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girls-are-very-pretty · 4 years ago

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Hi! So I talked to my friend about the movie The Great Gatsby earlier and I said the movie is better than the book and he thinks the book is always better than the movie, so I wrote up a thing and sent it to him that is 3 reasons why the movie is better than the book, and I actually think theres some very good points here and I got enthusiastic about it so I really want to share it, so I’m going to. Hopefully someone else has opinions because while I personally think the movie is better and theres many reasons beyond the scope of this three point list, I am always interested in hearing new perspectives and opinions, so like don��t yell at me because I get hurt easily but like tell me what you think:

Reason why I liked the movie better than the book Number One: In the movie it starts with Nick Carraway in an institution, it uses his therapy to reflect upon, and in turn play out, the story. This is excellent because not only does it leave you wondering what lead up to this (if you haven’t read the book), but it also expresses and implies that the events in the story have a lasting impact. That they exist beyond the scope of the immediate tale, that the characters mean something both in general and to each other. The events of the story affect Nick Carraway in such a profound and deeply distressing or painful way that he was left with no option but to go to an asylum in what I assume is the 20’s-30’s which was never really the preferable option.

Reason Number Two Why I liked the Movie Better: The Actors. There's that one scene around the middle where daisy and Gatsby are in Gatsby’s house and they tour it and daisy says its beautiful, and Gatsby throws shirts at her and she says they’re beautiful and that he’s ruining them.

When we read the book all we know of Daisy is that she seems to be shallow, always wants to have money, this seems to be proven when she remarks on the beauty of his house and the clothes but the key difference is the actors. In the book you can’t connect to Daisy at all, she’s functionally emotionless.

But in the movie she’s beautiful and vivid, when she’s with her husband she’s always quiet and does whatever he says, but when she spends the day with Gatsby and Nick, she’s loud. She breaks things and Gatsby looks at her like she hung the stars herself, so she keeps going. They play around and she talks about dancing in the big hall. She jumps on the bed and twirls around. Then, when he throws the shirts at her, she isn’t looking at them. She says they’re beautiful but she’s looking at him. She’s laughing genuinely for the first time in the whole movie, and when she says “you’ll ruin them” she suddenly becomes sad, she collapses onto the bed and Gatsby runs to her as she tears up, she says “they’re just so beautiful” and looks across the bay to her house, but its a cover up. Its her realizing that she can make messes here, she doesn’t need to be worried about ruining things, her husband isn’t going to yell at her because she isn’t the prim, proper, beautiful, showpiece woman he was promised. Its her realizing she can’t have this and it’s all going to end when she gets home.

She loves Gatsby and she loves being treated like a person, someone who can express herself and break golf clubs if she hits things wrong and she won’t get in trouble for it. But she made her bed and now she must lie in it, no matter how much she hates it and desperately wants to leave. You can’t read that in the book, it’s simply not there, but the actors bring the characters off the page, they give them compelling reasons to have actions, you understand their emotions significantly better. And it's beautiful.

Reason Number 3 Why the Movie is Better: The music. The music is a mix of popular tracks by Beyonce and JZ but also by strong indie pop singers such as Lana Del Ray and Florence and the Machine.

The story happened a long time ago and we can’t always sympathize or connect with things that happen a long time ago but some of the more modern “radio tracks” you could say, help express the decadent era as something we can understand. Fun, light hearted, mischievous and dramatic. And then the other tracks come in, Young and Beautiful as well as Over the Love and they’re so emotional and dramatic and heart wrenching that even though these are rich people and we associate them with those other light hearted tracks because “money buys happiness” these tracks come in and show you its the complete opposite.

It’s a punch to the gut and the song sticks with you after the movie ends. This idea of money and decadence not being able to buy happiness is really what the whole story is about so the tracks support the main thesis so well in these subtle but powerful ways that I still listen to these soundtracks even now because they speak to a deeper part of the human condition. Its like even though the curtains have closed, humanity continues, life goes on and its tragic and brutal.

There's also a line in Over the Love where Florence says “there's a green light in your eyes” and it connects to when Daisy goes to Nick’s house and they both go to Gatsby’s. There’s a scene where she says “I can see my house, just across the bay,” and he looks at her and the light reflects in his eyes in such a way that the blue looks green for just a moment and its symbolic. There’s the green light on her dock marking her as forever out of his reach, and there’s the green light in his eyes. He’s out of reach as well because she’s married and has children. They’re both out of reach and there's nothing they can do about it.

The music brings it all together and I feel like I wouldn’t have noticed that little detail in that scene if the music hadn’t been filled with subtle nods to important parts of the story, just like the book has you read between the lines and make connections yourself, the music is the space between the lines. You have to really listen to it and if you do you feel like so much has been opened up to you, the movie is just as multifaceted as the book, you just have to give it the benefit of the doubt.

