Tumgik
#post-punk revival
haveyouheardthisband · 3 months
Text
Tumblr media
306 notes · View notes
Tumblr media
Tracklist:
Provision L-3 • 12:03 • Boyfriend • Crash • Delicate, Petite & Other Things I'll Never Be • 333 • Haunting, Haunted, Haunts • Dead Rats • Rebecca • Norse Truth • Suicide Bomber • All This (And More)
Spotify ♪ Bandcamp ♪ YouTube
160 notes · View notes
joanofarc · 4 months
Text
heave, gauntlet hair (2010).
12 notes · View notes
tornbluefoamcouch · 6 months
Text
Tumblr media
Artista: Metric Álbum: Grow Up And Blow Away Ano: 2007 Faixas/Tempo: 10/39min Estilo: Indie/Post-Punk Revival Data de Execução: 28/09/2023 Nota: 5,7 Melhor Música: Hardwire
10 notes · View notes
guerrilla-operator · 2 years
Text
Tumblr media
191 notes · View notes
sagehaleyofficial · 1 month
Text
Tumblr media
What is UP, my dudes?! It’s Friday again, meaning it’s time for another NEW RELEASE ROUND-UP! Which of these new releases is your personal favorite? Let me know in the comments, and suggest your own new releases for the week if they’re not listed! 💿
#Ash #TheDrowns #IDLES #LauraJaneGrace #MotherMother #PetNeeds
4 notes · View notes
astoppedclock · 5 months
Text
It's hard not to hope that you will rot But "I will endeavour to be kind" Is lodged in a crevice in the recesses of my mind
1 note · View note
Text
43 notes · View notes
pettybourgeoiz · 1 year
Audio
7 notes · View notes
outpost-31 · 11 months
Text
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
Just posting all the current micros. Theyre silly I love my designs
3 notes · View notes
odk-2 · 2 years
Audio
Tumblr media
The Raveonettes - You Want the Candy (2007) Sune Rose Wagner from: "Lust Lust Lust" (LP|CD) “You Want the Candy“ / “Forever in Your Arms” (Single)
Indie Rock | Noise Pop | Post-Punk Revival | Dream Pop
JukeHostUK (left click = play) (320kbps)
Personnel: Sune Rose Wagner: Vocals / Instrumentation Sharin Foo: Vocals / Instrumentation
Produced by Sune Rose Wagner
Recorded: @ Once Was Studio and Sauna Recording Studio Copenhagen, Denmark 2007
Album Released: on November 12, 2007
Single Released: on  February 25, 2008
A:larm Music Records (Denmark) Fierce Panda  Records   (UK) Vice Records  Records   (US)
Tumblr media
5 notes · View notes
haveyouheardthisband · 2 months
Text
Tumblr media
188 notes · View notes
Tumblr media
Tracklist:
The Greatest • Written All Over Your Face • Bigger Than Me • Lucky Again • Face The Music • Chicago • Common People • Out Of My System • Angels Fly • Saturdays • Silver Tongues • She Is Beauty We Are World Class • All This Time • That’s The Way Love Goes
Spotify ♪ YouTube
138 notes · View notes
Text
Album Review 3: Funeral by Arcade Fire
Arcade Fire - Funeral - 100/100 This is a perfect album. From the moment you enter the world of Funeral, you’re greeted with an ethereal take on indie rock music, heralded by the echoing plucks of the opening track, the first segment of the 4-part series “Neighborhood”. The vocals of Win Butler immediately remind me a bit of David Byrne of Talking Heads, as well as a touch of David Bowie. Going into the second track, I should mention that perhaps my favorite thing about the album is its transitions between songs, and its flow, more broadly speaking. It’s frankly stunning how well this thing runs from track to track, and words do it no justice, it must be heard all the way through to understand. While many of these songs could work just fine on their own, I really do feel like this is an album meant to be enjoyed as just that, a complete body of work. The other thing that I think could be my favorite part of the album is its use of (and this may be my affection for hip-hop creeping into my choice of terminology here) switch-ups. The first time I noticed how Arcade Fire uses these powerful jumps in energy is track 3, the simply lovely “Une Annee Sans Lumiere” – up until the 2:44 mark, when it jumps into double-time drums and strong rock guitars, catching me by surprise in the best way possible. If it weren’t for another similar moment later, this would be my favorite moment of the album. Not to spoil the favorite track segment, but an early contender for that throne comes with the fourth track, “Neighborhood #3 (Power Out)”, which immediately hits me as the hardest rock sound so far on the project, pulling from more of a punk sound than anything else we’ve seen yet. The band knows exactly what’s needed at every time, changing flawlessly between the rough sounds of the intro and chorus segments and a (I believe) xylophone-tinged verse section. Its 5-minute runtime should not scare one away, this song keeps its pace up for its entire length. The best comparison I can make is to Radiohead’s Paranoid Android, albeit less of a multi-part suite than that. Speaking of multiple parts, the next song is the final piece of the “Neighborhood” series of songs, “Neighborhood #4 (7 Kettles)”. The first thing I’m struck with, which may or may not be intentional, is how the guitar plucks beginning at around 0:18 remind me of the opening track. If that’s intentional, it’s perfect, and a wonderful use of that motif. This track also provides a