The beginning of this song builds up to this one point with tons of leading-tones and no payoff until finally the “chorus” pops up and it’s just this weird understated flourish thing that then repeats itself over and over again throughout the rest of the song. I love that part. That’s the only reason I’m posting this song. Also, I wanted to show off the fact that I know what a leading-tone is.
“In the days before machinery men and women who wanted to amuse themselves were compelled, in their humble way, to be artists. Now they sit still and permit professionals to entertain them by the aid of machinery. It is difficult to believe that general artistic culture can flourish in this atmosphere of passivity.”—Aldous Huxley (via nathanielstuart)
Let’s assume we’ve all seen The Graduate. Remember those last twenty seconds, set to this song? Ben just “saved” Elaine, a girl whom he is convinced is the love of his life, and they’re sitting on that bus together driving off to who knows where (we just know where it’s not). They’re excited, she’s free from a loveless marriage, and they’re ready to grow old together.
But then, Paul Simon’s words echo out: …and the vision that was planted in my brain / still remains within the sound of silence. As quickly as the moment had come it had gone. Their glee fades from their faces and we see the bus from the rear. Fade to black, credits. We realize then that true love is not what we’ve just witnessed—it was youth: behaving on impulse, emotion, and desperately attempting to establish something known and tangible in a lifetime of terrifying uncertainty. Most of us can relate to that.
Between the impressive guitar work, a bassline that is both subtle and yet clearly there, and just really neat drumming, there’s enough to like about Life Without Buildings. But as the song builds and lead singer Sue Tompkins breaks down her shouty singing (that most people either love or hate) and settles down into “should i wait for you?”, something becomes painfully clear; you are listening to Sue’s freakin’ diary, an emotional, stream-of-consciousness look into her mind and soul.
Manchester, UK electro-pop duo Theo Hutchcraft and Adam Anderson. Formed in 2009, elegant and enigmatic HURTS have their sharp suits, slick hair and stark visuals. Theo and Adam present a striking contrast to the glow-in-the-dark pop stars who have run amok across the charts of late. Looking like they would rather be on the cover of Vogue Hommes than NME or Smash Hits, the pair resemble Tears for Fears as shot by Anton Corbijn. Hurts have recently released their first single “Better Than Love” and toured the UK and Europe during the summer of 2010.