By Princess Stomper
A jumper at the top of a skyscraper was being talked down by a stranger. “No, you don’t understand,” the first man said. “This building has special air currents so that if you jump off the air will blow you back up again. Look!” he said, and jumped. Sure enough, after falling some distance, he changed direction and was deposited a minute later not far from where he’d been.
“Wow,” said the second man, “I have to try this!” He jumped off the building, fell some distance, and … SPLAT!
Superman, you’re a bastard when you’re drunk.
Just because someone else is doing it doesn’t mean I have to, but Everett True’s list was interesting, so why wouldn’t we want 22 more great songs from the first half of the year?
As thrillingly obstinate as their all-lower-case record titles, Future of the Left have been whipping up a storm of controversy and acclaim in roughly equal measure. This is a great song, and one of many on the plot against common sense. Not sure what will reel you in first, the lyrics or the melody, but it’s bloody catchy in either case.
Neneh Cherry actually has pretty strong jazz credentials, with her father, Don, is a renowned figure in experimental world fusion. Her collection of jazz covers is therefore not the lurid coffee table mess it could have been and is a warm and intimate bundle of frequently surprising choices. This one’s by MF Doom.
This Father John Misty cover is up for free download at Bandcamp. It takes the shambling clatter of the original and slows it down to a snail’s pace, breathing out the lyrics in a languid sulk over the fuzzy dirge, with the effect that it’s pleasingly reminiscent of The Breeders. I played this one to death.
“Gothic country? Whatever, I can’t find a genre but I dig it” – YouTube comment
At first I thought that Alexander Tucker was folk, but then I realised that I was barking up the wrong hugged tree. This is psychedelia – as trippy and pastoral as early Pink Floyd – blended with the repetitive drone rock of Loop. Mumford & Sons never sounded like this.
I’ll admit that Lana Del Rey never really did it for me, but with Azealia Banks’s old school rapping talent and a storming classic-EBM bassline, this really becomes something special.