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Come listen tomorrow!
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Pacific Standard Time, come hear me play some tunes
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I’ve moved to @avuhoh !
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tanya lyons 
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Ottessa Moshfegh, My Year of Rest and Relaxation
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If there’s Texas in the title, Imma listen to it.
The following are a list of songs that I love that are Texas related or just have Texas in the title:
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I do not give a flying fuck about the haters. This album is beautiful and Mitski made some certified bops with this one.
Stay Soft & Valentine, Texas are my FAVORITE tracks off of Laurel Hell.
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the sundays
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The Cleaners from Venus “A Fool Like You” In the Golden Autumn (1983)
Y'know it rained all summer…
This is all I’ve listened to for the last three days or so, the album and especially this song. One of the big background ideas of this stuff is the huge economic recession in England in the late 70s and early 80s, which is sometimes addressed directly (“Krugerrand Gladiators,” “Victorian Society”) but more often than not appears as an intangible pall, a sense of decay, loss, and helplessness. I’ve been trying to put my finger on exactly how they do it. Do I know about the historical background because I read about it, or because I can sense it in the music?
This is an infectious song, for one thing. It pokes fun at chintzy, Vegas-lounge style jazzanova through the lens of 60s psych pop, but is itself too cheap and shambolic to be an effective skewer. I don’t hear bile, I hear nostalgia and childlike playacting, especially in all the extraneous room chatter as the song winds down at the end. But there’s a certain wildness and desperation in the laughter too. The thinner cassette sound and the harshness of the reverb have a lot to do with it (think Women’s first album), telling us the people who made it either couldn’t have afforded or were just disillusioned with the luxury of a fancy studio without spelling it out. The glassy guitar tone is very 80s, but the wobbly, out of tune piano sounds like a relic, its descending 7th chords mirroring its own decay (check how they pull the same trick on “The Autumn Cornfield”).
The song has a distinctly British way of refracting the cultural history it works from, like The Kinks adapting music hall tunes or Scott Walker turning kitchen sink dramas into gothic pop songs. Americans don’t really do it like this. I have to wonder, again, if I’m just projecting Margaret Thatcher, bleak weather, post punk, and Metroland, or if that’s exactly what Martin Newell wants me to hear in this gorgeous, bittersweet song.
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Cibo Matto
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