A Zen Garden CD given to you by a programming teacher from six years ago turns out to be just the thing you needed to listen to while you meditate.
A review you wrote for Björk’s “Debut” (1993) no longer reflects the way you feel after you’ve listened to the album another fifty times.
The first game you ever played on a GameBoy Color still holds up fourteen years later, and playing it on a GameBoy turns out to feel incredibly more intimate than on an Emulator.
A venue you visited just to see Anamanaguchi five years ago takes you on as an event promoter and becomes the thing on your résumé that all employers ask you about.
A song you uploaded on MySpace eight years ago puts you in touch with a girl who lives eight hours away, who sparks an interest in hard apple cider that would come in handy during your Junior Year of college.
The song that played during the credits of This Spartan Life put you down a path of chip tune appreciation, which spawns a friendship with somebody eighteen years older than you.
Vampire Weekend still reminds you of sitting on an airplane waiting to return to your first love.
Looking back at 2013, and I’m realizing how many new albums came out this year that I cared about.
Deadmau5, Daft Punk, Vampire Weekend, Nine Inch Nails
and MIA, Franz Ferdinand, and The Fratellis have albums coming out soon too!
So, I’m writing this little blurb right now just as a personal reminded that I need to listen to the new NIN album, and a commitment of sorts to try and review some of the albums that have came out in 2013.
Also coming out this year: new Beck music, new Arcade Fire, new Dale Earnhardt Jr. Jr, new Yeah Yeah Yeahs, and new Queens of the Stoneage.
You understand? This is the year my iPod explodes.
Roses is a self-described “Romantic Rock’n’Roll Synthpop Band,” and while my experience with Synthpop may be limited I totally understand what they mean by Romantic Rock’n’Roll. Roses’ EP is a braid of soft keyboards, pulsing sin waves, clean guitars, and modestly pretty voices. The band has a particular way of describing painfully obsessive love. The third track, So Very Wild asks the question “How can I love you when you’re so very wild?” with a sense of romantic honesty that reminds me of Vampire Weekend’s “Modern Vampires of the City” (2013). Sometimes words fail us, and Roses doesn’t shy away from occasional non-linguistic chorus of “la’s” or “oh’s,” not unlike the The Fratellis’ sing-along-bar songs, if that particular bar was a little bit quieter and somber. My favorite thing about Roses’ EP is how they let songs step in both Romantic Rock’n’Roll and Synthpop. It’s not like they sat down and arbitrarily decided one song would be Rock and one song would be Synthpop, each song has a little bit of both and it makes for a dynamic and interesting listen on top of being catchy and pleasant.