I need to rant about my fucking PE classes rn 💀💀
PE at the school I go to is bullshit 😭. Every quarter we have a different sport (soccer, volleyball, track and field, etc.). After a few weeks, we get tested on it. And not just playing the game outside for a bit blah blah blah. WRITTEN PE TESTS. WRITTEN. AS IN, THOSE STUPID BUBBLE TESTS FOR PE. Like, the shit is so stupid 😭😭. Was talking to my harp teacher (best teacher btw, love the guy) and he literally agreed. Everyone I’ve spoke to outside of my school agrees that it’s bullshit lmao. On top of that, aerobic runs. FUCKING AEROBIC RUNS ARE THE BANE OF MY EXISTENCE. I suck at running, and I get out of breath very easily. Almost threw up after the last one, but didn’t go to the nurse because I couldn’t miss my science classes due to the fact that I hadn’t been caught up on anything while I was on a short family trip. I just wanted to catch myself up blah blah blah. Anyways, I’m normally an all A student, but PE is the only class I have a B in because of aerobic runs, my average grade being a 79, and my PE tests, which have been from an 82 to a 92. In summary, our PE is fucking bullshit and everyone around my has collectively agreed.
10 notes
·
View notes
...And then there are the albums that defy any distinct definition because they are outside of even unconventional boundaries. Experimental music can creak into corners ambient and electronic, or twist rock and contort pop into artful, avant patterns. There were many artists this year across the spectrum who molded the sonic canvas in challenging sound, color, light and matter itself in how their music entered our conscious. These were the best albums that tapped into other worlds even if they were created in our current physical...
Animal Collective - Time Skiffs [Domino Records]
Time Skiffs is a reminder of why we should never take a band like Animal Collective, as it’s a reunion of sorts with it being the first album since 2012′s Centipede Hz to feature all four members in the mix where their matured wilderness and nautical voyages have never felt as fit for a real chill as it has here as their hyper-color psychedelia reaches the closest they’ve come to jam band status without sacrificing their feral sides either.
Beach House - Once Twice Melody [Sub Pop]
Victoria Legrand and Alex Scally definitely have nailed down singularity with their style at this stage in their career, but their eighth studio album -- a double album opus at that -- is perhaps their most definitive sensation of instantaneous synesthesia and mind-and-physical-nature-altering music they’ve produced yet. Embellishing their dream-pop elixir with strings and psychedelic portals to worlds beyond worlds, Once Twice Melody is well worth its lengthy travel all while promising a kind of transcendence only the Baltimore duo hold the key to.
Black Country, New Road - Ants From Up There [Ninja Tune]
As it turns out, we hardly knew Black Country, New Road at all upon last year’s breakthrough debut, for the first time. On the London septet’s sophomore effort Ants From Up There, the band – led by the fascinating, wild-eyed narrations of now-departed vocalist Isaac Wood – it’s their own uninhibited instrumental malleability that steeps their sound into a captivating post-rock theater which gives us something further to consider of a band who are intent on never sounding or looking the same as they did even just one year ago.
black midi - Hellfire [Rough Trade]
Chaos, chaos, and even more chaos, even when it sounds like all the calamity and human destruction in the fantastical tale have reached cease fire. That’s black midi’ Hellfire, the latest album from the London-based experimental art rockers, who on this turn go all in on a glory of their their most unhinged sonic facets that have been steadily climbing over the course of their first two albums in the form of precisely meticulated post-punk of their 2019 debut Schlagenheim and last year’s cosmically imploded jazzist traverse Cavalcade without losing their grip.
björk - fossora [One Little Independent Records]
björk’s fossora was inspired by fungi and a sound she earlier described as “biological techno”. That very much checks out, and as usual, reinvents genre, as the tenth studio album from the experimental art icon is the sound of nature burgeoning its way through the soil from its most microscopic spore, reaping and sewing with the seasons of birth, decay, and death where love, partnerships, motherhood and familial bonds eventually return their energy back to the soil.
Boy Harsher - The Runner (Original Soundtrack) [City Slang / Nude Club Records]
Boy Harsher don’t regard their original soundtrack to The Runner, a short, Lynchian horror film which they wrote and directed themselves, as a release separate from the rest of their discog. Rather, it’s a proper fifth full-length effort as well as a watershed moment for the Northampton electronic duo of vocalist Jae Matthews and producer Augustus Muller in creating their most inviting release yet, with eight songs being scene-setting chapters building terror in the most cinematic sense through strobing lights and heavy fog as well as gleaming goth club and new wave bangers.
Carlos Truly - Not Mine [Bayonet Records]
Ava Luna guitarist Carlos Hernandez’ talents on his own merits are fully realized on Not Mine, his first solo album as Carlos Truly. Recorded alongside his brother Tony Seltzer, the album professes an nth degree of synesthesiac sophisticate taste to it in the way Hernandez sculpts wave forms of R&B, funky guitars, and experimental pop and jazz flourishes in relation to his world view onto the emotional, personal and creative connect. With his voice barely touching ground, the listen blends sense and memory into a warm air feeling.
Claire Rousay - everything perfect is already here [Shelter Press]
Claire Rousay collage of sound is the immersion of her own specific surroundings, temporal to that moment, but committed to tape to live on forth with we as listeners. The San Antonio-based field recordings specialist’s latest, everything perfect is already here, continues mining seconds passing by through an instrumental rendering with ornate contributions from violinist Alex Cunningham, electrician and violinist Mari Maurice, harpist Marilu Donovan, and pianist Theodore Cale Schafer in a delicate inversion into Rousay’s world where even in stillness, her music can adorn a space with a deeper meditation onto the self.