window for me to mention that this album is immensely dark in terms of lyrics. Butler has defined the “Neighborhood” series as a meditation on the inevitable passage of time, and this song leans more into that than any of the other parts, even directly stating at one point, “Time keeps creepin’ through the neighborhood / Killing old folks, waking up babies just like we knew it would.” The central metaphor for this song, relating to the “watched pot (or kettle) never boils”, is a village fire started by the neighbors, perhaps lighting 7 houses on fire, to kill those they view as unworthy. His eyes are closed, hoping that the problems will go away, that the pot will finally boil, but when he opens them again, “nothing changed / Just some water getting hotter in the flames”. It’s also worth noting that the percussive backbone of the song sounds like pounding on doors, in a nice touch that took me my third listen to pick up on. From here, we move into a beautiful, heart wrenching ballad on track 6, “Crown of Love”. The building energy through this song is phenomenal, increasing in intensity until exploding into another double-time switch-up at 3:40, transforming into a fascinating mix of the lush strings of the first part, now playing staccato, over what sounds almost like a dance drum beat. I’ll also use this moment to touch on how good the string arrangements are on this project, because they’re impeccable. Track 7, “Wake Up”, finds us again on a harsher rock energy, this time blending it seamlessly with elements of folk and even a bit of country. Butler’s singing, especially on this song, reminds me of David Bowie, and so it delighted me to see that he was actually featured on a live version. Anyway, this song also features a fantastic switch-up around 3:50, turning into an old-timey cheery piano tune. This is the part referenced before, my personal favorite moment on the entire album. It’s just so good. Track 8, “Haiti”, however, is completely different. It’s one of only two songs to not feature Butler as the lead vocals, instead giving the honor to his wife, Régine Chassagne. Her voice fits perfectly on the pure, beautiful, uplifting instrumental – so uplifting, in fact, that it’s easy to forget that this song is about a massacre. Yes, this pretty little folk-pop song is in fact a retelling of Jérémie Vespers, an event in which 13 young Haitians attempted to overthrow the government, before they and their family members (totaling 27 victims) were murdered by the Haitian Army. Once you know that, and listen to the song again, it all clicks. The drum beat of the last song leads straight into the penultimate track, “Rebellion (Lies)”, which features another generous helping of harder rock influence, especially in the driving bassline. More than any other song on the album, this song feels like it was made to be played in a stadium to thousands of screaming fans, which isn’t a bad thing at all. In terms of energy and tone, this is easily the most triumphant song here. I especially love the part in the chorus where the key changes from G minor to G Major, creating a powerful emotional change that’s just perfect. Going into the final song, “In the Backseat,” I initially thought that we would be getting another simple, easy-going instrumental from the intro, before it suddenly dropped into hard guitars halfway through the first verse. It’s a wonderful moment, and the chord changes evoke a completely unique feeling that honestly I don’t know how to describe. Perhaps closest is melancholy, but that doesn’t quite fit it. I really can’t put it into words. But that moment when Chassagne yells out the word “learning” and stretches it out extra long, hitting the note perfectly, it’s just stunning. We get a breath of fresh air, and then in the second verse we hit another drop, which keeps the energy up until it finally fades away, leaving the album to end with just high, dissonant strings, and a plucked string and piano playing in unison, before finishing with over ten seconds of silence. It’s a perfect ending to a perfect album. So, yeah, I loved this thing. I was not prepared for how emotional, how impeccably performed every second of this was going to be. Even after 4 listens, I don’t think I can really put into exact terms just how good this album is. Just listen. You won’t regret it. Favorite track: Well, all of them, but if I had to pick one, it’d be “Haiti”. Initially, I wasn’t sure it would be my cup of tea, but especially after knowing the lyrics and meaning, it really is a perfect song. I almost wish that Chassagne has sung on more of the album, but Butler does perfectly fine. Least favorite: None
2 notes · View notes
tornbluefoamcouch · 6 months
Text
Tumblr media
Artista: Viagra Boys Álbum: Cave World Ano: 2022 Faixas/Tempo: 12/40min Estilo: Indie/Post-Punk Revival Data de Execução: 02/10/2023 Nota: 6,8 Melhor Música: Punk Rock Loser
youtube
9 notes · View notes
guerrilla-operator · 2 years
Text
Interpol // Obstacle 1
But it's different now that I'm poor and aging
I'll never see this face again
You go stabbing yourself in the neck
59 notes · View notes