http://stereogum.com/archives/stream-the-where-the-wild-things-are-soundtrack_092471.html

duuuuuuude.

so the other day in studio, sal told us the most beautiful thing.

he was talking about design and how we should hone our skills as a drawer.

he said that he was walking through one of the upper-year studios and noticed this one guy drawing extremely slowly.

so he stopped and asked him what was going on.

the kid said, 'i draw so slowly because i need to be able to feel my heart beat in between each stroke. otherwise i wouldn't be really putting my heart into what i'm doing.'

and that was real life.

not some stupid saying on a tumblr picture.

real, true heartfelt work.

http://www.peopleofwalmart.com/

this is probably the nicest thing i could ever imagine being said to someone.

so it's been 200 posts.

yay.

i can remember walking down the street, saying my name over and over, until all of a sudden, it didn't sound like my name anymore. it didn't even sound like a word at all and then i stopped and the silence rushed in and whispered words that sounded more like my real name and i smiled and thought to myself how surprised my parents would be when they found out what a mistake they had made. -storypeople.com

honestly, nothing phases me anymore.

hahaha

kiiiiiiiiiiiiddddddddssssssss

second review

In their sophomore release Two Dancers, Wild Beasts demonstrate their mature take on glam rock and create an established niche in a world of otherwise bopp-ish indie music. Front man Hayden Thorpe’s quavering falsetto pierces the dark veil that is their new album, sending the listener into a swirling realm of theatrical harmonies.

Two Dancers opens with “Fun Powder Plot,” a complementary mix of modern dance and ominous ambience. With lyrics such as “This is a booty call! My boot, my boot, my boot, my boot up your asshole!” that bring out the Leeds-based band’s promiscuity, a certain balance is needed to keep the song from sliding into frivolous nothingness. This balance is thankfully achieved by the juxtaposition of impudence with a heavy, anchoring sound. In the same shadowy fashion, the following track and first single, “Hooting and Hollering,” creeps along with a steady pop-infused rhythm until it finally reaches its falsetto-cracking climax, only to be deconstructed once again. “All the King’s Men” highlights the graceful soaring flourishes of Thorpe’s voice and Flemming’s earthy tones to create an androgynous melody similar to that of Antony and the Johnsons that seems to move up and down like a great machine with each pounding beat. The gentle flow of music continues through “When I’m Sleepy…” and “We Still Got the Taste Dancing On Our Tongues” into the entrancing “Two Dancers” which is, coincidentally, divided into two songs, each framing the stark differences between Thorpe and Flemming’s voices while shimmering guitars echo in the background. Ending the album are the brilliantly streamlined dance-influenced songs “This is Our Lot” and “Underbelly” along with the nautical anthem “Empty Nest,” a track that is fully reminiscent of Wild Beasts’s previous album.

All in all, Two Dancers provides a whimsical opening into a world where lustful inhibitions run free and sound is carefully crafted into majestic art rock.

the good, the bad, and the remixed: fever ray's "seven"

so i'm writing for the woove, and here's my first review.

hooray.

Karin Dreijer Andersson has provided the music world with an otherworldly eerie sound, one that has surprisingly gone without imitation for almost a year. But since no one dares to recreate her icy-psychotic melodies, Fever Ray’s self-titled album has been the subject of several remixes, with “Seven” as the most recent single to be transformed from a delicately blended swarm of tribal-synth goodness into shreds of beat-infused filth.

Fever Ray’s double-disk rerelease (available October 5) may sound exciting, but the anticipation quickly died when I found out that most of the hype is going to the series of remixed singles and not to the “Been Here Before” or “Stranger Than Kindness” covers. I usually don’t have a major problem with remixes/mash-ups/etc., and I have found myself listening to a great deal of them in the past few weeks. However, these hashed-up, versions of the original tracks usually come off as superficial, which is unfortunately the case with the “Seven” remixes. So far only the Crookers and Martyn mixes have been released online, and as of now I would discourage looking into future tracks. But if you simply must fulfill your need to download a ripped apart version of this originally genius track, go for the Martyn one.

Why am I bashing the Crookers mix? The Italian DJ duo infused a ringing telephone into the beat. And it’s not just a one-time ring—it rings again and again and again. This first released remix is not ring-a-ling fun. It’s just stupid. It’s cheesy and overworked. And I absolutely cannot stand it when artists concentrate the entire song on a single line. In this case, Crookers decided to focus on the line “talk on that phone,” hence the annoying ring. If you really want to deconstruct something that is already good, you need to do it with finesse and taste, not butchery.

Martyn’s mix, on the other hand, reflects more of the original track’s brilliance. The lilting tropical beat is somewhat preserved, but the dubstep background beat seems a bit muddy and thick. The two overlapping melodies do not agree with each other, especially with the introduction of a high-pitched third beat about a minute into the mix. Instead of resulting in a fuller song, the Martyn remix strips the original’s ethereality and replaces it with empty rhythm. The addition of a bajillion other sounds does absolutely nothing for the song. Like I mentioned before, if you have something good, let it be.

So whether you like electronically beefed-up tunes or not, steer clear of the “Seven” remixes. Not good. Not good at all. If you thought it was impossible for Fever Ray to sound awful, you now have proof that all things are indeed possible.

BAM!

guess who's going to be a kick-ass pair of singing lips/magenta in rocky horror?

mark rothko-- he could paint so deep your soul would be sucked in.

it killed him.

i know i have been slacking off with my normal flow of posting.

i apologize.

i suppose i apologize to myself because i don't think anyone else would or should care.

so i am completely enthralled with my classes.

my studio professor definitely inspires me to think in a different manner, and i have been happier. my mind has been so busy that i have had little time to think about the awful things i always seem to drift toward.

anyways, i wanted to post about some of the things i have been learning.

during one of our pin-ups/discussions, sal tried to convince us that vertical and horizontal lines were the epitome of structure and that everything in the physical world was constructed of these two types of lines and those alone. he put it so beautifully; i was convinced. he explained that everything, though it may appear to be formless or organically shaped is indeed composed of horizontal/vertical lines. the trees, he stated, were simply horizontal lines infused with nature. water, although it may appear to conform to any shape, always forms a horizontal surface. it can be filling a lake or a cup, but the surface will always form a distinct, even horizontal line. and gravity-- gravity always draws objects to the center of the earth, always down in a perfectly vertical line.

i had never realized these things.

well, i had, but i had never realized the truth in them.

i can't believe i have been alive this long and not opened my eyes.

people have always said that college is the time when you learn the true ways of the world, when you become who you truly want to be. i never really bought into that, but now i am beginning to see how blind i was. i can't imagine going back.