Guerilla Toss - Famously Alive [Sub Pop]
Noise, psychedelic powers, and flashes of pop have long permeated Guerilla Toss’ music over the years, so it’s a fitting irony that on Famously Alive, their first album for Sub Pop, they would find a sense of clarity and balance in it all, created across some of the most chaotic times of our modern existence. Their synesthesia explodes vividly, and the hooks stick like Gak to the ears, all while vocalist Kassie Carlson confronts existentialist dread head on with empowering messages of reclaiming ownership of one’s fate in anthem.
Healing Potpourri - Paradise [Run for Cover Records]
Simi Sohota has reengineered the power of the calm vibe with Healing Potpourri’s Paradise. A bouquet of chamber pop, yacht and kraut rock in a breeze sailing its way in from the cosmos, Sohota alongside producer and Stereolab collaborator Sean O’Hagan have created an album that indulges in soft rays of sunlight and sighed reflections on connections through organic highs and interstellar journeys of the self that see every color in this strange human experience.
The Mall - Time Vehicle Earth [Self-released]
With so much within the overlapping industrial, electronic, and punk realms having become blasé and a mere goth cosplay, hitting play on Time Vehicle Earth will have all your perceptions of reality rearranged and raged. The moniker of St. Louis artist Mark Plant and Spencer Bible is like the equivalent of staring deeper and deeper into the cosmic sights of James Webb Space Telescope and realizing that the further out we get, the less we know as Plant’s shouts echo through spiraling space-synth at a punk-fueled speed of light.
Moor Mother - Jazz Codes [ANTI- Records]
Prolific and faceted as always, be it in her own name and other projects like her free jazz ensemble Irreversible Entanglements or the avant rap-pop duo 700 Bliss, Moor Mother’s Camae Ayewa has taken less than a year to bring forth a bookend 2021 standout, Black Encyclopedia of Air, with Jazz Codes, an album which she goes even deeper into the ether with a seance of Black creativity’s most brilliant, unheralded minds lifting through her new age jazz conversations and electronic multiverses that rupture enlightenment throughout.
Palm - Nicks and Grazes [Saddle Creek Records]
Mashing together philosophy, color and synesthesia, rock noise and electronic devices, Palm come alive on their third full-length effort in their newfound freedom of approaching their art while becoming hyper-aware of the outside obstacles that brought the four-piece to this point. It’s pop extracted from every high and lull of emotion, but unlike one meant to imitate anything beyond the moment its consumed.
P.E. - The Leather Lemon [Wharf Cat Records]
The Leather Lemon reassembles sound through the pieces of the world we continue to pick up in its aftermath. For that, P.E. focus on their strongest pop points amid the asymmetry, filling deeper grooves where absent pockets once were with body contortion and skin-on-skin contact. The turbulence of these times still exists within the context of these songs, though this time around, the Brooklyn band are working with them to connect emotionally, sensually, and physically rather than add to the discord.
Rachika Nayar - Heaven Come Crashing [NNA Tapes]
A new galaxy just dropped, and it’s called Rachika Nayar’s Heaven Come Crashing. The Brooklyn-based guitar virtuoso and multi-instrumentalist’s sophomore follow-up expands the celestial atmospheres discovered on last year’s Our Hands Against the Dust in one of the most sensory-entrancing examples of modern guitar art in which Nayar synthesizes her instrument with ambient colors and haloing vocal accents by songwriter Maria B.C., blurring the space between emotive rock, ambient electronic and trancelike dance music –emotion in motion at a constant centripetal force.
The Smile - A Light for Attracting Attention [XL Recordings]
A Light for Attracting Attention is clear evidence that the Smile are more than just a Radiohead side-project. Featuring Thom York and Johnny Greenwood alongside drummer Tom Skinner of the now-defunct Sons of Kemet, the trio have built their own new world of sound using places they’ve visited in their respective past lives, but at an alternate universe distance where its more experimental terrain of free jazz and electronic music allow them to continue to predict the future of art rock and our existence in an eerie spectral delight.
Sonic Youth - In/Out/In [Three Lobed Records]
Even in their post-mortem, Sonic Youth still remain among one of the most innovative sculptors in noise rock whose ideas remain unparralel in our current existence. A decade removed from their final bow, In/Out/In – a collection of several mostly instrumental tracks unearthed from their early Aughts era – moves seamlessly in its own distinct singular waveform despite being created in disconnect rendering Sonic Youth in their jammiest formation yet, with the static becoming a transfixing groove.
They Are Gutting a Body of Water - lucky styles [Smoking Room]
lucky styles, the third full-length effort from They Are Gutting a Body of Water, realizes the Philly experimental band’s wildest yet appeasing impulses in one sitting within textures of static-washed shoegaze, electronic-speckled zone-outs, and noise-pop over dreamy overtures and post-hardcore aggression rendering something much more adventurous than what we perceive in our everyday waking life.
7 notes
·
View notes
I just realized that I apologized in middleschool when someone kicked a soccer ball into my face. I apologized for getting the way of the ball. I kinda get why they looked so concerned.
But I blame my elementary P.E. coach Ms. Hamm. She would get onto me if I got hit with dodge balls, skinned my knee, or got hit with one of those plastic jump ropes. Like the hits from kids were on purpose, and this coach fucking hated me, don't know why, maybe it's cause I got a touch of that tism and don't have knee caps. But like I'd be bleeding or be badly bruised and she'd tell me it was my fault I got hit, and I'd be written up for making a scene and put in time out. She also said I couldn't get stuff like ice or bandaids. Like it was a abuse of power, she fucking sucked.
So when I moved and eventually got to middleschool and got hit by a ball, my brain just went "oh this is my bad, this developing black eye, all on me." And just now did I realize, no that wasn't on me. The kid who accidentally hit me with the ball, not theirs either, they had apologized a lot. But like, why tf did I apologize.
2 notes
·
View notes