Monday, August 06, 2007
Wednesday, June 06, 2007
Rufus Wainwright at The Gramercy Theatre, June 5th 2007
Watching Rufus Wainwright's first in a row of New York shows at the Gramercy Theatre, a very intimate new venue whose old cinema appeal remains, I was only briefly distracted by the presence of the glowing and flip-flopped Maggie Gyllenhaal just across the aisle. The show featured no songs from Wainwrights first two albums, focusing on the strongest material from his Want cycle and an almost complete reading of Release The Stars, his most recent paean to beauty.
Apart from a wonderful and completely botched reading of Tulsa, his song about a one night stand with a certain Mr Flowers of The Killers, the new songs were beautifully performed, simplified from their sometimes too ornate production. The newly boyfriended Rufus especially impressed with his ode to love (and Berlin) in Tiergarten (mp3) .
With several costume changes (first a striped suit, then lederhosen, a robe, and finally just lipstick, tights, a jacket and hat), an intermission, an a capella unamplified folk song (the romantic Irish standard Macushla), and a dance routine to Wainwright's cover of Judy Garland's Get Happy, the evening certainly made me look forward to Rufus' inevitable Vegas residency.
Tuesday, June 05, 2007
Unlikely Summer Jams 2007: Patrick Cleandenim/The Free Design
When I first read about Patrick Cleandenim on marathonpacks, my interest was piqued by the references to Rufus Wainwright. Though the song posted there did not immediately grab me, I did some research (it's what all the kids call scouring Youtube, honestly) and was intrigued by the Daytrotter-profile, but more so the video for So You Think You're Gonna Live Forever, all black and white and Coney island-retro.
Distributed in the US by Ba Da Bing!, suitably the same label that brought us Beirut (the band now out-Google-ranking the country it took its name from, crazy), the 21-year-old multiple media artist's album Baby Comes Home was recorded with a twelve-piece orchestra. Though some of his tunes sometimes lean towards Belle & Sebastian, Cleandenim's ambition, according to his myspace page, seems to be the more restrained Bacharachian space-age pop of David Axelrod or Joe Meek, rather than Rufus' cabaret and Garland-influenced stylings. My favorite song by Cleandenim (Patrick Clendenin Roberts from the musical city of Lawrence, Kansas), Days Without Rain (mp3), seems to have different roots than Rufus, but all the album's songs could have easily been performed by Dusty Springfield or Dionne Warwick in their heydays. With its intoxicating stop-start structure, the waltz' chorus-style vocals recall those of easy-listening records by baroque pop innovators like The Free Design.
The Free Designers (active from 1967 to 1972, and also in 2001) are admittedly a little bit more hyperactive, their Enoch Light-produced work lovingly reinvents pop-hits like California Dreamin', Happy Together and Light My Fire as orchestral pop-singalongs for modern living. Their own originals, as head on the wonderfully issued best of on Varese Sarabande, are playful and jazzy (not in the noodly, but in the unexpected and inventive sense of the word). Bubbles (mp3) is infantile in the best kind of way, preserving a sense of wonder and simple melodic joy. Though the verse reveals a child's set of worries, "ma ‘n’ pa are arguin’ again; today I lost my best friend; the kitty has a little cold; ‘n ‘ grammama is getting older, my tummy has a little pain; ‘n’ when does Jesus come again?", the overall bubble-happy sound definitely warrants its inclusion on the Powerpuff Girls soundtrack (albeit in a Dressy Bessy cover).
Rihanna's Soul Makossa
Listening to Good Girl Gone Bad, the new album by Rihanna, a singer who I'd previously only registered as just another Soft Cell-sampling RnB starlet, I realize that the gothification of pop music runs very deep. This is not about the guitars, these songs owe more to Usher's shivery synth track Yeah, it's more about the general sense of slow-burning real anger and Depeche Modey disaffected dread that seeps from between the pop songs' shiny elements. Just like Omarion's eyelinery Ice Box track, Rihanna's very gloomy summer banger Umbrella, stompingly mad new single Shut Up And Drive, or album track Breakin' Dishes (chorus: "I'm breakin dishes off your head all night, and I'm not gonna stop until I see police and lights.") reintroduce new wavy rock idioms in a similar but more danceable way than Kelly Clarkson's impossible-to-karaoke-without-shrieking Since You've Been Gone.
