collab with my homie @blurminions on instagram, the sticker she made is on her piscart (same username)
“Mr. Jones and me tell each other fairy tales. And we stare at the beautiful women. She’s looking at you. Ah, no, no, she’s looking at me. Smilin’ in the bright lights, coming through in stereo. When everybody loves you you can never be lonely.”
hes being a hypocrite
liam literally wants to reform oasis, a BRITPOP band. not a rock band, a BRITPOP band.
and he shouldnt act like hes better than suede- they were definitely objectively better than oasis
Portishead - Western Eyes
ℜ𝔬𝔟𝔢𝔯𝔱 𝔖𝔪𝔦𝔱𝔥 // 1996
Swallow “Dear Mary”
monotone louise wener
Thursday, October 17: Oracle, “Nightmares”
As Darkness Reigns was an outlier even among American power metal records in the early ‘90s: Nevermore, Iced Earth, Jag Panzer and Helstar were a couple years from either launching or relaunching, and none came anywhere near Oracle’s level of Queensrÿche worship, which was really something in 1993. To be fair, “Nightmares” was far more relentless and over-the-top than “Queen of the Reich”, but William Wren’s wailing was like Geoff Tate as his dog-whistle prime and Brent Smedley’s drumming could best be described as a power metal version of Scott Rockenfield. The tune was almost absurd in that regard: hardly anyone at the time was making music this unabashedly metal, and with such direct Queensrÿche and Arch-era Fates Warning overtones. Indeed, Smedley’s drumming here is more intense than anything he would produce during his subsequent 20-plus years as an intermittent member of Iced Earth. But as ridiculous as “Nightmares” was, it was a worthy headbanger and showed Oracle had something unique to offer to the American power metal scene, so it was too bad As Darkness Reigns didn’t garner more attention, though not really surprising.
Groove Armada are one of the world’s most diverse dance music outfits. Tom Findlay and Andy Cato, who both hail from the UK, have been DJing and producing tracks together for nearly 25 years now, creating house, breaks, big beat, trip hop, downtempo, and hi-nrg dance-pop. They’ve been nominated for three Grammys and have appeared in the British charts numerous times.
The duo made their debut in 1997 on London-based label Tummy Touch with five separate 12-inches. One of those releases was Northern Star, an EP that served as a precursor to their 1998 debut album by the same name. Some months after that album’s release, Tummy Touch released a compilation called Tummy Re-Touch that consisted of unreleased mixes and re-edits of songs in their catalog. The version of “Dirty Listening” I’m posting comes off of Tummy Re-Touch.
While both versions of “Dirty Listening” are spectacular, they are starkly different. The Tummy Re-Touch version features none of the keyboard virtuosity that’s so integral to the Northern Star version; the Northern Star version contains a hypnotic squealing synth that’s nowhere to be found on the Tummy Re-Touch version; the Tummy Re-Touch version is also way more subdued than the other, imbuing a much more chilled out funk kind of vibe.
Groove Armada are masters at building a well-layered beat up to its drop point, and on this particular version of “Dirty Listening,” they do just that. As the pair progressively build, they insert a sample from the 1975 song, “Rien Ne Va Plus” by Funk Factory, notably using a harmonized soulful vocal. But pieces of this sample actually appear throughout the entire song. It’s clearly audible in the first minute intro of spacey ambience, but the sample is actually used way more subtly in a way that pervades the majority of the track. After that intro part, it’s brilliantly used to produce a faint, yet indispensable ringing hum that practically underlies the whole song.
The pair build atop this hum by alternating some bleepy synths and organ up until the drop, which is when they work the full Funk Factory sample in. As they do that, they also incorporate some funky bass, some splotchy acidity, and something that sounds like a tweeting bird. They then top everything off with a female vocal and some tambourine. After this climactic part, Groove Armada crafts a wholly different build, with largely the same set of elements, to reach that same exact sweet point of release.
A lesser-known but fantastic mix of one of this duo’s best tracks from an early point in their career.
Sean Kinney and Jerry Cantrell talk about how “Theres no probelem with religion, but that some things arent working out.” when explaining their song, and album title “The Devil Put Dinosaurs Here” According to Cantrell, the album title refers to the hypocrisy within organized religion, with “overwhelming evidence that things aren’t working right now. We need to start growing up as people. When you’re teaching people that being gay is a mortal sin, yet a good portion of the people teaching this are f*cking adults, there’s a huge problem”.
For the lyrics, Jerry Cantrell stated: “The devil put dinosaurs here / Jesus don’t like a queer / No problem with faith / Just fear,” which appear in the title track. “What’s the old joke?” Cantrell said. “There are two things you never want to get into a conversation or argument about: politics and religion. But fuck, I guess we’re going to be talking about this for awhile. If a religion is teaching you that it’s OK to hurt somebody, exclude somebody, dominate somebody – I have a problem with it. Its just the lamer parts of how those things are taught and the shitty things we do to each other because of our different beliefs.”
Krist Novoselic: *puts banana peel on the floor and walks on it to test if it really makes you slip and fall and he slides across the room and crashes into a wall while Kurt and Dave watch in complete silence*
Madonna photographed by Lorraine Day,1990