Admit it. The only reason you listen to "obscure" music is due to the fact you can't compete within the realm of traditional masculinity. It's a paper thin facade, anybody with eyes can see through it.
Ultraviolence (Interscope, 2014), produced by the Black Keys' Dan Auerbach, jettisoned the hip-hop beats and, by that single move, achieved a much deeper sense of sincerity. Cruel World is the ultimate cry of loneliness, with psychedelic overtones and reminiscent of Jim Steinman's teen melodramas (the melody spirals up in a manner similar to Bonnie Tyler's hit Total Eclipse Of The Heart). West Coast is a blues lament derailed by details such as a soprano surge and a vintage guitar twang, which appropriately segues into the slow-burning, martial, plantation chant Sad Girl, perhaps the peak of pathos. Shades Of Cool weaves its tenderness around a desperate melismatic yodel, a waltzing tempo and a stoic guitar solo (and well disguised is the influence of Janis Joplin on this structure). It gets even sadder than that, in the funereal Pretty When You Cry, whose grandiose finale borrows from Kate Bush and Pink Floyd. The rest is filler. As a five-song EP, this would have been a masterpiece.
WAT DO: >be me >intern at production house for the summer >recently turned 18, so fucking young still >super hot employee approaches me, shes a bit older >recognizes, me listening to the Merzbow Xiu Xiu collab. >we hit it off >she likes om, Godspeed u black emperor, swans, king dude. >we spend all the time talking rather than working, but it was a chill place so no one cared. >she starts getting a lil close w me, asking me to help adjusting her clothes n stuff, getting touchy. >i think she likes me at this point >summer ends, she stays there, i leave the job. >we still talk online time to time. >WtfShldIDo.exe??????