Posted first on the bilingual beats-blog Fluokids, and produced by Norwegian hitmeisters StarGate, who also did Beyonce' recent spate of incomprehensible hits Irreplaceable and Beautiful Liar, my favorite on Rihanna's album, Don't Stop The Music (mp3), is also the most techno. Like all great dance songs - Kylie's Can't Get You Out Of My Head, Madonna's Music and LCD Soundsystem's Losing My Edge - is deeply self-reflexive; it is a dance song about dancing and its structure thoroughly supports that. As the track's tension builds and builds, a Daft Punkian bubbling melody underneath the stomping rhythm and Rihanna's repetitive slowly reveals itself to be the "Ma-ma-ko ma-ma-sa ma-ma-ko-ssa" refrain familiar from Michael Jackson's dancefloor stormer Wanna Be Startin' Somethin. Like that forebear, this is relentless, a late night houseburner that surely deserves summer jam status.
For those who need a little late afternoon summer jamming, I suggest the afro rock classic that 'inspired' Jacko's classic. Originally written and performed by Cameroonian saxophonist Manu Dibango in 1972, Soul Makossa introduced the still-infectious chant that now powers Rihanna's track. Out of all the different versions of the influential song (reggae, rumba, house, electro), I picked this coarser-voiced version (mp3) by the Lafayette Afro Rock Band (1974), a funk outfit that fled Long Island for Paris. More angular than the song's original, this Talking Headsy version will have your BBQ parties bumping until it's time to break out the glowsticks and the Rihanna hits.
PS. Also check out Popjustice's hilarious list of one hundred things less brilliant than the new Rihanna album. My top three favorites:
49. 'Imagine' by John Lennon
People think John Lennon's some sort of lyrical genius but did he ever – EVER – come up with this line – from 'Breakin' Dishes – "I'm roasting marshmallows on the fire and what I'm burning is your attire"? No he did not.
52. Making pancakes
Having no eggs in the house will not prevent you enjoying the new Rihanna album.
68. Battlestar Galactica
Battlestar Galactica is amazing but at least the new Rihanna album won't hit you over the head with stuff about 'politics' and 'the real world' when all you want to do is watch a load of robots being blown up by fit people. Which is not to say that 'Good Girl Gone Bad' doesn't have a social conscience, because it probably does, somewhere or other.
Saturday, June 02, 2007
Unlikely Summer Jams 2007: Fleetwood Mac/The Field
One summer I took over the record store I worked at for a few months while my boss went off to India. Piccolo Records was housed in the tiniest old building. It had seen Napoleon take the city of Maastricht but would not keep standing for much longer. My tasks included covering the records in the store with plastic before I left each day. A single rainstorm would soak the store and render the beautiful records worthless. That summer, I lived every music geek's High Fidelity dream. Though many people would say that the most power lies in merely lounging imperiously behind the counter and occasionally deigning to answer questions by the humble clientele, my experience taught me that the greatest pleasure a record store employee can have is to put on a record and have it bought right off the store's shiny Technics 1200.
Those days I just grabbed random records from the racks, discovering Meat Loaf and the Bee Gees surprisingly palatable early work, but never quite getting into Beefheart or Zappa. To my surprise though, the record that was sold straight off my turntable the most was the multi-million selling album Rumours by Fleetwood Mac. Though it has in the past been written off as a commercial easy listening album, it is luminously produced, never over-stuffed, but also not cliched in its casual instrumentation. The ideal record to put on as I opened the store, propped the door open, and started to remove the plastic sheeting off the racks (just because it is July, sunny even, does not mean that it never rains during fickle Dutch summers).
The more than 30 million-selling Rumours (1977) is stuffed with anthemic pop singles, Clinton-campaigner Don't Stop, devastating Karaoke beast Go Your Own Way, and the sultry groove of Dreams. The appeal of the album version of fan-favorite Gold Dust Woman lies in the way Stevie Nicks' other times too-unbridled symbolism and floatiness has been contained, paced-out, harnessing its vicious power without exactly revealing the song's subject (jealousy? drugs? break-ups?). The sparse demo I'm posting is much tighter but less menacing. My main interest is in its surprisingly sweet coda, which sounds almost exactly like the poignant, wordless warbling than underscores the dramatic scenes on the Gilmore Girls.
