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 +8Posted on Dec 18th | re: The Week In Pop's Top 50 Pop Songs Of 2014 (23 comments)

Those J. Cole numbers are shocking, but really cool I think. The album has no singles and little promotion, and it’s encouraging to see that something can be a success just due to a solid fanbase. It’s a decent album, too.

 0Posted on Dec 15th | re: Modest Mouse - "Lampshades On Fire" (42 comments)

Can’t you just go to their three or four near-perfect albums of gritty, unpolished cynicism for that though? I for one am interested to see how their sound is different or new this time around. And if it’s catchy and poppy, so be it. It’ll still be Modest Mouse and the lyrics will still be excellent.

 +9Posted on Dec 15th | re: Premature Evaluation: D'Angelo And The Vanguard Black Messiah (75 comments)

Your last paragraph: isn’t it like your own premature evaluation of sorts?

 0Posted on Dec 11th | re: The 5 Best Tom Petty Albums Of 2014 (40 comments)

The beginning also totally sounds like “Take On Me.”

 +7Posted on Dec 9th | re: Drake/Diddy Fistfight Was Reportedly Over "0 To 100" (10 comments)

In my opinion it’s one of the best songs of the year, so I’d be jealous too.

 +2Posted on Nov 12th | re: Screaming Females - "Ripe" (1 comments)

OH FUCK YEAH. This song is TIGHT but DIRTY.

I moderately enjoyed Fear Fun, but this song makes me SO excited for the new album. That description letter is amazing.

I’m with you 100%. This song is really pretty and most of The King is Dead was pleasant, but I need more “The Island”s in my life! The Crane Wife is one of my favorite albums, period. By the time the story comes around in the last couple songs… chills, every time.

 +2Posted on Nov 1st | re: Shut Up, Dude: This Week's Best And Worst Comments (18 comments)

Why is Philip Selway’s solo output so underrated? His new album Weatherhouse has gotten little to no media attention and that’s a shame, because it’s gorgeous and lush and a great callback to 90′s-style Brit rock/pop. In my opinion.

I don’t really listen to movie soundtracks outside of the movie itself, but I’ll occasionally head back to the Social Network score. One of the most fascinating things about the score is that the main piano motif introduced after the opening bar scene comes back two other times during the movie, and each time, it was recorded in a different way to match the mood of the scene. It’s a perfect example of brilliant production style. It’s just a six-note melody, but it feels different each time you hear it. (It’s also incredibly gorgeous and evocative. Love that piano line.)