Considering the song’s various instrumentation, use of a female vocalist and overall energy at the backend of their set, Lover’s Day by TV on the Radio would be incredible. They could bring a lot to it.
This line stood out to me: “We’ve all wished we could go back to a certain time and place; the main difference was that in a certain sense many of the times and places Robinson was longing for never existed.” I agree. I have little exposure to Robinson’s video game or fantasy influences but have connected with him since the first time I heard language. Which makes sense now.There’s a spiritual quality to his songs that I can relate with heavily (Sea of Voices should be played on repeat in some New Agey congregations.) I’m a comfortably secular person now but it truly taps into an aesthetic I was raised and gravitated toward in church or camps or whatever. Like you said, truly, “all worlds that never existed”. Which weirdly is a depressing thought. Except that, as Worlds shows, music is a much more positive outlet at expressing our clamoring for realities outside of this one on Earth than religion ever does. What Robinson has done is special. Great write-up.
This song left me speechless. I thought through my history with Curtis’ music today. Thinking through discovering School of Seven Bells at my college radio station, where I first really got into more “alternative” music, summers seeing them at free shows in NY (the xx opened for them when they were a four-piece at South Street Seaport), meeting them awkwardly on the street. Watching someone(more than someone I’d assume) die on Grey’s Anatomy. This band is awesome. Listening over and over and feeling totally grateful for what Deheza and Curtis were able to accomplish together. A lot of people don’t get a chance to craft their final goodbye. To do so through music, with your professional partner and friend, in homage to an icon…. Perfection.
Seasons is more of a song for the end of summer. Unless you’re beginning your summer as a Mets fan. The trimmings of fun with a filling of melancholy.
Good video. The drummer deserves a shout-out too. overeager drummers hit the cymbal whenever they get a chance. Not this dude. Just stuck to the beat. Good work.
Interesting article. Miley Cyrus and Iggy Azalea are so far off my radar. The people and institutions they work for sell a product I hope delivers for their fans. But Sam Smith’s emergence is offensive. That R&B has become a dead-end for black performers but acts like Smith are heralded as artistic revelations deserve some pushback. The argument isn’t that blacks have exclusive rights to certain genres. It’s that these genres have been powerful tools to communicate dynamic parts of black culture in the US and internationally. Now these genres are explored through very flat performers like Thicke and Smith. That is disgusting.
Thanks for sharing this list. I’ll give Elbow’s Takeoff and Landing… and Bombay Bicycle Club’s So Long, See You Tomorrow a shout-out. The latter especially is vibrant and moving.
Cheap Sunglasses – RAC & Matthew Koma
I had a discussion a few weeks back with a few friends about what makes some music justifiably “White Music”. “Euphorically fake” was the phrase I needed. I appreciate LDR’s candor though.
As a mid20s American man, I’m slowly getting out of the phase where witnessing young people with extreme talent made me existentially irritated, like, say, Blake Griffin did four years ago. Porter is 21 and awesome. I imagine Porter Robinson’s Worlds will be to EDM what Good Kid Maad City was to modern rap. Both elevated the artists into super stardom by meticulously critiquing what their respective genres had succumbed to in ways that weren’t self-important or self-reverential. It’s exciting. It makes me excited for the electronic releases in 2015. I love this.