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Showing posts with label White Lung. Show all posts
Showing posts with label White Lung. Show all posts

Thursday, February 25, 2016

Best New Tracks - Pitchfork: White Lung: "Hungry"


Best New Tracks - Pitchfork: White Lung: "Hungry"

Link to Best New Tracks - Pitchfork

Posted: 24 Feb 2016 08:00 AM PST



In the press materials for their upcoming LP, Paradise, White Lung's formidable frontwoman Mish Barber-Way tells St. Vincent's Annie Clark that "There's this really stupid attitude that only punks have where it's somehow uncool to become a better songwriter." This is a particularly prescient statement in light of "Hungry"—Paradise's blistering lead single. While previous White Lung tracks often balanced a slowly burgeoning pop sensibility against messy, screamy, unbridled aggression, "Hungry" leans heavily on the former—a three-minute contained explosion of darkly melodic power pop that favors finesse over noise. "You are never safe from yourself," warns Barber-Way, as the song barrels ahead. Propelled by ringing guitars and Cure-appropriate backing synths, the track is a tightly-wound, catchy-as-fuck invective played at a polished, breakneck velocity.

It's fitting that a band ostensibly teetering on the edge of a major breakthrough would lead with a single like "Hungry." Lyrically and in sound, it seems to address the frequent conflation of an abject hunger for fame and the more basic human desire to simply be seen and heard. To that end, "Hungry" captures a band deftly navigating the perils of aging punkdom—acknowledging that accomplishment doesn't necessitate compromise while still nodding at how any kind of celebrity can chew you up. "It's the only goal," sings Way, "Watch it all break, swallow you whole." It's a conundrum the band smartly addresses by casting criticism on basically everyone, but namely on themselves. "Baby, you're weak. Baby, you're starving," sings Way, before also checking herself. "The star will melt, but we're all hungry for it."


Tuesday, October 8, 2013

Best New Tracks - Pitchfork


Best New Tracks - Pitchfork

Link to Best New Tracks - Pitchfork

Posted: 07 Oct 2013 01:06 PM PDT
White Lung frontwoman Mish Way adopts a markedly deeper, gravelly tone on the Vancouver power-punks' new single "Blow It South", compared to their last year's Sorry—but, that record is more about rage than manipulation. They've made peace with most of those tormentors now, and they're out for blood, because they can. "Blow It South" is a relentless aural beating laced with loopy metal riffs that bind the quartet's all-everything-all-the-time rage to Way's typically predatory melodies, but on this song (the A-side to a 7-inch out November 5 (digitally October 28) via Deranged and on November 11 in the UK via Sexbeat) her darker howl sounds like a calculated step forward, one far more suited to the sinister pathology her band embraces with a song about releasing someone else's (sexual) demons-- whether or not that person is enthused about the idea.

Tuesday, July 16, 2013

Musique Non Stop | eMusic Electronica


Musique Non Stop | eMusic Electronica

Link to eMusic » ZZ

Posted: 15 Jul 2013 06:00 AM PDT
From the fiery blast of White Lung to the superb showmanship of R. Kelly to the rowdy, jagged guitars of Parquet Courts, we’ve got you covered when it comes to who you should be seeing at Pitchfork Music Festival in Chicago’s Union Park this weekend.

Want eMusic’s take on this year’s festivities? Be sure to follow our Twitter account and visit 17 Dots throughout the weekend for our editors’ complete coverage.

Bjork

  • Biophilia album cover

    Biophilia

    Björk
    2011 | Nonesuch
    Twenty-seven years into her career, Bjork is running the risk of becoming a pop music Alexander the Great, weeping for there are no more worlds to conquer. She has reconfigured her sound in nearly every conceivable way, moving from adventurous electro on the still-classic Post through skewed orch-pop (Vespertine), voice-only compositions (Medulla) and globe-gobbling world music (Volta). She is one of a very few musicians — there are maybe three of them... worldwide — whose rare failures are even interesting, because they at least display evidence of ambition and novel ideas. That ambition extends to her staging. A run of shows at the Hall of Science in Queens, New York featured specially-constructed instruments and a loose theme (including voiceover narration) about the destructive power of nature. How much of that she'll carry into her festival performances remains to be seen, but if history is any indication, an equal won’t be found all weekend. — J. Edward Keyes
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R. Kelly

  • Write Me Back (Deluxe Version) album cover

    Write Me Back (Deluxe Version)

    R. Kelly
    2012 | RCA Records Label
    When R. Kelly toured in 2007, he first appeared in silhouette, wearing a top hat, standing at the top of a giant staircase, underneath a neon sign that read "Mr. Showbiz." When he toured in 2010, his first appearance was in a five-minute black-and-white, note-perfect Casablanca-style short film. When he toured in 2012, he had two lackeys bring out an oversized white throne halfway through the show just so he could... sit relax for a number. Simply put: R. Kelly is a showman, and the live setting is where he gets to indulge the frustrated musical theatre director within. Songs become set pieces (In '07, he performed "Feelin' On Yo Booty" as an aria, tongue firmly in cheek), the banter is tautly-scripted and generally hilarious, and Kells visibly relishes every indulgent flourish. To say nothing of the fact that he remains one of our greatest living male vocalists, that he sings live every time, and that even 30 seconds of hearing him reinforces the notion that he is the heir to greats like Sam Cooke and Marvin Gaye — even if those two never used an extended jungle metaphor to sing about doin' it. — JEK
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