DOCSLIB.ORG

Porter Robinson, Virtual Self, and The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Porter Robinson, Virtual Self, and The BRANDING SOUND: PORTER ROBINSON, VIRTUAL SELF, AND THE INFLUENCE OF BRAND ON MUSIC by HOLLY OIZUMI A THESIS Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Musicology June 2019 THESIS APPROVAL PAGE Student: Holly Oizumi Title: Branding Sound: Porter Robinson, Virtual Self, and the Impact of Brand on Musical Experience This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Musicology degree in the School of Music and Dance by: Juan Eduardo Wolf Chairperson Drew Nobile Member Larry Wayte Member and Janet Woodruff-Borden Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2019 ii © 2019 Holly Oizumi iii THESIS ABSTRACT Holly Oizumi Master of Musicology School of Music and Dance June 2019 Title: Branding Sound: Porter Robinson, Virtual Self, and the Influence of Brand on Music This thesis investigates the branding strategies of DJ-producer Porter Robinson and his side-project Virtual Self. This project situates both brands within their generic, historical, and cultural contexts. After an introductory chapter that explains the structure and methodology of this project, Chapter II explores the Porter Robinson brand. I suggest that Robinson’s branding strategy reflects Mark Samples’ conception of the artist brand, pitting both him and his music against the commercial mainstream. Chapter III then considers Robinson’s shift to suggesting a different branding model under Virtual Self: interstitial branding. The interstitial branding model allows Robinson to maintain the subcultural capital accrued under this artist brand strategy while also interacting more closely with the EDM mainstream. This thesis contributes to the pre-existing scholarly discourse on music-branding by suggesting a continuum of commercial and anti-commercial appeals to consider what happens “in between,” expanding the possibilities for future studies on music-branding. iv CURRICULUM VITAE NAME OF AUTHOR: Holly Oizumi GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene Central Washington University, Ellensburg, Washington DEGREES AWARDED: Master of Arts, Musicology, 2019, University of Oregon Bachelor of Music, Performance, 2017, Central Washington University AREAS OF SPECIAL INTEREST: Electronic Dance Music Branding Ludomusicology Amateurism PROFESSIONAL EXPERIENCE: Teaching Assistant, School of Music and Dance, 2017-2019 GRANTS, AWARDS, AND HONORS: Outstanding Graduate Scholar in Musicology, University of Oregon, 2019 James and Katie Gaudino Scholar of the Year, Central Washington University, 2017 Best Student Abstract, “Approximation and Identity: Appropriation in the Works of George Crumb”, Pacific Northwest Chapter of the American Musicological Society, 2017 C. Farrell Fine Arts and Research Scholarship, An Evening with Crumb, Central Washington University, 2016 v ACKNOWLEDGMENTS I wish to express sincere thanks to my thesis committee for their guidance throughout this project. Thank you to Prof. Juan Eduardo Wolf for your detailed comments and insights throughout the thesis writing process, and to Profs. Drew Nobile and Larry Wayte for your thoughtful feedback that aided in preparing this document in its final form. I would additionally like to thank Dr. Mark Samples and Dr. Loren Kajikawa for their comments and mentorship from the early stages of this project and my musicological study. This thesis has also been improved by the comments of the Pacific Northwest Chapter of the American Musicological Society, whose engagement with an earlier version of Chapter III changed the project for the better. Finally, I would like to express sincere appreciation for the help and support of my husband, Sora Oizumi, whose well-trained ear and production skills greatly aided my understanding and analysis of this music. vi For Briana, whose kindness and love of music we will never forget. 1997-2018. vii TABLE OF CONTENTS Chapter Page I. INTRODUCTION .................................................................................................... 1 Methodology .......................................................................................................... 2 Structural Overview ............................................................................................... 10 II. THE ARTIST BRAND, BRAND COMMUNITY, AND PORTER ROBINSON’S WORLDS ................................................................................................................. 13 Introduction ............................................................................................................ 13 Early Career and Transition to Worlds: Brand Aesthetics and Musical Style ....... 18 The Case of “Lionhearted”: Industry Frustration and Robinson’s Response ........ 26 Worlds Live: Performing Brand ............................................................................ 35 Conclusion ............................................................................................................. 47 III. CONSTRUCTING A VIRTUAL SELF: INTERSTITIAL BRANDING AND SUBCULTURAL AUTHENTICITY .................................................................. 49 Introduction ............................................................................................................ 49 Creating a Virtual Self: An Overview of Aesthetics ............................................. 53 Sonically Branding Pathselector and technic-Angel .............................................. 60 Performing the Virtual Self: The Influence of Brand on Set Construction ........... 67 Conclusion ............................................................................................................. 