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wildefiction · 5 years ago

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Of Course...Mr. Collins

SEVENTEEN

Tucking your phone, room key, ID and credit card into a small shoulder clutch, you straightened your back, took a steadying breath and opened the door. You really weren’t a purse..person, (Purse person…what a funny thing?) but the alternative was sticking everything you needed in your bra, and something about that made you laugh.

Pulling your phone from the tiny contraption, you sent Norman a text to ask where he wanted to meet. As you waited for the elevator to take you downstairs, you sent Misha a text as well, letting him know you were on your way if he needed you for anything.

A few moments later, Norman texted you back saying he was running a bit behind, but that he’d be down shortly. Thankfully, this ride to the ground floor was without incident and soon you felt the warm evening air greeting you as you stepped out onto the Great Lawn.

As the convention attendees weren’t due to start arriving for another thirty minutes, the grounds were fairly quiet. Rob and the band were readying a sound-check on the makeshift stage the hotel had set-up along the oceanfront. Catching his eye, you waved before making your way over to him.

“Hey, hey good lookin’!” Pulling you into a tight hug, Rob stepped back from the embrace as Mike sauntered over to say hello.

“Can you believe we’re here Robbie?”

“Twenty years in the making eh?”

With a clap on the back, he moved to fuss over the amps. Turning towards the sea of empty tables in front of them, a sigh of contentment marked Rob’s happiness.

“Have you seen Misha anywhere?” Scanning the vicinity for your boss, you weren’t terribly surprised when you didn’t see him.

“He’s technically a surprise, so if I had to hazard a guess, I’d say check the pavillion.” Shrugging, Rob pointed to the row of canvas tents to the left of the stage. Apparently this convention was a big deal. You’d heard whispers through the fandom, speculating on whether Jensen would be performing tonight. Having never heard the man sing, you were looking forward to the possibility.

With another quick hug, you waved goodbye to Rob before jumping from the stage to land in the soft green grass bordering the set. People were beginning to trickle in now. Groups of two and three at a time turned into a steady stream as the sun started its descent behind the drum kits.

Noticing Mark leaning against one of the large white tables with an iced tea in hand you wandered over to say hello. You’d never officially met him, and he’d been one of your favorite characters on Supernatural. Slowly you were catching up on all of the other shows in which he’d made an appearance.

“Hey, Mark it’s good to meet you.” Pulling his gaze from the phone he held in one hand, the older man regarded you silently for a moment. Squinting as he hesitantly extended his, you hurried to introduce yourself.

“Ah yes, you must be the infamous Ms. [Y/L/N].” “That is a beautiful dress darling, I’m suddenly feeling self-conscious in my choices.”

With a smirk and a low chuckle he withdrew his hand.

“Please tell me you’re playing tonight Mark. I’ve been dying to see you on drums in person.”

Even though he had left the show the year prior, he still toured with the conventions and you’d seen videos of him participating in the concert on Saturday nights.

“ ‘Fraid not love, I havn’ played since I lef’ Supernatural. In fact, this is also my last year on the circuit.” As your face fell, you did your best to hide your disappointment.

“Don’t worry darling, I’ll still be around, just not with Creation after next month. Be sure and say hello if you see me elsewhere though.”

Glancing down at his phone, he looked back up at you, squeezed your shoulder and excused himself before wandering away through the maze of tables.

Suddenly you heard the melodic sound of Misha’s laughter. Looking up, you scanned the crowd and noticed him across the lawn taking a picture with a fan who’d literally walked straight into him while staring into his phone. Smiling, you moved to join him. Despite the terrible way he’d handled himself, you couldn’t seem to stay upset when you were near him.

Maybe you were moving on from the un-necessary petulance you’d felt, or maybe it was just Misha’s personality. Rather than his name however, a sharp intake of breath came from your mouth when you felt warm arms wrap around your waist from behind.

“Heya Sunshine..” Whispered words curled around your ear, chasing a shiver down your spine. Spinning you in his arms, your breath caught briefly as Norman stared down at you.

“Ya look amazin’…jes beautiful.” Flushing at the unexpected compliment, your eyes darted to the ground.

“You don’t look so bad yourself Mr. Reedus.” With a half smile you stepped back to admire the man standing before you. His dark auburn hair fell in messy waves over his blue eyes, as it always did. Although he still wore jeans he’d switched to a dark distressed pair, the legs haphazardly pulled down over tightly laced boots. In lieu of the Henley from earlier, a black band tee took its place. The soft cotton fabric stretching over his broad chest and thick arms caught your attention as he pulled you into his neck for a hug and tightened his grip. Inhaling deeply, you sighed as the smell of worn leather and fresh-turned dirt surrounded you.

****************************************

“I promise, I’m fine. It was great to meet you too!” Pulling his hand from the man’s shoulder, Misha lowered the dark glasses from where they rested in his messy hair to cover his eyes as he threaded his way through the crowds in search of you.

