Last Seen Blogs
Text
12” x 12” Oil painting of Damon Albarn on course-grain gesso board.
Credit to photographer Martyn Goodacre for the original black & white reference image.
96 notes
·
View notes
Text
School students in Niamey, Niger burn a cardboard cut-out depicting French president Macron as a vampire.
7K notes
·
View notes
Text
sometimes i forget about this brilliant little back up blog
1 note
·
View note
Photo
‘Americans want grungy people, stabbing themselves in the head on-stage. They get a bright bunch like us, with deodorant on, they don’t get it.’ Liam Gallagher
118 notes
·
View notes
Text
Self titled sweep, I just listened to both last night and ST has it
Round 5 - SEMIFINALS
It's the battle of albums and anime in 1997! Which will be the last album standing?
Blur's Self-Titled: And when she lets me slip away… Some bands make their debut with an eponymous album (Placebo did the year before, as would Albarn's second great success Gorillaz) but Blur knew that declaration of self-actualization was worth saving. Blur (1997) is the fifth studio album by the acclaimed English pop-rock-alternative-shoegaze-anything that'll stick-band of the same name, fronted by 90s coverboy Damon Albarn. The album brought us the singles Beetlebum and Song 2, the former of which debuted at #1 on the UK charts, and the latter of which would properly break in the US and give the band the footing on American soil they'd previously missed. Woo-hoo! Despite its mainstream success-- the album is certified Platinum, and saw greater success alongside their American alternative peers than any album prior-- Blur (1997) has a distinctly more experimental sound than their Britpop classics and explores rougher indie production sentiments. Guitarist Graham Coxon centers his widening musical tastes and produces some of his proudest work, while Albarn has stated that the track On Your Own may be regarded as the first taste of Gorillaz-before-Gorillaz. Although it would not be the end of the road for the band's internal turmoil and eventual reconciliation, it would come to represent an era of growth and emotional authenticity in their music.
Radiohead's OK Computer: I go forwards, you go backwards, and somewhere we will meet. By the middle of the decade, Radiohead was weary of the ubiquity of their 1993 hit Creep; although the record that followed it (The Bends) was a lusher, more evolved album than their first, it had failed to produce a distinctive enough image for the band to undo what Creep had done. The song threatened to define the band entirely to those outside their devoted following. In 1997 the band swung for the fences with the haunting, abstract OK Computer. It was a move their label cast immense doubt on at the time, and its success then and now would cement Thom Yorke and his bandmates as soothsayers of a sort, draped not in bohemian silk robes but in white hospital sheets. It's an album that speaks to the future with dread more than wonder, that critics described as "nervous almost to the point of neurosis," but marries the uneasy experimental soundscapes with poetic, surrealist, and increasingly prophetic songwriting regarding the parallel lives we lead with technology. Featuring the singles Karma Police, Paranoid Android and No Surprises, OK Computer is hailed by many as the band's magnum opus: it's certified double Platinum in the US and five-times Platinum in the UK, and in 2014 it was included in the United States National Recording Registry as "culturally, historically, or aesthetically significant."
106 notes
·
View notes