84 IV. CONCLUSION...................................................................................................... 86 Project Limitations and Questions for Future Research ........................................ 89 REFERENCES CITED ................................................................................................ 92 viii LIST OF FIGURES Figure Page 1. Butler's model of EDM track form ........................................................................ 8 2. Peref's suggested verse-chorus formal model based on Demi Lovato's "Cool for the Summer" ................................................................................................................ 9 3. The cover of Robinson's Spitfire EP ...................................................................... 19 4. Cover of Porter Robinson's Worlds ....................................................................... 21 5. Formal outline of "100% in the Bitch" .................................................................. 22 6. One hypermeasure of the basic beat of "100% in the Bitch" ................................. 22 7. Formal outline of "Divinity" .................................................................................. 25 8. Formal outline of "Lionhearted" ............................................................................ 29 9. Robinson and a group of young Japanese girls roam the city, armed .................... 31 10. Robinson looks over the city in a room atop a skyscraper .................................... 31 11. Formal outline of "Fellow Feeling" ....................................................................... 33 12. Empty terrain planes from the introduction ........................................................... 38 13. Partial text from the "I'll depend on you" graphic displayed during "Sad Machine" 39 14. "Flicker" hand graphic ........................................................................................... 40 15. Vocaloid text from "Unison" ................................................................................. 41 16. Green moose man visual from "Fresh Static Snow" .............................................. 42 17. Ox skull figure from "Fresh Static Snow" ............................................................. 43 18. Name entry box visual ........................................................................................... 44 19. Fuccboi visual during "Lionhearted" ..................................................................... 45 20. Virtual Self EP cover ............................................................................................. 54 ix Figure ...........................................................................................................................Page 21. Message board at virtualself.life featuring the Markovian texts ............................ 55 22. technic-Angel ......................................................................................................... 56 23. Pathselector ............................................................................................................ 57 24. A portion of the waveform for "Eon Break” .......................................................... 59 25. More Virtual Self iconography, featuring the Markovian texts and low image resolution ................................................................................................................ 59 26. Formal outline of "Ghost Voices” ......................................................................... 62 27. The "boots-n-cats" figure found in "Ghost Voices" ..............................................
Load more

Recommended publications
  • Stephan Heblich Stephen J. Redding Daniel M. Sturm
    THE MAKING OF THE MODERN METROPOLIS: EVIDENCE FROM LONDON∗ Downloaded from https://academic.oup.com/qje/article/135/4/2059/5831735 by Princeton University user on 21 August 2020 STEPHAN HEBLICH STEPHEN J. REDDING DANIEL M. STURM Using newly constructed spatially disaggregated data for London from 1801 to 1921, we show that the invention of the steam railway led to the first large-scale separation of workplace and residence. We show that a class of quantitative urban models is remarkably successful in explaining this reorganization of economic ac- tivity. We structurally estimate one of the models in this class and find substantial agglomeration forces in both production and residence. In counterfactuals, we find that removing the whole railway network reduces the population and the value of land and buildings in London by up to 51.5% and 53.3% respectively, and decreases net commuting into the historical center of London by more than 300,000 workers. JEL Codes: O18, R12, R40 I. INTRODUCTION Modern metropolitan areas include vast concentrations of economic activity, with Greater London and New York City today ∗We are grateful to the University of Bristol, the London School of Economics, Princeton University, and the University of Toronto for research support. Heblich also acknowledges support from the Institute for New Economic Thinking (INET) Grant no. INO15-00025. We thank the editor, four anonymous referees, Victor Cou- ture, Jonathan Dingel, Ed Glaeser, Vernon Henderson, Petra Moser, Leah Platt Boustan, Will Strange, Claudia Steinwender, Matt Turner, Jerry White, Christian Wolmar, and conference and seminar participants at Berkeley, Canadian Institute for Advanced Research (CIFAR), Centre for Economic Policy Research (CEPR), Columbia, Dartmouth, EIEF Rome, European Economic Association, Fed Board, Geneva, German Economic Association, Harvard, IDC Herzliya, LSE, Marseille, MIT, National Bureau of Economic Research (NBER), Nottingham, Princeton, Singapore, St.