He’d noticed you talking to Rob earlier and headed in that direction, his stride confident and filled with purpose. Scanning the crowd at the front of the stage he intently sought the black and blue dress you’d been wearing. When his gaze shifted and found you standing off to the side of the lawn he smiled, intent on telling you how gorgeous you looked. His steps faltered and the smile he’d been wearing moments before dimmed as Norman walked up and wrapped his arms around your waist. [Y/F/N] laughed at something he said, turning in his arms to brush hair from his face. Even though he had no valid reason to be upset, his stomach twisted into knots, a dull ache blossoming in his chest.

One thing was certain, Norman certainly seemed authentic in his efforts. Misha smiled sardonically as the other man pressed his lips to [Y/F/N]’s temple, tucking a white flower into her hair before settling an arm casually around her waist and pulling her into his side.

**********************

When the lights dimmed and Rob took his place center stage the crowd erupted into a cacophony of cheers and screaming. A permanent grin settled into place immediately. You thoroughly enjoyed seeing everyone support Louden Swain. Although you’d only discovered the band a few months prior, it hadn’t taken long for you to become a fan. Raising your arms over your head, you clapped and cheered as loud as the rest of the audience, hips and the gauzy fabric draping them beginning to sway to the Indie Rock.

Shifting from his place at your side, Norman moved to settle his arms across the front of your hips, pulling you in against his solid frame. When his lips pressed themselves into your hairline you stilled, the lilting sounds of the band drowned out by your suddenly racing heart. As simple of a gesture as it was, the lingering feeling ceased to fade, even after he had pulled back.

“You’re really taking being my date seriously eh?” Twisting your head to look up at the man behind you, a playful smirk ghosted over your face.

“O’ course, why wouldn’t I?” Shrugging, you turned back to the stage where Rob had started singing one of your favorite Louden Swain songs; Pop-Tart Heart.

“If’n ah didn’t enjoy spenin’ time witcha, ah wouldn’t. I don’t do pity dates [Y/F/N].”

“Well, as much as I’m enjoying myself, I should probably go check in with Misha. Work beckons ya know?” Squeezing his arms around you once more, Norman nodded before stepping back.

“I’ll be here when ya get back. These guys are pretty good.”

Winding your way through the group of people who’d drifted their way to the front of the stage, you spotted Clif hanging back by the group of tents set aside for the guests.

“Hey Clif!” Waving to the surly looking man, he nodded in your direction as you approached.

“Is Misha in there?” Craning your neck around his massive shoulders, he laughed at your attempts to see passed him.

“Yeah, go on in [Y/F/N].” Holding the curtain aside for you, Clif stepped away from the small door. Immediately you were greeted by a wall of hired muscle, perma-frowns etched into their tanned features. Black suits, and tinted wrap-around sunglasses glared back at you as their arms crossed over their chests.

“Hey, I don’t think we’ve met, I’m [Y/F/N].” The men didn’t even look at you, their gaze trained straight ahead.

“Uh..alrighty then. Hey, Misha?!”

“Yah?” Smiling as he poked his head through the men, his attention landed on you, expression turning to stone.

“[Y/F/N], hey c’mon in.”

Turning from you he gripped the hem of his t-shirt and pulled it over his head, carelessly discarding it on an empty chair across the room.

“Thought I’d check in to see if I could help with anything. Haven’t heard from you today really.”

The earlier sheepishness had returned, and you looked anywhere but at the man in front of you, his perfectly tanned skin framed by low-hanging denim.

The tension in the space between you was thick enough that when Jared sauntered over to say hello; tossing an almond up in the air before snapping it into his mouth, he nearly choked.

“Woah, [Y/F/N], you look amazing! Doesn’t that dress…wow?!” Nudging Misha, (who was too busy pulling on his button up shirt to even bother making fun of the taller man for nearly choking on nuts) he threw an arm around his shoulders, intent on asking if he too thought you looked great.

“Oh, uhm..yeah. S’nice.” At Jared’s questioning expression, you sighed, shaking your head by way of explanation.

“Y'all okay?”

“Yeah, I think so, we just gotta sort some things out.”

Turning your own now icy stare towards your boss, you looked pointedly at the man, while still addressing Jared.

“Just got some…kinks..to work out.” “Still gettin’ used to each other is all.”

With a worried grimace, the taller man held his hands out in front of his body, as if to keep himself out of the conversation.

“Alright, well I’m.. just gonna…I’ll see y'all later.” Leaning over to whisper through your hair, Jared placed a large hand on your back, “don’t be too hard on him eh? I know y'all just met, but he cares for you.”

With that, he strolled off across the room, hailing Jensen as his brother was ushered in the back door.

Tentatively, you reached out to touch Misha’s back, which was still turned away from you, his head held in one hand, the other resting on his hip.

“Mish?” “Can we talk?” With a heavy sigh, the man shook his head, running a hand over his face before raking his fingers through his hair.

“Sure [Y/F/N], what do you want to talk about?” Turning to face you, his expression hard, you were taken aback by his attitude.