More summer stompers can be found of the Mac's weirdest album, the wonderful Tusk (1979). Apart from the insane title track (background noise, African drumming, spooky vocals, and of course a brass band finale), and Stevie's sprawling swamp of a song, Sara, it also features the very Don't Stop-ish Think About Me , which I've posted in the single version off the expanded re-issue. As with Fleetwood Mac's most powerful stuff (and, now that I think about it, Abba's work as well), this song works best in its juxtaposition of upbeat sound and loose rhythm, with more pointed, dark lyrics, probably bred from the band's fucked-up inner romantic dis-entanglements. As Arion Berger suggests in his Rolling Stone review of the Rumours reissue:
"It's not a classic breakup record; it wasn't built as a soundtrack to whatever heartbreak you're trying to sing along to. But it's their breakup record, and in its idiosyncratic way it mirrors all the lost loves of the world. The two couples confess, blame, sigh and ride a deep, chugging groove toward some kind of resolution."
For fans of later Mac, as well as those of minimalist Teutonic techno, I'll end this with a post of The Field's epic stretching of the 1987 song Everywhere, here renamed Everday. As I've attempted to describe before, the tracks produced by Stockholm's Axel Willner are a different kind of trance. The music sounds like a warmer version of a skipping song on a CD. You know, those times where you're too busy doing something to realize you've been listening to the same few seconds of your favorite song for the last hour, just because someone used that disc as a coaster. The tracks on The Field's From Here We Go Sublime album just keep on building and building, revealing tantalizing snippets of their source material, but somehow ultimately imploding that material, mining radio staples by The Four Tops, The Flamingoes, hell, even Lionel Richie's Hello, for previously unsuspected tensions and dancefloor energy.
Thursday, May 31, 2007
Unlikely Summer Jams 2007: Daft Punk
In a year without any new Daft releases, it seems odd that Daft Punk finds its way through my summery speakers daily in an almost non-nostalgic way. Apart from the plethora of supersharp recent remixes of their classic singles (try the allknowing Hype Machine for some of the latest ones), it seems odd how the band's french touch has trickled down anew on dancefloors worldwide. It seems odd that their music feels as timely as the other artists sampled by Kanye West on his new mixtape, Thom Yorke, and the omnipresent Peter, Bjorn and John. It definitely seems odd that it has taken me 6 years to rediscover, ahem, Daft Punk's epic pop masterpiece, Discovery.
Wednesday, May 30, 2007
Unlikely Summer Jams 2007: Bang Gang
"Inside, we got to know girls who had never considered taking their own lives. We fed them drinks, danced with them until they became unsteady, and led them out to the screened-in veranda. They lost their high heels on the way, kissed us in the humid darkness, and then slipped away to throw up demurely in the outside bushes. Some of us held their heads as they vomited, then let them rinse their mouths with beer, after which we got back to kissing again. The girls were monstrous in their formal dresses, each built around a wire cage. Pounds of hair were secured atop their heads. Drunk, and kissing us, or passing out in chairs, they were bound for college, husbands, child-rearing, unhappiness only dimly perceived--bound in other words, for life." (1993, p. 235)
Like Sofia Coppola's dreamier adaptation, Jeffrey Eugenides' novel The Virgin Suicides very vividly evokes the dull, slow-burning boredom of a teenage summer. Air's soundtrack to the film magically matched the flowy seventies shots of Kirrsten Dunst and her onscreen sisters, adding a lush layer of sensuality to the tragic tale of teen ennui. For their second album, Icelandic ex-triphoppers Bang Gang seem to have followed Air's lead, creating tracks that are more soundtrack than song. Sure they have vocals and even choruses, but they lack the comfort a song's climax and resolution offers, instead presenting us with swaths of atmosphere.
Tuesday, May 29, 2007
Unlikely Summer Jams 2007: Kids Rap
For this second set of summer jams, I picked Rappers Delight Club and Wilcannia Mob, two acts that are not just singalongably sunny, but also hilariously honest. Both come from the peculiar and wonderful genre of kids' rap, but manage to stay far from the glossy Lil' clones so familiar from MTV (excepting the aforeblogged lipgloss-genius Lil' Mama, and with one honorably surreal mention of seven-year-old reggeaton sensation Miguelito, whose video for Boom Boom disturbingly alternates between cute kids at the zoo and gyrating mamas at a racetrack).
