2015 made for an intriguing year in music and culture. From the drab mystery that is Trump to Oxford’s word of the year, the line between the joke and the genuine is no longer the dichotomous divide it once was (e.g. the new and improved Bieber condition).
Claire Boucher, aka Grimes, announced this week she’s launching her first artist co-operative Eerie Organization, along with signing her first artist – a Canadian music named Nicole Dollanganger.
I came to feel as if the city was only vaguely aware of its party brand, possibly, even, in denial about the true nature of it, as if choosing to perceive the inexhaustible art scene as some sort of “accident” or “coincidence.”
After Pitchfork excerpted large chunks of her best-of-2012 music list, she deleted it, saying, “my tumblr is not a news source.”
There’s no need to pay me for these ones, Mr. President, I’m used to working for free or school credit.
Do I want to be one of those people who’s an “expert” on Marcel Proust and can wax nostalgic about trudging through all 4,211 pages of his greatest series?
I think if Kitty Pryde and Grimes made a track together Tumblr would break.
Halfway through the set, Devon Welsh began to assert himself as a completely refreshing offering in a sea of understated, homegrown electronic music.
There are those titans of our music-listening devices, the artists we’ve listened to so many times we’re embarrassed to tell anyone just how many (126 listens to Lauryn Hill’s “I Used to Love Him”? Am I diseased?).
The job of an interviewer is difficult: how to extract humanity from a person who spends hours being asked the same questions by dozens of people? How to get them to share something they wouldn’t share with any of these other people?