Yeah The Soft Moon is very unique, I think his sound is getting more industrial and experimental with each release. I prefer post-punk so some tracks are challenging for my ears but I’m glad he’s pushing the boundaries and doing his thing!

I had no idea this collab existed. Thank you Aussies for educating the rest of us 🙏

Loved Garbage when I was a 90s kid and I still love Garbage now. No Gods No Masters is an album that goes pretty hard and it’s a whole double album.

Totally discovered Garbage from playing Gran Turismo 2 😂

I live in Manila and there’s basically two seasons: hella rain vs no rain. We’re in the hella rain period. This is when all the typhoons, monsoons, storms, floods, etc. happen and it goes on from June to November.

So to commemorate the middle of the rainy season, here’s a live performance by Lola Amour performing “Raining in Manila”. I’m not familiar with them but the song is a little jazzy and all the dudes crammed in that bus are totally all in sync.

Youtube: Lola Amour performs “Raining in Manila”

Genius: English translation

THIS SONG NEVER AGES I will stan Ladytron forever

Boy this is a lot. Are there ones you personally listen to?

Needles In The Camel’s Eye by Brian Eno

Elements of this sounds extremely early 90s alternative to me. He was so ahead of his time.

Why did a Girlschool song start playing in my head? 🤔

The Arcade Fire’s Haiti

https://youtu.be/tGvpUgo7ayY Controversies with members of the band aside, this song makes me cry every time. I have no connection to Haiti but the poignant vocals really pulls at your heart strings and makes you mourn for a lost homeland. The French lines really help too.

Nope it’s English, it’s an Irish-Filipino production. Most of it is filmed in Ireland and there are some flashback scenes in the Philippines but they’re subtitled.

I like the movie, it goes in really surprising places. I haven’t seen another English-language horror movie covering global south labour exploitation so it deffo gets bonus points for that one.

Nothing wrong with liking pop but she has vastly more money than I will ever earn. I rather support indie or up and coming performers that won’t take my financial support for granted.

Also helps to enjoy a wide variety of music so if one scene is getting overpriced or doesn’t tour your area, you can still enjoy and support other acts.

I’m so glad dynamic pricing does not exist in my part of the world. I’m still paying the price though because I watch a lot of kpop and boy is there a kpop tax 💀 💀 💀

Different song on the same album but Ghost has such a banger cover of Nocturnal Me

https://youtu.be/mTdaLHyXIAk

I feel like a moving target whenever I say I greatly prefer Echo & the Bunnymen over The Cure BUT I can’t help it, their kind of 80s post-punk neopsychedelia is so good. Love all their albums from Crocodiles to self-titled, although I need to check out their later stuff.

Yessss link it to us!

I found Lemmy because I learned I could crosspost my relevant Mastodon posts to a Lemmy community. That’s an easier way to get more posts, because I can get engagement from either Mastodon or Lemmy and it doesn’t feel like I’m posting on a dead forum just to be forgotten about. Also I find myself checking up on that Lemmy community directly to see what other people are posting, because viewing the content from Mastodon is too messy.

Not sure if Antic Clay’s Hilarious Death Blues is a concept album but man it’s the darkest double album I’ve ever listened to, to the point that I would not recommend listening to it while depressed or going through some serious shit. It’s a journey through an apocalyptic Americana and its very convincing in its beautiful hopelessness. It’s Cormac McCarthy’s Blood Meridian made into sonic flesh.

Bandcamp: https://stickfigurerecordings.bandcamp.com/album/hilarious-death-blues-double-album

I’m a huge fan of the album and it was immensely influential in turning me into a life long lover of post punk. One of the hosts loves the album dearly as well.

The concept of the podcast, Kitschfork, is for the millennial hosts to reexamine favs from the Pitchfork era without the lens of hype or nostalgia.

The podcast episode goes over the album in song order and plays a snippet of each song. The lyrics are made fun of in the context of the album’s concept, and Paul Banks being very pretentious about his writing process and intentionally cultivating a seedy party boy persona for the band that he can’t live up to. They also discuss what makes the album good sonically from a musician’s POV.

Daniel and Sam seem really chill but Paul and Carlos’ interview responses have not aged very well. I’m perfectly fine with the idea of roasting some bad lyrics from 20 years ago when the work is appreciated in its entirety, good and bad.

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She went all Morrissey😞