Unlikely Summer Jams 2007: The Go Find
Now that summer has hit New York in all its sweaty humid glory, I have immediately started to look for this year's summer jams. Not only the hits popping loud from every corner deli or Humm-ousine, but songs that can define a season and become inextricably enwrapped with its memories: In short, a soundtrack for summer '07. In my next few posts, I'll suggest a few tracks that either through their sheer rhythmic heat, or their poptastic choruses should make their way onto your picnic boomboxes or roadtripping iPods.
The likeliest options are obviously Rihanna's twirly emo-r'n'b hit Umbrella, or Lil' Mama's feisty minimalist handclapfest Lip Gloss (and they surely deserve their own posts), but my first suggestion is a little more farfetched. In fact, it is fetched all the way from my exotic, and sometimes sunny motherland, Belgium.
Thursday, May 24, 2007
Tuesday, March 20, 2007
Loney, Dear's punctuated Scandinavian pop
After The Pipettes' fabulous encore, I hopped into my waiting car service (or probably someone else's) and rushed through downtown Brooklyn to sneak into Union Hall's sightline-challenged basement. Loney, Dear had just started their set. What you need to know about this Swede is that he is quite relentless. Already four albums into his short one-man-band career, his latest, "Loney, Noir" is pop almost to a fault.
Laden with hooks and cheery brassy Sufjan-strumentation, the album is precise and hopeful even in the face of mild tragedy, a state of mind that can be a bit much for those who like their sentiments sloppy and slushy. On closer inspection, the songs always undercut their own pop-bravado. "I Am John," the free mp3 offered by Sub Pop is undeniably the album's tour-de-force in peppy relentlessness (sparkly xylophone included), but Emil Svanängen's lyrics hint at a tragic romantic realism when he follows the chorus' "Never gonna let you down" with, "but i will always let you down."
Laden with hooks and cheery brassy Sufjan-strumentation, the album is precise and hopeful even in the face of mild tragedy, a state of mind that can be a bit much for those who like their sentiments sloppy and slushy. On closer inspection, the songs always undercut their own pop-bravado. "I Am John," the free mp3 offered by Sub Pop is undeniably the album's tour-de-force in peppy relentlessness (sparkly xylophone included), but Emil Svanängen's lyrics hint at a tragic romantic realism when he follows the chorus' "Never gonna let you down" with, "but i will always let you down."
The Pipettes' Brooklyn charm offensive
After the ridiculous cool-concert drought of February 2007, I was more than enthusiastically snapping up tickets to the many SXSW-related shows happening all over NYC in March. Belatedly realizing, after clicking the 'Confirm Payment' button, that I had bought tickets for two shows happening on the same night. Moreover, the first was happening in Williamsburg, the other in Park Slope, a true Brooklyn logistics horror.
My double-booked evening did not start well, I stood in the lush Luna Lounge anxiously hoping The Pipettes would start in time for me to make it to the nerdy Union Hall in time for the uniquely Swedish indie-pop of Loney, Dear (but more on the Swedes in my next post). The Pipettes were late, and nervous; their tech-guys checking up on the same keyboard five times. The suspense was killing me, I hardly even noticed my teen-idol, the ever-present ex-Pumpkin James Iha, lounging around behind me. Still, when girl-group-goddesses Gwenno, Becki, and Rose stepped on the stage, dressed in three different, but equally polka-dotted dresses, all was forgiven. The group performed choreographed literal dancemoves, alternated on vocals, awkwardly said 'cheers' between songs, and played all my favorite tracks off "We are The Pipettes".
My double-booked evening did not start well, I stood in the lush Luna Lounge anxiously hoping The Pipettes would start in time for me to make it to the nerdy Union Hall in time for the uniquely Swedish indie-pop of Loney, Dear (but more on the Swedes in my next post). The Pipettes were late, and nervous; their tech-guys checking up on the same keyboard five times. The suspense was killing me, I hardly even noticed my teen-idol, the ever-present ex-Pumpkin James Iha, lounging around behind me. Still, when girl-group-goddesses Gwenno, Becki, and Rose stepped on the stage, dressed in three different, but equally polka-dotted dresses, all was forgiven. The group performed choreographed literal dancemoves, alternated on vocals, awkwardly said 'cheers' between songs, and played all my favorite tracks off "We are The Pipettes".