    [Show full text]
  • AN EAR IS a TERRIBLE THING to WASTE: the Reasoning of Marketing Is Cynical, but It Works All Too Well
    An Ear is a 114 Terrible Thing to Waste: 115 CLASSICAL MUSIC’S FAILURE IN THE YOUTH MARKET BY GWENDOLYN FREED MISSION: LOOKINGGLASS MISSION: LOOKINGGLASS AN EAR IS A TERRIBLE THING TO WASTE: The reasoning of marketing is cynical, but it works all too well. And CLASSICAL MUSIC’S FAILURE IN THE YOUTH MARKET those who fail to fall in line with its dictates do so at their own peril. Witness what happens when a product is marketed not for every possible demograph- ic but instead, for one-size-fits-all. All the same, going against the grain, after a hard morning’s shopping at the mall, the mom from our example would like to take her son to a chil- dren’s concert at the local symphony orchestra. Would he like to come along? No way! She drags him there anyway. He wriggles and squirms and mumbles and pops gum as the conductor takes the orchestra through an unrehearsed mishmash —a little of Prokofiev’s Peter and the Wolf and a bit of Benjamin Britten’s Young Personís Guide to the Orchestra. No money has been allocated specifically for assuring this concert’s quality; little thought has gone into its overall presentation, educational thrust, or age-appropriateness. Kids of all ages turn up, including many who are not ready to sit still. The orchestra mother and her seven-year- apparently sees no artistic or financial incentive to put more effort into this 116 old boy walk into a grocery store.A The mother sees fifteen different kinds of concert.
    [Show full text]
  • Uncovering the Underground's Role in the Formation of Modern London, 1855-1945
    University of Kentucky UKnowledge Theses and Dissertations--History History 2016 Minding the Gap: Uncovering the Underground's Role in the Formation of Modern London, 1855-1945 Danielle K. Dodson University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.339 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Dodson, Danielle K., "Minding the Gap: Uncovering the Underground's Role in the Formation of Modern London, 1855-1945" (2016). Theses and Dissertations--History. 40. https://uknowledge.uky.edu/history_etds/40 This Doctoral Dissertation is brought to you for free and open access by the History at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--History by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • Minneapolis 2 Regional
    2019 MINNEAPOLIS 2 REGIONAL THE IN10SITY CHALLENGE Studio Average Top Non-Solo 1ST PLACE - Lake Area Dance Center 276.28 “Survivor” $1000 2ND PLACE - In The Spotlight 276 “Girls Night Out” $750 3RD PLACE - Elite Dance Productions 267.68 “Shout” $500 4TH PLACE - Jan’s School of Dance 266.72 “Southbound Train” $250 5TH PLACE - Dance For Fun 255.08 “Rise Up” $100 IN10SE ROUTINES Routine Score Studio Prize In10se Mini “Flickers” 287.5 DelMonico Dance $500 In10se Junior “In May Blood” 288.1 DelMonico Dance $500 In10se Teen “The Tiger’s Bride” 288.2 DelMonico Dance $500 In10se Senior “Into The Spin” 285 In The Spotlight $500 !1 of !11 CON10TION Dancer Studio Mini Con10der Daphne Braun “Flickers” DelMonico Dance Junior Con10der Caleb Abea - “In My Blood” DelMonico Dance Teen Con10der Lucia Vera - “Survivor” DelMonico Dance Senior Con10der Angelina Amarigo - “Time” DelMonico Dance DIVISIONAL OVERALLS - MINI DEBUT MINI SOLO 1ST Kaylee Caldwell - “I’m A Lady” In The Spotlight 2ND Hadley Amick - “Flaunt It” Elite Dance Productions 3RD Ellas Sullivan - “Trust In Your Heart” Delmonico Dance 4TH Kennedi Roelike - “Getting Good At Being Elite Dance Productions Bad” 5TH Weatherly Drowne - “Kill The LIghts” In The Spotlight ELITE MINI SOLO 1ST Daphnie Braun - “Flickers” DelMonico Dance DEBUT MINI DUET/TRIO 1ST “The Squad” Elite Dance Productions DEBUT MINI SMALL GROUP 1ST “Better Together” Jan’s School of Dance 2ND “I’m A Lady” Dena’s Dance Company 3RD “Fight Song” Dance For Fun !2 of !11 DEBUT MINI LARGE GROUP 1ST “Tea With Me” In The Spotlight 2ND “Thankful”
