy enough that I immediately understood its appeal. Songs that could be screamed along to as I drove aimlessly around my hometown, or soundtracked my Livejournal entries as I lay in my childhood bed illuminated by the glow of my laptop when I couldn’t sleep. Now that I am grand old age of 24, I am slightly more patient, and a lot less certain. Over the last few years, as my life has sped up dangerously, crashed fantastically and shrank back cyclically into the state of constant upheaval I now exist in, my sense of self has become less easily defined. I no longer look to sweeping sentiments and sweet pop numbers, at least most of the time. Instead, I listen mostly to women whose feelings are as complicated and confused as mine: whether it’s Fiona Apple’s current weary wisdom or her youthful angst, Waxahatchee’s sociopathic self-flagellation, Laura Marling’s enigmatic woundedness or Joanna Newsom’s epic soulful poetics. And now, listening to Annie Clark’s fantastic new album, I don’t merely scan for the memorable hooks; I flow along with her unpredictable melodies and cryptic lyrics that seem to always leave you with a sense of incompleteness. Because that’s how I feel now; that’s who I am. An unresolved melody, going everywhere and nowhere simultaneously, drifting unknowingly between clarity and darkness.
Man, I love the new Future Islands single. It’s like Captain Beefheart was warped to 2014, the first song he heard was The Killers’ “Human”, and he decided, “Pretty good sound for a record!”
Very excited for this album.
Video for “Hi-Five” off Burn Your Fire For No Witness out February 18 on Jagjaguwar
oh man this aesthetic
I know this technically came out in 2013 but guess what dude time is a construct and so far this is my favorite song of 2014.
yes i like this
Thee Silver Mt. Zion Memorial Orchestra - What We Loved Was Not Enough (from Fuck Off Get Free We Pour Light On Everything)
Video with 10 notes
Oneohtrix Point Never - Boring Angel
I don’t think I’ve ever been moved by emoji before. This video is incredible.
Page 1 of 149