Sunday, February 04, 2007
2006's top 28, albums, belated
1. final fantasy - he poos clouds
2. beirut - gulag orkestar/lon gisland
3. hot chip - the warning
4. the knife - silent shout
5. sufjan stevens - the avalanche
6. the pipettes - we are the pipettes
7. cat power - the greatest
8. thom yorke - the eraser
9. margot & the nuclear so&so's - the dust of retreat
10. the be good tanyas - hello love
11. junior boys - in the morning
12. the hidden cameras - awoo
13. camera obscura - let's get out of this country
14. tiga - sexor
15. sonic youth - rather ripped
16. el perro del mar - look! it's el perro del mar
17. lo-fi-fnk - boylife
18. charlotte gainsbourg - 5.55
19. the whitest boy alive - dreams
20. yeah yeah yeahs - show your bones
21. tunng - comments of the inner chorus
22. barbara morgenstern - the grass is always greener
23. bonnie 'prince' billy - the letting go
24. beck - the information
25. the blow - paper television
26. lily allen - alright still
27. johnny cash - american v
28. fujiya & miyagi - transparent things
2. beirut - gulag orkestar/lon gisland
3. hot chip - the warning
4. the knife - silent shout
5. sufjan stevens - the avalanche
6. the pipettes - we are the pipettes
7. cat power - the greatest
8. thom yorke - the eraser
9. margot & the nuclear so&so's - the dust of retreat
10. the be good tanyas - hello love
11. junior boys - in the morning
12. the hidden cameras - awoo
13. camera obscura - let's get out of this country
14. tiga - sexor
15. sonic youth - rather ripped
16. el perro del mar - look! it's el perro del mar
17. lo-fi-fnk - boylife
18. charlotte gainsbourg - 5.55
19. the whitest boy alive - dreams
20. yeah yeah yeahs - show your bones
21. tunng - comments of the inner chorus
22. barbara morgenstern - the grass is always greener
23. bonnie 'prince' billy - the letting go
24. beck - the information
25. the blow - paper television
26. lily allen - alright still
27. johnny cash - american v
28. fujiya & miyagi - transparent things
top 28s, songs, belated
1. teddybears - yours to keep
2. the mystery jets - you can't fool me dennis
3. morgan geist - most of all
4. justin timberlake - sexyback
5. gnarls barkley - smiley faces
6. doveman - happy
7. cassie - me & u
8. the mountain goats - woke up new
9. laura barrett - robot ponies
10. kleerup feat. robyn - with every heartbeat
11. the klaxons - gravity's rainbow
12. van she - kelly
13. jenny wilson - let my shoes lead me forward
14. john vanderslice - exodus damage
15. midlake - roscoe
16. snow patrol - chasing cars
17. nelly furtado - say it right
18. loveninjas - keep your love
19. oppenheimer - breakfast in nyc
20. pet shop boys - flamboyant (michael mayer kompakt mix)
21. voxtrot - raised by wolves
22. the presets - girl & the sea
23. sally shapiro - i'll be by your side
24. the feeling - sewn
25. chris thile - stay away
26. ra ra riot - can you tell?
27. the ballet - in my head
28. the american analog set - cool kids keep (8 min version)
2. the mystery jets - you can't fool me dennis
3. morgan geist - most of all
4. justin timberlake - sexyback
5. gnarls barkley - smiley faces
6. doveman - happy
7. cassie - me & u
8. the mountain goats - woke up new
9. laura barrett - robot ponies
10. kleerup feat. robyn - with every heartbeat
11. the klaxons - gravity's rainbow
12. van she - kelly
13. jenny wilson - let my shoes lead me forward
14. john vanderslice - exodus damage
15. midlake - roscoe
16. snow patrol - chasing cars
17. nelly furtado - say it right
18. loveninjas - keep your love
19. oppenheimer - breakfast in nyc
20. pet shop boys - flamboyant (michael mayer kompakt mix)
21. voxtrot - raised by wolves
22. the presets - girl & the sea
23. sally shapiro - i'll be by your side
24. the feeling - sewn
25. chris thile - stay away
26. ra ra riot - can you tell?
27. the ballet - in my head
28. the american analog set - cool kids keep (8 min version)
Sunday, December 03, 2006
no. 29
2006' best albums: 29. various production - the world is gone
not a compilation album, various production combines beautiful pencil-sharp sleeve and website design with a sound that perhaps can best be descriped as apocalyptic grime-folk. after releasing a handful of radically different ep's - including robo-funk versions of missy and brandy hits, but also cough-syrup-crunked retro soul tracks and gloomy folk tunes - various released their debut album: a style-compilation unified by a creeping sense of dread worthy of a british lynch. sir, though it has up-to-date, slightly too commercial-shiny beats, at least gives a good sense of this album's mysterious attractions.
