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#popmusic
Tom Breihan: The Number Ones: Blondie’s “Heart Of Glass” (Stereogum)
Tom Breihan: The Number Ones: Blondie’s “Heart Of Glass” (Stereogum)
Chapman and Blondie also used plenty of other little tricks on “Heart Of Glass”: digital reverb, multi-tracked guitars, echo machines, a Minimoog, Chapman’s own backing vocals. It’s a beautiful piece of recording, all these sticky and hazy interlocking pieces combining together into a sighing, rippling landscape. Parts of it — Clem Burke’s lockstep drums, Nigel Harrison’s funky and vaguely Chic-esque bass-pops — sound truly disco. Other parts sound like rockers in an expensive studio attempting to figure out how the Giorgio Moroder magic was made. The whole thing glimmers and flutters and fades like a mirage on the horizon. It’s beautiful.
·stereogum.com·
Tom Breihan: The Number Ones: Blondie’s “Heart Of Glass” (Stereogum)
NYMag: We Must Be Superstars by Nitsuh Abebe
NYMag: We Must Be Superstars by Nitsuh Abebe
“And if you want to talk about pop music between 1980 and now, that issue—the question of who’s singing and who’s being sung to—is an important one. The study assumes that hit singles in the eighties and hit singles in the new millennium play the same role in our culture. But over the past 30 years, the weekly charts have seen changes a lot more significant than any surge of ego. It’s not just that pop’s audience has changed; it’s that its whole purpose has.”
·nymag.com·
NYMag: We Must Be Superstars by Nitsuh Abebe
Clem Bastow: Katy Perry — Teenage Dream
Clem Bastow: Katy Perry — Teenage Dream
“Perry’s ouevre is nasty, sticky and a little bit stupid; it’s a kind of Hello Kitty-themed update on Carry On; fruit-scented lube on a rather imposing black dildo. It works perfectly because the American ideal of the teenager - wholesome and optimistic - is of course at odds with its reality of unprotected sex and casual drug use.”
·clembastow.tumblr.com·
Clem Bastow: Katy Perry — Teenage Dream