“Really? Well, how about for starters why you mysteriously disappeared this morning after -” leaning closer so as to be out of ear shot of the others gathered in the room “-after what..happened.” “I’m assuming it directly relates to why you’ve ignored me all day? Also, what’s up with your sudden possessiveness over me?” “And third, whatever this -” waffling your hands between the two of you, you continued “-is, I need to know we’re on the same page. You’re fucking married Misha, and after you just up and left? I felt like a cheap…cheap…FLOOZY!”

Turning from your boss as you tried to hide the angry tears threatening to spill down your cheeks, you bowed your head, intent on keeping your shit together.

“[Y/F/N]…I …I’m sorry. I’ve been wanting to talk to you about this for awhile now.”

Gripping your shoulder, he turned you to face him, eyes widening when he saw you fighting with your emotions.

“Hey..hey don’t be upset, c’mere I-” the man tried pulling you against his body to comfort you but you didn’t want comforting, you wanted to punch him in the face.

Fortunately you only thought the sentiment and didn’t act on it. One, he was your boss and despite everything you wanted to keep your job. Two, he was about to go put on a show for a couple thousand fans, and you’d feel kinda shitty if you wrecked his pretty nose. And three, Jared had requested you go easy on the man. So, you let him wrap his arms around you and crush you to his chest.

Sighing to yourself, you gently pulled back from his embrace.

“Misha, talk to me. We have to talk about what my role is in this relationship. For having just met me, there’s no rational reason for you to apparently like me as more than an employee, so there’s clearly some sub-section of the contract I overlooked that details this. You’re married, and two weeks ago I was just another fangirl trying to get you to notice me. Now my life is completely different and I just don’t know what to do or how to act.”

The anger began to dissipate while you listened to the rhythmic thudding of Misha’s chest.

Flopping into the same chair that held his abandoned t-shirt, Misha tugged on your wrist, so when you toppled off balance you only just caught yourself in time to instead take a seat on the adjacent chair.

Steepling his fingers as he hunched forward in his own seat, Misha considered his thoughts only briefly before starting.

“Okay. So. I’ve got approximately -eight- minutes until they call me out on stage to introduce Jensen and Jared, so as much as I want to discuss this at length, I’m afraid it’s not possible right this second. There are two options: one, we can touch on each of your concerns and revisit them later tonight, or two, you can go enjoy the rest of the show and we’ll put the entire conversation on hold. Again.”

“I can say now, tomorrow is the craziest day, Sundays are always insane at conventions. There is a very real possibility that we won’t have another opportunity to discuss this until we’re on the way back to Washington.”

Misha’s cobalt eyes searched your [Y/E/C] ones, trying to read your mood to see what you wanted to do.

Nodding in understanding you almost decided to put it off again. It was too important of a conversation to keep pushing aside but he was right, it was going to take time to address all of the questions you had. As much as you knew you’d dwell on his answers, it was also quite likely that knowing nothing would be worse. So you opted for the first choice.

“Just..just give me something to think on. Will that work?”

You’d completely forgotten about the concert happening just outside the thin canvas walls, not that you were sure how, the noise of the crowd was deafening as Rob finished the vocals to ‘She Waits.’

“Okay… so you want a quickie?” The smirk on Misha’s face to match his wink let you know he too, was less upset than he had been. Rolling your eyes, you acquiesced.

“Yeah, yeah, on with it Sparky. Your public awaits.” As if on cue, Clif pulled back the canvas of the door, eyes searching the room.

“Kim, Misha, you guys are on deck.”

Nodding, Misha walked with you towards his waiting bodyguard and friend.

“One: “Personal Assistant covers a lot more than business transactions. Remember when I told you being my assistant meant I’d have to be able to trust you with parts of my life not many are privy to? Well I wasn’t only talking about my credit score and social security number. Two: Yes, I’ve been quiet today because I couldn’t figure out how to explain my poor decision via text and I was afraid you were angry with me, so I wanted to give you some space.”

Rob’s voice grew louder, Rich joining in with a ridiculous joke about someone taking the JCPenney coat sale waaayyy too seriously..and then they were announcing him.

“Ladies and gents, your favorite angel…Mr. Misha Collins!!” The pitch of the crowd increased substantially as Misha turned to face you, one hand weaving through your hair. Locking his eyes on yours, he continued.

“Three: Yes, I am married. Happily, I might add. But Vicki and I have already spoken about this, so it’s up to you to decide what you want from this relationship. Also. I was jealous. Yes, its unrealistic and completely illogical for our situation, but there ya have it.”

With a quick smile, he pulled you to him, his lips briefly pressing against yours before he leaned back. Ducking under Clif’s arm, he shouted to the crowd about virtues, and how being patient just never worked for him either as he grabbed the temporary railing and jumped over it onto the stage.

