(Forgive me if this is a duplicate post; livejournal is being recalcitrant today.)
Don't know any of these. Old songs generally better than new. There's actually a song I dislike, and there's a good balance, in that both my fave and least fave are sickly cute.
My draw: --TRACK FIVE: Good beats, wavering "odd" female voice, the sort that I generally hated until Marit Larsen started doing it. This isn't Larsen, unfortunately, but someone with her head up her ass; but it builds force, so even though the singer asks us not to try to save her (familiar theme) the beats and rockingness do save her.
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timeasmymeasure
You'll Realize What A Wind-Up Doll Can Do
Date: 2007-05-25 12:58 pm (UTC)Don't know any of these. Old songs generally better than new. There's actually a song I dislike, and there's a good balance, in that both my fave and least fave are sickly cute.
These'd have been my winners:
--TRACK THREE: Sickly sweet and sorrowful singer from the sad-voiced late '50s or early '60s; despite this basically being a (pre-rock 'n' roll) pop ballad, the voice wails in a teen tragedy way that only rock 'n' roll could do, so it is rock 'n' roll.
--TRACK FOUR: Flipper plays the Velvet Underground? This track isn't quite up to that description, but this is some great shaggy fuzz-embedded one-chord rock.
--TRACK NINE: I know who this is thanks to a pic coming along with the track. Most famous of the girl rockabillies (which is still not very famous). I hate to say that this sounds a thousand times more natural than modern music, since that's a cliché and anyway the rockabillies were actually very forceful and forced and self-consciously hip in their time, but nonetheless this sounds a thousand times more natural than modern music. The song's only OK, but the performance is ace.
--TRACK ONE: This starts like a good sharp rock song, the sort of thing Seger or the Stones once did, though with background hum, smashing glass, and distant shouts. Then it fuzzes into a mood piece without losing its drive. But the singer isn't quite there, so eventually it does lose its drive. This'd have been my favorite track with even a half-alive singer.
--TRACK TWO: This starts electro-fuzzy, then morphs into pop, then into metal. Is fascinating. Raised a notch for puzzling me. Jel? Good work, anyway.
My draw:
--TRACK FIVE: Good beats, wavering "odd" female voice, the sort that I generally hated until Marit Larsen started doing it. This isn't Larsen, unfortunately, but someone with her head up her ass; but it builds force, so even though the singer asks us not to try to save her (familiar theme) the beats and rockingness do save her.