GOTYE LYRICS - Somebody That I Used To Know [Gotye:] Now and then I think of when we were together Like when you said you felt so happy you could die Told myself that you were right for me But felt so lonely in your company But that was love and it's an ache I still remember You can get addicted to a certain kind of sadness Like resignation to the end, always the end So when we found that we could not make sense Well you said that we would still be friends But I'll admit that I was glad it was over But you didn't have to cut me off Make out like it never happened and that we were nothing And I don't even need your love But you treat me like a stranger and that feels so rough No you didn't have to stoop so low Have your friends collect your records and then change your number I guess that I don't need that though Now you're just somebody that I used to know Now you're just somebody that I used to know Now you're just somebody that I used to know [x2] Somebody (I used to know) Somebody (Now you're just somebody that I used to know)
Psychoactive Soundscapes - 20 Mind-Bending Psychedelic Albums of 2012 - REDEFINE magazine Well, it’s now past the supposedly prophesized Mayan apocalypse, and of course no obvious signs of eschatological judgment have been wrought down upon us, which was much to be expected. There is something else we need to address though, before we can just write this shit off for good. If you were paying any attention to what those of the neo-spiritualist ilk were saying for the last decade or so, the conversation always involved a shift in consciousness rather than a rogue asteroid raining fiery death from above. Nobody said it’d be instantaneous. Prophecies regarding a sudden massive shift in the perceptual limitations of our species always struck me as being beyond improbable. Whereas I’d be the first to admit that more of us these days are getting turned on to the higher cosmic functionalities of our brains, I’d also point out that it’s probably little more than a numbers game. But it’s not like all hope for a revolution is lost, the times — they are a-changin’, after all.
Harriet Wheeler « Sirens of Song Harriet Wheeler has been out of the public eye for quite some time now, but that doesn’t mean she’s not missed. It’s been over 10 years since their last album (wow!) yet I get more emails and comments about Harriet Wheeler and the Sundays than anyone else. If you’re ever feeling reminiscent, youtube has a great collection of Sundays interviews and videos, including their video for Summertime! While you’re here though, why not leave some comments about Harriet and the Sundays! Image Gallery Below are just a few pictures of Harriet Wheeler from various videos and TV appearances. Concert Review 9:30 Club (Washington, DC – 12/3/97) December 3rd, 1997 will go down as one of the best days of my life. Summertime Homeward She What Do You Think When I’m Thinking About You Here’s Where The Story Ends Can’t Be Sure Joy Medicine Another Flavour Hideous Towns Monochrome My Finest Hour Goodbye I Kicked A BoyTurkish* Cry *clip from a Vancouver performance (3/15/93), not the D.C. show Albums/Singles 1. 1.
Recoil - Supreme Lyrics Highlight lyrics and explain them to earn Karma points. Supreme talks about his baby's mother like a whore. Sweet sixteen she is, With future Uncertain, Love Incomplete. So, This is the Nuclear family? Supreme leaves out before Mommy comes kick his lazy narrow behind back onto the street. Being there is all there is. Monday at three, The baby's mother waits, Jr. in her arms, Patiently at the door, Doesn't know what she misses. Lyrics taken from First Listen: Steve Martin And Edie Brickell, 'Love Has Come For You' Steve Martin and Edie Brickell's first album together, Love Has Come for You, comes out April 23. Courtesy of the artist hide caption toggle caption Courtesy of the artist Steve Martin and Edie Brickell's first album together, Love Has Come for You, comes out April 23. Audio for this feature is no longer available. For all his wry self-deprecation, Steve Martin has never been a musical tourist: The actor, comedian and author has been passionate about the banjo for decades, and trotted it out on stage at every opportunity in the years leading up to his decorated recording career. Martin's impeccable taste in collaborators — most notably the pros in The Steep Canyon Rangers — merits admiration on several fronts, starting with the fact that, if he couldn't hold his own next to the best players around, fans would surely notice. If Love Has Come for You gives Brickell's profile a boost, that'll be all the more reason to celebrate a record whose charms were already plentiful.
Karin Dreijer Andersson Karin Elisabeth Dreijer Andersson (born 7 April 1975), also known by her stage name Fever Ray, is the lead vocalist of the electronic music duo The Knife, formed with her brother Olof Dreijer. Andersson was previously the vocalist and guitarist of the alternative rock band Honey Is Cool. Andersson released her debut solo album under the name Fever Ray in 2009. Her vocal style is notable for both shrill and deep tones, and also the use of multitracked vocals, with different uses of pitch-shifting technology on each track, creating an intricate and mysterious effect. Solo work[edit] In 2009, Andersson composed the soundtrack to Dirty Diaries, a collection of feminist pornographic short films. Andersson performed as Fever Ray at the 2010 Coachella Festival and received positive reviews.[4][5] In September of the same year, she performed at Electric Picnic in Ireland and at Bestival in England.[6][7] Collaborations[edit] Personal life[edit] Discography[edit] Albums[edit] Singles[edit]
Fever Ray (album) Pitchfork Media's argued that, in contrast to The Knife's "plasticky percussions and goofy synth sounds", Fever Ray "brims with fragile, more finely articulated sounds" and "moves at roughly the same pace and with the same general tone, rendering some of the songs indistinguishable at first, but committed listens will reveal this to be as nuanced and as rich of a production as anything either Dreijer has done."[10] The A.V. Club's Chris Martins viewed it as being "countless times more claustrophobic and creepy than Silent Shout" and stated that "[t]he vocal transformer is such a huge part of what Andersson does—androgynizing her words to accompany the cold music, mimicking the synth warbles and sustained tones that abound. All lyrics written by Fever Ray, except where noted. Credits for Fever Ray adapted from liner notes.[32]
LISTEN: Stream Anna Von Hausswolff's LP Next week, City Slang are giving Anna von Hausswolff's second album of dark-hued, cinematic pop Ceremony a worldwide release. Listeners in her native Sweden, where it's already out, will have already wrapped their ears around it, but for the rest of us we're pleased to host a full stream of the album - listen below: Says von Hausswolff of the album: “I didn’t just want Ceremony to be a collection of songs. I wanted it to be like a film, with every single part connected to the other, with shifting moods and settings, but a thread holding all the tracks together. She recorded part of her follow-up to 2010's Singing From The Grave in her hometown of Gothenburg, making use of the Annedalskyrkan cathedral's organ, as evident on the sweeping sprawl of 'Deathbed' - have a watch of the video below: SEPTEMBER Sat 21 - Amerikaans Theater, Brussels, Belgium Fri 27 - Reeperbahnfestival, Hamburg, Germany
KCRW Presents: TOKiMONSTA This Album was Recorded under the Influence of Sahlep: Aphrodite's Child's 666 Aphrodite's Child were a Greek progressive rock band formed by the iconic film composer Vangelis in 1967, featuring Demis Roussos on bass and vocals, Loukas Sideras on drums and vocals, and Anargyros Koulouris on guitar. In 1972, they released 666 (The Apocalypse of John, 13/18), a sprawling, magnificent, and occasionally bonkers double concept album based on every rocker/stoner/teenage boy's favorite section of the Bible. Here's a taster: The album was a hard-sell to the record label suits from the get-go. picture from the magic robot