CHAPTER EIGHTEEN

TAGS: @jamielea81 @wings-of-a-raven

#WildeFiction #Misha x Reader #Supernatural Fanfiction #SPN x RPF

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noveltylsland-blog · 6 years ago

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Our Favourite Albums of 2018

2012-2017 - Against All Logic

(Other People)

Whether Nicolas Jaar meant this to be an understated release or not, the deeply soulful samples, thunderous lo-fi aesthetic and immaculately timed and detailed track phasing of 2012-2017 make it one of the year’s most impressionistic and innovative electronic releases. Not pretending to be any more than a collection of house tracks, 2012-2017’s cohesion lies in its consistency of quality, as well as its lo-fi style. Jaar’s taste for extended, developmental dance songs is addictive and as fit for easy, danceable listening as it is for intense scrutiny. Every track begs repeated listens and rewards through revealing yet more hidden elements. It goes to show just how technically gifted Jaar is that an offhand collection of tracks can be so thoroughly excellent and make more of an impact than his more dedicated peers. -E

Dead Magic - Anna Von Hausswolff

(City Slang)

Dead Magic is Anna Von Hausswolff’s fourth full-length record in which she delves into the dark abyss in a purifying explosion of distressed emotion. A sinister ambience is maintained throughout, even during the more beautiful and uplifting moments – which are typically conveyed through Anna’s rich harmonies alongside powerful, yet unnerving, electronic drones. It is these moments that make Dark Magic what it is. Instead of wallowing in a pit of despair and desolation, Anna offers a way out, stressing that there is beauty even in the darkest of places. It is an exquisitely refined project which blends dark musical themes with emotive vocals to create a sonic soundscape that will leave you completely mesmerized. -M

7 - Beach House

(Sub Pop)

Simplicity has always been Beach House’s charm and on 7, not only do they manage to revert back to the gorgeous, organic simplicity of Teen Dream and Bloom, but they do so while immensely expanding the breadth of their sound. 7 is only fingertips away from the untouchable timelessness of those two aforementioned records, and is one of Victoria Legrand and Alex Scally’s most ambitious artistic leaps and successful reinventions. This is an affirming record, demonstrating the duo alive-and-well, working with a still-evolving sound; and as easily as capable of producing indie-pop hits (‘Lemon Glow’, ‘Drunk in L.A.’) as they are of thoughtful, tender ballads (‘Black Car’, ‘Last Ride’). 7 has its fair share of career highs, cementing Beach House’s reputation as one of the finest indie acts of this decade. -E

Twin Fantasy - Car Seat Headrest

(Matador)

Will Toledo is perhaps the most inventive, boundary-pushing artist in modern indie rock; so when he turned his hand to remaking his own 2012 Bandcamp release Twin Fantasy, the result was always going be interesting. With two ten-minute-plus songs, extensive spoken-word passages, and a distinctly self-aware tone, nothing of the charm of the original was forsaken. A hi-fi recording, reportedly utilising seven musicians and a hell of a lot of retrospective adjustment to the source material, 2018’s Twin Fantasy is everything you felt the original had the potential to be, and more. Instead of a messy, chaotic cacophony, here Toledo’s project is revealed as an intensely personal, momentous opera of indie rock, with Toledo as a proclamatory main protagonist, an idol of teenage angst and confusion. Twin Fantasy is epic and indulgent, flawed and truly excellent. Indie rock hasn’t seen anything as promising as Car Seat Headrest since its heyday in the 90s, and this band are still yet to disappoint. -E

You Won’t Get What You Want - Daughters

(Ipecac Recordings)

Bleak, harrowing and violent – three words that are often tossed around to describe bands loitering around the darker offshoots of noise rock; yet Daughters’ You Won’t Get What You Want accentuates those descriptors in their fullest definition. Like an atrocity one can’t seem to look away from, the Rhode Island band take the same uncompromising swathes of noise from their 2010 self-titled record but warp and extend it. Swallowing the rest is a manufactured, engrossing silence of negative space that underlies everything from the pulsating waves of distortion to Alexis S.F. Marshall’s vocals; from the clattering, dictatorial drumming to the smatterings of dramatic piano. Daughters’ thoroughly austere ethos has no release; You Won’t Get What You Want is uncompromising in its walls of thick, violent sound and thorough in its sheer immersivity. This is music unlike anything else released this year, and a revival statement for a genre that’s been largely stale for years. -E

Ordinary Corrupt Human Love - Deafheaven

(-ANTI)

With their fourth release, Deafheaven give their critics the middle finger with an uncompromising statement of intent and self-determination. 2015’s New Bermuda hinted that the band had taken the critique of 2013’s Sunbather by metal purists to heart, as they went for a darker, more aggressive sound. With Human Love, however, we see Deafheaven position themselves in-between these two contrasting sounds, as they get the best of both. The hard-hitting aggression of tracks like ‘Honeycomb’ and ‘Yellow Canary’ will satisfy the most committed metal heads, whilst the hazy shoegaze of the shorter tracks, ‘Near’ and ‘Night People’, will enchant the Sunbather converts. As always, the juxtaposition of George Clarke’s piercing screeches paired with the beautifully aggressive guitar hooks of Kerry McCoy is something to behold. With the addition, this time of a heavily post-rock influence, the progression to an explosive climax has never been so poignant on a Deafheaven project. The LA outfit have switched up their sound flawlessly, finding the perfect balance of style and aggression in a masterwork of emotion and intensity. -M