    [Show full text]
  • Sonic Necessity-Exarchos
    Sonic Necessity and Compositional Invention in #BluesHop: Composing the Blues for Sample-Based Hip Hop Abstract Rap, the musical element of Hip-Hop culture, has depended upon the recorded past to shape its birth, present and, potentially, its future. Founded upon a sample-based methodology, the style’s perceived authenticity and sonic impact are largely attributed to the use of phonographic records, and the unique conditions offered by composition within a sampling context. Yet, while the dependence on pre-existing recordings challenges traditional notions of authorship, it also results in unavoidable legal and financial implications for sampling composers who, increasingly, seek alternative ways to infuse the sample-based method with authentic content. But what are the challenges inherent in attempting to compose new material—inspired by traditional forms—while adhering to Rap’s unique sonic rationale, aesthetics and methodology? How does composing within a stylistic frame rooted in the past (i.e. the Blues) differ under the pursuit of contemporary sonics and methodological preferences (i.e. Hip-Hop’s sample-based process)? And what are the dynamics of this inter-stylistic synthesis? The article argues that in pursuing specific, stylistically determined sonic objectives, sample-based production facilitates an interactive typology of unique conditions for the composition, appropriation, and divergence of traditional musical forms, incubating era-defying genres that leverage the dynamics of this interaction. The musicological inquiry utilizes (auto)ethnography reflecting on professional creative practice, in order to investigate compositional problematics specific to the applied Blues-Hop context, theorize on the nature of inter- stylistic composition, and consider the effects of electronic mediation on genre transformation and stylistic morphing.
    [Show full text]
  • Vindicating Karma: Jazz and the Black Arts Movement
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B.
    [Show full text]
  • Remarks at a Campaign Rally in Austin, Texas July 17, 2012
    July 17 / Administration of Barack Obama, 2012 approach to our deficits and debt that says ev- And the reason I’m optimistic is because what erybody does their fair share. the American people showed me in 2008 is And that was my commitment even before I that when they determine what is true and ran for office and that we’ve fought for the last what is right and they come together, it doesn’t 3½ years—we’ve got a long way to go. There matter how much money the special interests are still way too many people who are out of spend, it doesn’t matter how many television work, too many homes that are still underwater ads are run, ultimately—[inaudible]. across the country, too many small businesses And I think one of the great privileges of be- that are struggling. ing President is as I travel around the country But in addition to making sure that we and meet people from all walks of life—every didn’t fall into a Great Depression, we’ve tried race, every region, every faith—there’s a core to systematically—whether it’s the health care decency to the American people, a basic good- bill, whether it’s our approach to expanding ac- ness and grit and determination of the Ameri- cess to college education for young people, can people, that gives me great confidence whether it is putting in place rules and regula- about our future. tions to protect from the kind of chaos of Wall So I just want to say to all of you, thank you Street that we saw in 2007, 2008—everything for your extraordinary support.