2006' best songs: 29. pink nasty & will oldham - don't ever change
this austin songwriter sounds nothing like her name suggests. after dropping several great covers into the blogosphere - moody versions of elo and usher - pink nasty's raucous duet with will oldham shocked fans of bonnie 'prince' billy around the world; the man can really belt! the down-to-earthy lyrics (which feature deodorant stains, a subject rarely referenced in love-songs), combined with the singers' 'say you love me six times' battle just before the drawn out coda makes this the sweetest lovesong i've heard all year.
http://uploadhut.com/view.php/233543.mp3
not a compilation album, various production combines beautiful pencil-sharp sleeve and website design with a sound that perhaps can best be descriped as apocalyptic grime-folk. after releasing a handful of radically different ep's - including robo-funk versions of missy and brandy hits, but also cough-syrup-crunked retro soul tracks and gloomy folk tunes - various released their debut album: a style-compilation unified by a creeping sense of dread worthy of a british lynch. sir, though it has up-to-date, slightly too commercial-shiny beats, at least gives a good sense of this album's mysterious attractions.
2006' best songs: 29. pink nasty & will oldham - don't ever change
this austin songwriter sounds nothing like her name suggests. after dropping several great covers into the blogosphere - moody versions of elo and usher - pink nasty's raucous duet with will oldham shocked fans of bonnie 'prince' billy around the world; the man can really belt! the down-to-earthy lyrics (which feature deodorant stains, a subject rarely referenced in love-songs), combined with the singers' 'say you love me six times' battle just before the drawn out coda makes this the sweetest lovesong i've heard all year.
http://uploadhut.com/view.php/233543.mp3
no. 30
so, i made this list of the best music of the year. actually, it's two lists: one for best albums, another for best songs not found on those albums, both are top 30s. i know that might seem like a lot but it barely fits. the songs discussed today are the last on the lists. they are perhaps replaceable, or overseeable, perhaps not all that relevant to music history or my own. still, they end the lists, serving as gatekeepers, good gatekeepers, worthy even, but not as good as the 29 ahead of them.
2006' best albums: 30. ms. john soda - notes and the like
somewhat of a dusseldorfer supergroup, this duo, made up of members of couch and the notwist, make like a sunnier ladytron. their 'no p or d' was my favorite album of 2002, and this has the same warm glitchy qualities, combining glittering electronic crunches with droney, but never downer strings. with beautiful german-accented vocals and rewound, stuttering instrumentation, hands is a lovely introduction to my apparently least favorite favorite album of 2006.
2006' best songs: 30. the field - thought vs. action
released on 12" as the b-side to 'love vs distance,' this quite astonishing 10-minute piece may start out as almost generic microhouse, chopped akufen-ic vocals slowly moving to a brisk, techno step, but four minutes in very familiar flute tones start to sound. you realize it's an intro, but the song never breaks. instead, gurgly kompakt beats drive the short snippet of the four tops' 'reach out i'll be there' to subdued, but powerful filtered heights.
2006' best albums: 30. ms. john soda - notes and the like
somewhat of a dusseldorfer supergroup, this duo, made up of members of couch and the notwist, make like a sunnier ladytron. their 'no p or d' was my favorite album of 2002, and this has the same warm glitchy qualities, combining glittering electronic crunches with droney, but never downer strings. with beautiful german-accented vocals and rewound, stuttering instrumentation, hands is a lovely introduction to my apparently least favorite favorite album of 2006.
2006' best songs: 30. the field - thought vs. action
released on 12" as the b-side to 'love vs distance,' this quite astonishing 10-minute piece may start out as almost generic microhouse, chopped akufen-ic vocals slowly moving to a brisk, techno step, but four minutes in very familiar flute tones start to sound. you realize it's an intro, but the song never breaks. instead, gurgly kompakt beats drive the short snippet of the four tops' 'reach out i'll be there' to subdued, but powerful filtered heights.
Sunday, September 17, 2006
Friday, August 11, 2006
Thursday, August 03, 2006
Friday, July 28, 2006
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