Year of the Snitch - Death Grips

(Third Worlds)

How do they do it? This is Death Grips’ sixth studio album in as many years, and each one has been as exhilarating and unique as the next. Year of the Snitch is perhaps their most out-there project to date, and that’s saying something. This time out the trio go for a more experimental rock approach. The familiar elements of industrial hip-hop are of course still there, but they are dominated by heavy synths and guitar riffs to create a soundscape that is both unfamiliar, yet somehow typical of Death Grips. That, for me, is the beauty of Death Grips; no matter what direction they take their sound, they completely own it. Year of the Snitch is not going to dethrone Exmilitary or The Money Store, but it’s also not a runner up; it’s in a different world altogether. A typically unapologetic adventure through pop music from the Sacramento trio. -M

Knock Knock – DJ Koze

(Pampa Records)

knock knock is a house album that manages to escape the rather utilitarian nature of the genre, and is instead an artful and diverse project from the German. Koze is clearly a master of his class, as he effortlessly floats between hip-hop, soul, disco, house, and even folk, to create a project that is not merely a compilation of bangers, but a versatile playground of sounds, similar to that of [i]Wildflower[/i] by The Avalanches. The features on here are just as puzzling as the multitude of genres, with the likes of Bon Iver and Roison Murphey making appearences, but, of course, Koze manages to slot them in effortlessly. At 19 tracks, one would expect this album to feel like it had overstayed its welcome, but thanks to the wealth of ideas, it is a perfectly judged, captivating record. -M

Some Rap Songs – Earl Sweatshirt

(Tan Cressida)

Earl’s transformation from the “hot and bothered astronaut” we were introduced to eight years ago, into the mature, yet despondent 24-year-old he is today has been and interesting and difficult experience to observe. His fourth full length album picks up where his latest EP, Solace, left off, as he continues to improve his craft, whilst simultaneously sees his mental health decline. Just like his earlier releases, the Madvilliany and Donuts influences are obvious, but this time take the form of production and song structure. Verses begin and end abruptly, choruses are essentially non-existant, and most of the beats consist of just a roughly looped sample. The result is that it feels as if we’re getting a peak into Earl’s musical sketchbook. Nothing feels finished or even polished, which gives the project a raw and intimate feel. Earl’s lyrics add to this feeling as he explores his state of mind by discussing his struggles with depression and the passing of his late father, displaying a maturity beyond his years. Some Rap Songs is a delicate and honest project from a talented and troubled artist, focused on the improvement of his art. -M

God’s Favorite Customer - Father John Misty

(Bella Union/Sub Pop)

Attuning his touch to more tender, less ironic pastures suits Josh Tillman to the tee. God’s Favorite Customer is a significant scaling-down from the grandeur of last year’s Pure Comedy, but the novelty of hearing Tillman’s actual emotions proves an adequate substitute. The metaphysical is, as always, a dominant, recurring theme, but the engrossing topics of failed relationships, suicidal thoughts and substance abuse combine for a stirring sort of listen that long-time listeners of his haven’t really had the opportunity to divulge in. As much as records need pacing, careers do too - whereas on I Love You, Honeybear and Pure Comedy Tillman is feeling sorry for us as a society and suffering with us along the way, God’s Favorite Customer sees him looking inward and finding a certain personal relatability. He’s a man who makes mistakes, and not so much the hip-swinging, foot-stomping unstoppable rock star he’s always seemed to be. Unmistakeably pitch-perfect vocals, supported by his usual excessively stellar songwriting and lush arrangements of horns, strings and so on, all make for yet another impeccable record from a man who can seemingly do no wrong. –E

Beyondless - Iceage

(Matador)

There’s a certain magnitude to the overall sound of Beyondless that takes your ears off; the culmination of four records of growth for Iceage from which they’ve emerged masterful, tasteful manipulators of their own terrifically refined chaos. The Danish art punk quartet edge closer to almost entirely orchestral noise rock (‘The Day the Music Dies), while also never straying too far from pop (‘Pain Killer’, ‘Catch It’). More a refinement of the style initiated on Plowing into the Fields of Love than its own bold stylistic turn, Beyondless reveals Iceage as a much-needed successor to the angrier days of the Bad Seeds. Gritty and throttling but eloquent too, their particular brand of post-punk isn’t just vastly noisy and technically excellent, but distinctive, promising and unlike anything else in the current scene. –E

Joy as an Act of Resistance - Idles

(Partisan)

