We are all history now. Me writing this is creating an (unimaginably minuscule) part of history. When you read it and go on Twitter to gush to all your girl mates about how darn adorable I am, you’re creating history. Even when you hold your nightly WhatsApp reading group to debate the day’s findings on the Necessary Evil blog you are, in a small way, writing history. When Sarah Assbring (El Perro Del Mar’s guiding force) got tired of me direct messaging her with the latest “I’d like to bring your ass” play on words that I’d managed to think up, and successfully applied for a restraining order online, she became a part of history.
This is a fact. It has many positive consequences- I like making history all up in that prick Jamie’s face whenever he’s such an indefensible noob at COD- and many negative ones. For an example, I had to cancel my planned Christmas trip to Scandinavia because it would bring me within twelve hundred miles of Sarah Assbring’s Gothenburg home. I have also thought of exactly twenty seven new plays on her name that she might never get to hear. Oh! Twenty eight!
Continue reading “27 El Perro Del Mar: We Are History”
“My pussy teaching 9th grade English/My pussy wrote a thesis on colonialism/In conversation with a marginal system/In love with Jesus”
When Noname released her second album back in some time in the past (there really is no way of knowing), Amazon offered the opening (and possibly best) track, Self, to listen to as a sample. Early in the song she states “Y’all really thought a bitch couldn’t rap huh?/Maybe this your answer for that, a crack era/The Reagan administration that niggas are still scared of?”, and being the sucker I am for commentaries on the (still) worst US President of the modern era. Soon afterwards, she utters the aforementioned bang up the elephant line that you really should be well aware of by now, and I was sold. I immediately chucked £7.99 at Noname and her scholarly vagina. I later found out that she was also on Bandcamp, so purchased it again in the assumption that she was likely to see a lot more of the money, judging by the amount of cash Amazon siphoned off when I published a couple of books a couple of years ago. For that reason, ‘Room 25’ is the only 2018 album that could be considered so good that I bought it twice.
The thing is though, what does that line actually mean?
Continue reading “69 Noname: Room 25”
Leave the Memories Alone?
‘The Con’, Tegan and Sara’s fifth album, was a very important album to me personally, not just simply at the time of its release but for many years afterwards. This should have had given me a hint to how significant a release it was- considering the lasting effect it still managed to have on a man so tediously heteronormative that he seriously refused to like Bret Hart as a child because he wore pink- but I honestly didn’t realise the wider world had similar and even equal affections to me (but never more, never possibly more: nobody could love ‘The Con’ more than me. Nobody!) until I learned that there would be a tenth anniversary celebrated with a collection of covers of each of the album’s 14 tracks by 14 different artists, some newer acts that were directly influenced and even enabled by T&S’s and this album’s success, and some older affiliates (Ryan Adams: who knew? He’s a man that I imagine would consider even me an outrageous fop).
Firstly, this is always a great idea, and always preferable to just lazily re-releasing a classic album with an extra disc of b-sides and demos (damn you, Manic Street Preachers, stop taking my money!!). Two albums on this countdown are by artists first introduced to me through this album (Muna and… another one…)
and it’s by far the best way to exhibit an album’s importance.
Secondly, rather than spending 800 words again moaning about how I think Tegan and Sara aren’t as good as they used to be, I thought that it would be far more interesting and relevant to revisit my original ‘review’ of the album when it, in keeping with my usual punctuality, was No.4 in my 2008 list (and make it 2’100 words). The original piece only captures a small part of the bond I would eventually form with the record, but this is still proof that I was into this album way before anyone on this list. And yet was I invited to contribute? Was I buffalo!!
More after the jump (I’ve always wanted to write that, makes the blog sound so legit)
Continue reading “33 Various Artists: Tegan and Sara Present The Con X: Covers”
Remember when I asked? No? Well, that’s what it’s called anyway
The music of Tove Lo is generally concerned with her genitals
Continue reading “51 Tove Lo: Lady Wood”
OK, let’s first address the elephant in the room: I read a remarkable think piece in The Economist recently that broached the conspiracy theory that Ms Spektor’s name doesn’t actually rhyme with ‘vagina’. This is obviously #FakeNews and should not under any circumstances be tolerated
I mean, maybe once in bloody Moscow Ms Spektor might have refrained from that pronunciation, as in the bloody Commie Ruskie language it wouldn’t have had the same impact, but I think we can safely assume that she is well aware of its power now. I mean, why wouldn’t you encourage that? I would kill to have my name potentially rhyme with a woman’s genitals. But no, I’m just plain old Alexander Sveti-Hollogs
God damn– I say God damn!- I used to adore Ms Vagina, she released two albums of absolutely masterful indie pop that managed to expertly combine flashes of arch Soviet weirdness with an unquenchable pop spark, without ever amounting to anything less than utter beauty
Continue reading “87 Regina Spektor: Remember Us to Life”