    [Show full text]
  • Chiptuning Intellectual Property: Digital Culture Between Creative Commons and Moral Economy
    Chiptuning Intellectual Property: Digital Culture Between Creative Commons and Moral Economy Martin J. Zeilinger York University, Canada [email protected] Abstract This essay considers how chipmusic, a fairly recent form of alternative electronic music, deals with the impact of contemporary intellectual property regimes on creative practices. I survey chipmusicians’ reusing of technology and content invoking the era of 8-bit video games, and highlight points of contention between critical perspectives embodied in this art form and intellectual property policy. Exploring current chipmusic dissemination strategies, I contrast the art form’s links to appropriation-based creative techniques and the ‘demoscene’ amateur hacking culture of the 1980s with the chiptune community’s currently prevailing reliance on Creative Commons licenses for regulating access. Questioning whether consideration of this alternative licensing scheme can adequately describe shared cultural norms and values that motivate chiptune practices, I conclude by offering the concept of a moral economy of appropriation-based creative techniques as a new framework for understanding digital creative practices that resist conventional intellectual property policy both in form and in content. Keywords: Chipmusic, Creative Commons, Moral Economy, Intellectual Property, Demoscene Introduction The chipmusic community, like many other born-digital creative communities, has a rich tradition of embracing and encouraged open access, collaboration, and sharing. It does not like to operate according to the logic of informational capital and the restrictive enclosure movements this logic engenders. The creation of chipmusic, a form of electronic music based on the repurposing of outdated sound chip technology found in video gaming devices and old home computers, centrally involves the reworking of proprietary cultural materials.
    [Show full text]
  • About Endgame
    IN ASSOCIATION WITH BLINDER FILMS presents in coproduction with UMEDIA in association with FÍS ÉIREANN / SCREEN IRELAND, INEVITABLE PICTURES and EPIC PICTURES GROUP THE HAUNTINGS BEGIN IN THEATERS MARCH, 2020 Written and Directed by MIKE AHERN & ENDA LOUGHMAN Starring Maeve Higgins, Barry Ward, Risteárd Cooper, Jamie Beamish, Terri Chandler With Will Forte And Claudia O’Doherty 93 min. – Ireland / Belgium – MPAA Rating: R WEBSITE: www.CrankedUpFilms.com/ExtraOrdinary / http://rosesdrivingschool.com/ SOCIAL MEDIA: Facebook - Twitter - Instagram HASHTAG: #ExtraOrdinary #ChristianWinterComeback #CosmicWoman #EverydayHauntings STILLS/NOTES: Link TRAILER: https://www.youtube.com/watch?v=x1TvL5ZL6Sc For additional information please contact: New York: Leigh Wolfson: [email protected]: 212.373.6149 Nina Baron: [email protected] – 212.272.6150 Los Angeles: Margaret Gordon: [email protected] – 310.854.4726 Emily Maroon – [email protected] – 310.854.3289 Field: Sara Blue - [email protected] - 303-955-8854 1 LOGLINE Rose, a mostly sweet & mostly lonely Irish small-town driving instructor, must use her supernatural talents to save the daughter of Martin (also mostly sweet & lonely) from a washed-up rock star who is using her in a Satanic pact to reignite his fame. SHORT SYNOPSIS Rose, a sweet, lonely driving instructor in rural Ireland, is gifted with supernatural abilities. Rose has a love/hate relationship with her ‘talents’ & tries to ignore the constant spirit related requests from locals - to exorcise possessed rubbish bins or haunted gravel. But! Christian Winter, a washed up, one-hit-wonder rock star, has made a pact with the devil for a return to greatness! He puts a spell on a local teenager- making her levitate.
    [Show full text]
  • Sounding Nostalgia in Post-World War I Paris
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Sounding Nostalgia In Post-World War I Paris Tristan Paré-Morin University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Paré-Morin, Tristan, "Sounding Nostalgia In Post-World War I Paris" (2019). Publicly Accessible Penn Dissertations. 3399. https://repository.upenn.edu/edissertations/3399 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3399 For more information, please contact [email protected]. Sounding Nostalgia In Post-World War I Paris Abstract In the years that immediately followed the Armistice of November 11, 1918, Paris was at a turning point in its history: the aftermath of the Great War overlapped with the early stages of what is commonly perceived as a decade of rejuvenation. This transitional period was marked by tension between the preservation (and reconstruction) of a certain prewar heritage and the negation of that heritage through a series of social and cultural innovations. In this dissertation, I examine the intricate role that nostalgia played across various conflicting experiences of sound and music in the cultural institutions and popular media of the city of Paris during that transition to peace, around 1919-1920. I show how artists understood nostalgia as an affective concept and how they employed it as a creative resource that served multiple personal, social, cultural, and national functions. Rather than using the term “nostalgia” as a mere diagnosis of temporal longing, I revert to the capricious definitions of the early twentieth century in order to propose a notion of nostalgia as a set of interconnected forms of longing.
