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crania americana
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Someone call Guinness and see if she qualifies for a most-breakfast related metaphors in a song world record.
See also: Queen’s “Jazz” and Feist’s “Metals.”
is an alternative rock band formed in Madison, Wisconsin in 1994. The group consists of Scottish singer Shirley Manson (vocals, guitar) and American musicians Duke Erikson (bass, guitar, keyboards, percussion), Steve Marker (guitar, keyboards) and Butch Vig (drums, percussion). All four members are involved in songwriting and production. The band have counted worldwide album sales of over 17 million units.
The Yahoo! comments sections generally bring out the most terrifyingly stupid individuals in society.
Worth watching solely for that ridiculous guitar player. Especially at about 0:26.
No “Super Bowl Shuffle?” Walter Payton’s ghost will surely stiff-arm each member of the NME writing staff for this embarrassing omission.
Adam Granduciel and Montana Governor Brian Schweitzer each showed up thinking they would be the only one wearing a bolo tie. An incredibly awkward backstage encounter followed.
here is where someone responds to your Smashing Pumpkins reference with that quote from “Range LIfe.”
First, I can’t think of many bands that have as solid a catalog as Pavement. To be fair, I am a Malkmus partisan and love this band and almost everything else the man has produced over most other things classifiable as music. However, I’ve often wondered if Slanted gets elevated to the “best Pavement album” status (in many people’s estimation) solely because it was a historically “meaningful” album. Most reviews or retrospectives of Slanted usually go with “the moment” first and the music second. This is a trend that happens with a lot of albums, but I can’t help but feel that this colors how observers assess the rest of a given band’s catalog. Then again, I’m strongly in the Wowee Zowee camp, so maybe I’m just sensitive to S & E (and to a lesser extent, Crooked Rain) stealing its thunder. Having said that, I still love this album and it deserves every bit of love its been given. Still, the question of how sentimentality clouds our assessments of art, history, or anything else really, is a tendency that is a bit troubling.
While Mozart’s hologram headlines, Salieri’s hologram will be jealously sulking in the corner, plotting his revenge for hologram Mozart’s perceived slights against him.
I thought this was going to be Third Eye Blind’s “Jumper” 15 times. Color me surprised!
Still waiting for Izzy Stradlin’s apology.
The most hilarious part is that someone actually thought to put Snot on here. Well-played, guy who cared enough about Snot to remember that they once existed.
Most chauffeur-killingest drummer ever!
I had my hopes up that this was a cover from “Carmen: A Hip Hopera,” which is one of my favorite hip-hoperas of all time.
I knew this comment would be controversial among the Billy Joel purists who frequent Stereogum, but goddammit, I still think Billy needs to get William Oribit on board to produce his next album. Until then, I will finish working on my mash up of “We Didn’t Start the Fire” and the Prodigy’s “Firestarter.”
I, for one, would fully embrace a Billy Joel collaboration with Nicki Minaj and MIA, and am continually dismayed at his staunch refusal to modernize his sound as a way to bring a whole new generation of “Uptown Girl[s]” into a “[Billy Joel] State of Mind.”
Katy Perry’s military propaganda via pop music video: less subtle than fictional character LT Smash’s roughly analogous attempts.
This is a part of Katy Perry that Damian Abraham is never gonna ever take away from Katy Perry.
Indeed it was. Thank you for recognizing what I felt was a hilarious fat joke.
And now I’d like to welcome onstage Jowls Homme, lead singer of Queens of the Scone Age.
You can really see the Beach House influence at work here.
May I propose a new “Shut Up, Dude” category for best new screen name and prematurely give the lifetime achievement award to “big-swinging-d-69″?
When Skrillex remixes Lana Del Rey the internet will break – possibly forever. The mind has indeed been cruelly wounded.
It seems that what’s been impressing people the most this year is mostly outside of my bailiwick, and that’s cool. I strongly preferred some of the albums that came out in the first five months of last year (Kaputt and Smoke Ring for My Halo are both all-timers for me), and I’ve only heard a handful of albums I dig so far this year (Japandroids, Lotus Plaza, and Mount Eerie stand out so far). I have a feeling Celebration Rock will remain at the top of my list, but I’d love to be surprised – and there’s certainly potential for that.