Not one for the Tory snowflakes. Forty-odd minutes of Joe Talbot unrestrainedly slapping down the hypocrisy in the British right wing, taking pleasure in exposing the ridiculousness of all things bigoted, from Brexit to anti-immigrant sentiment, toxic masculinity to class hierarchy and general snobbery. It’s a piledriving critical punk commentary on Britain’s 2018, but more than just Brutalism updated for this year’s current affairs. Joy has some impressive musical developments, from more ambitious slow cuts like ‘Colossus’ to more emotional instrumentals, such as the heart-breaking ‘June’. Talbot isn’t the most subtle of political commentators but that’s precisely his point; and instrumentally Idles make sure every track is immaculately and brutishly performed, with nods to various strands of British punk dotted throughout. All the perks of Brutalism plus clear improvement, Joy is one of the finest punk records of the decade, from one of this year’s most essential bands. -E

POST- - Jeff Rosenstock

(Polyvinyl)

Jeff Rosenstock follows up his 2016 record, WORRY., with a similarly hostile and exhilarating showcase of pop-punk as it should be done. On POST-, Jeff’s dense style really shines through as the fierce melodic punk music is paired with cynical and somewhat depressing lyrics to create a perplexing, yet rousing juxtaposition. The lyrics are as catchy as they are striking, with many notable chants that will get stuck in your head for days. “ET TU USA, ET TU, ET TU USA!” It is unfortunate for Jeff that the success of WORRY. has somewhat degraded the standing of the record with most critics. POST- should not be overlooked as it is still an incredibly fun album, full of memorable chants and defiant sentiments. -M

Aviary – Julia Holter

(Domino)

With such a change of direction from her previous effort, Julia Holter’s fifth full length release, Aviary, rejects traditional pop song structures, and offers us a work of art which is as beautiful as it is mad. It is perhaps the most uncompromising album released this year, with no regard for its accessibility or its reach. There are four-minute bagpipe spectaculars, howling choral compositions and moments of arduous free jazz. It is, indeed, a difficult listen at times, but we are rewarded with moments of sheer beauty. This is exactly the point Julia wants to make. She wants to portray the mayhem and hysteria of modern life, describing Aviary as “the cacophony of the mind in a melting world”, but also gives us an important message of hope and the resolve to look for an answer. That is why this album is so important; it is a vessel for empathy that invites disparate people to join in her euphoria.-M

Kids See Ghosts - Kids See Ghosts

(G.O.O.D. Music/Def Jam)

Kids See Ghosts is a rare, rare breed of album that manages to take two artists and exact them both at the pinnacle of each of their abilities. Take Kanye West, at his most creatively unsettled, apparently cramming as many production ideas as he can into twenty-four minutes. Add Kid Cudi, and his apparently perfect range of singing, humming, harmonising and hook-crafting. Kids See Ghosts not only has them both at their creative peaks, but at their most lyrically relevant. West’s verses are incredible, eloquent and playful, reminding listeners exactly why he’s more than just a talented producer. He’s less confrontational and hubristic, while Cudi offers sensitive and deeply personal verses on his own journey through mental health problems. This is easily both artists’ best work this decade, an endlessly relistenable treasure-trove of a record that feels like more than just a genuine accomplishment, but justification that neither of these artists deserve any less reverence than they were deserving of in the first place. -E

I’m All Ears - Let’s Eat Grandma

(Transgressive Records)

British teenage duo Let’s Eat Grandma’s debut is enthralling, accomplished, experimental stuff. Channelling a broad range 80s synth pop idols such as Soft Cell and George Michael, but also taking obvious influences from modern pop artists like SOPHIE and The xx (not to mention Pink Floyd on ‘Calm and Collected’); Jenny Hollingworth and Rosa Walton’s ambitious songwriting, endearing lyrics and knack for poppy hooks aren’t just immaculately written and arranged, but make for some of 2018’s most addictive tracks. Virtually every track feeling like a single; the emotionally heavy ‘I Will Be Waiting’ or the jumpy ‘It’s Not Just Me’ are just as easily radio-friendly as the slow cut ‘Ava’, or the Oil Of Every Pearl’s Un-Insides run-off ‘Hot Pink’. Add to the mix the two long cuts, ‘Cool and Collected’ and ‘Donnie Darko’, and I’m All Ears gives a broad definition of the duo’s ambitions and talents, indicating their fondness for extended instrumental phases and ability for writing well-structured, impressively mature tracks. -E

Now Only - Mount Eerie

(P.W. Elverum and Sun)