    [Show full text]
  • Songs by Title Karaoke Night with the Patman
    Songs By Title Karaoke Night with the Patman Title Versions Title Versions 10 Years 3 Libras Wasteland SC Perfect Circle SI 10,000 Maniacs 3 Of Hearts Because The Night SC Love Is Enough SC Candy Everybody Wants DK 30 Seconds To Mars More Than This SC Kill SC These Are The Days SC 311 Trouble Me SC All Mixed Up SC 100 Proof Aged In Soul Don't Tread On Me SC Somebody's Been Sleeping SC Down SC 10CC Love Song SC I'm Not In Love DK You Wouldn't Believe SC Things We Do For Love SC 38 Special 112 Back Where You Belong SI Come See Me SC Caught Up In You SC Dance With Me SC Hold On Loosely AH It's Over Now SC If I'd Been The One SC Only You SC Rockin' Onto The Night SC Peaches And Cream SC Second Chance SC U Already Know SC Teacher, Teacher SC 12 Gauge Wild Eyed Southern Boys SC Dunkie Butt SC 3LW 1910 Fruitgum Co. No More (Baby I'm A Do Right) SC 1, 2, 3 Redlight SC 3T Simon Says DK Anything SC 1975 Tease Me SC The Sound SI 4 Non Blondes 2 Live Crew What's Up DK Doo Wah Diddy SC 4 P.M. Me So Horny SC Lay Down Your Love SC We Want Some Pussy SC Sukiyaki DK 2 Pac 4 Runner California Love (Original Version) SC Ripples SC Changes SC That Was Him SC Thugz Mansion SC 42nd Street 20 Fingers 42nd Street Song SC Short Dick Man SC We're In The Money SC 3 Doors Down 5 Seconds Of Summer Away From The Sun SC Amnesia SI Be Like That SC She Looks So Perfect SI Behind Those Eyes SC 5 Stairsteps Duck & Run SC Ooh Child SC Here By Me CB 50 Cent Here Without You CB Disco Inferno SC Kryptonite SC If I Can't SC Let Me Go SC In Da Club HT Live For Today SC P.I.M.P.
    [Show full text]
  • A Life in Stasis: New Album Reviews
    A Life In Stasis: New Album Reviews Music | Bittles’ Magazine: The music column from the end of the world With the Olympics failing to inspire, it can seem as if the only way to spend the long summer months is by playing endless rounds of tiddlywinks, or consuming copious amounts of Jammy Dodgers. But, that doesn’t have to be the case. There is a better way! For instance, you can take up ant farming, as my good friend Jeffrey has recently done, or immerse yourself in the wealth of fantastic new music which has recently come out. Personally, I would recommend the latter. By JOHN BITTLES In the following column we review some of the best new albums hitting the shelves over the coming weeks. We have the shadowy electronica of Pye Corner Audio, pop introspection by Angel Olsen, the post dubstep blues of Zomby, some sleek house from Komapkt, Kornél Kovács and Foans, the experimental genius of Gudrun Gut and Momus, and lots more. So, before someone starts chucking javelins in my direction, we had better begin… Back in 2012 Sleep Games by Pye Corner Audio quickly established itself as one of the most engaging and enthralling albums of modern times. On the record, ghostly electroncia, John Carpenter style synths, and epic, ambient soundscapes converged to create a body of work which still sounds awe-inspiringly beautiful today. After the melancholy acid of his Head Technician reissue last month, Martin Jenkins returns to his Pye Corner Audio alias late August with the haunted landscapes of the Stasis LP.
    [Show full text]