Now Only, as a companion to last year’s A Crow Looked At Me, feels just as poignant a documentation of the process of one man’s grief as that record did. Slightly brighter and more reminiscent than purely devastated, Now Only shows improvements in Phil’s mental health not only through its themes and lyrics, but in how it expands instrumentally and structurally far beyond Crow, further toward the territory of the Mount Eerie work of old. Phil still has an unerring ability to chillingly plunge his listener back down to Earth with the utterance of a single, understated line, always having the reality of death looming over his vocals, no matter how wistful and optimistic they may seem. Phil can (like Kozelek, Malkmus, and few others before him) sing regardless of rhyme or pace, transcending lines and effortlessly fitting instrumental structures that occasionally err towards his work on Wind’s Poem or Clear Moon. Now Only is anything but another A Crow Looked At Me, an intense, documentary listen that demonstrates musical recovery as a metaphor for personal progress, that will (along with its companion live album, After) surely go down as one of the most profound artistic commentaries on death in popular music. -E

All Melody – Nils Frahm

(Erased Tapes)

Nils Frahm’s All Melody is a real masterclass in progressive electronica. Following the atmospheric opener, ‘Sunson’ really kicks things off; a nine-minute rhythm-driven epic, with the pulsating hits of the bass marimba intertwined with pan-flutes and delicate synth melodies. From here we get an assortment of climactic electronic tracks, intense choral compositions and beautiful piano pieces, which somehow manages to maintain an impressive sense of cohesion and flow despite the disparities of sound. All Melody remains calm and meditative throughout, with a melancholic mood, but you never lose interest; each track is as captivating as the next. The attention to detail and texture, really make this album what it is; the nuances and subtleties give it the depth that an album with such ambition needs to stay interesting and emotionally compelling. A remarkably well rounded and unique album, incorporating qualities of techno, ambient and classical music to a devastating effect. -M

Wide Awaaaake! – Parquet Courts

(Rough Trade)

Wide Awaaaaake! is a fantastic leap forward for Parquet Courts. The record is produced by Danger Mouse, a match that doesn’t necessarily make much sense on paper. However, the Grammy award winning producer allows Parquet Courts to run free, only adding his signature touches when completely appropriate. The result is that Wide Awaaaaake! is the groups most diverse record to date, with a wonderful sonic range from aggressive indie-punk to afro-groves reminiscent of Remain in Light. And the songwriting on this record is amazing. Savage and Brown hit gold with a dynamic blend of their classic art-punk rages and a more contemporary commentary. These lyrics are politically charged and socially conscious, yet done with such taste and style that nearly all pretension is avoided. Wide Awaaaaake! is a success on all accounts; Parquet Courts have experimented with their sound just enough to create something that sounds familiar but also entirely different. -M

DAYTONA – Pusha T

(G.O.O.D Music)

I think we’ve all been waiting for this for a very long time. Since Clipse broke up in 2010 and Pusha T started his solo career, there have been glimpses of brilliance, but his full-length projects have never truly delivered. Daytona, however is the perfect mix of his cocaine kingpin persona, political art rap, and gritty, challenging beats. All of these factors are typical of a Pusha project, but, under the direction of Kanye, there is a real sense of cohesion and focus which has been missing throughout Pusha’s solo career. The ending, Infrared is a particular highlight, as Pusha addresses the unscrupulous history of mainstream hip-hop, whilst also cementing his integrity within the genre; he truly is the ‘rapper’s rapper’. At a mere 21 minutes, this album will be one of the shortest in terms of run time you will hear all year, but it makes for an airtight listen, with no fillers – just straight bangers. -M

Compro – Skee Mask

(Ilian Tape)

On Compro, Skee Mask takes us on a trancelike adventure into the heart of the arctic tundra and out the other side. The opener ‘Cerroverb’ sets the scene as reversed samples are paired alongside occasional bass flickers to create a cold, dreamy atmosphere. From here on in there is a subtle exploration through 90’s dance music, with influences including trip-hop, jungle, and everything in between. Through his keen ear for a melody, and ability to bring his drums to life, Skee Mask reminds us how devastatingly sensual the fundamentals of dance music can be. Compro is a masterwork of simplicity and perfectly timed progression. The subtle changes to the texture and the slow build-up of the breakbeats throughout results in a vastly nuanced record capable of mixing these cold ambient scores with the energetic breaks and techno beats. -M

Oil of Every Pearl’s Un-Insides - SOPHIE

(MSMSMSM/Future Classic/Transgressive)

SOPHIE’s full length debut is as beautiful, beguiling and absurd as expected. Humorous and sincerely insane, Oil of Every Pearl’s Un-Insides ranges from achingly, tentatively soft to thunderously, tectonically loud, from dystopic drone to tongue-in-cheek BDSM references. It’s extravagant and knows it, and we wouldn’t have expected any less from the debut of one of contemporary electronic music’s most promising and revolutionary pioneers. Everything about Oil of Every Pearl’s Un-Insides is postmodern and glorious, displaying an excellence down both ends of the intensity spectrum; from the enveloping atmosphere of opener ‘It’s Okay to Cry’ to bombacity of EDM banger ‘Immaterial’. It feels exploratory of the capabilities of electronic music, seemingly including a take on Top40 pop, glitch, ambient and many, many other styles. A deliberately confusing listen, this is easily one of the most interesting albums of the year and one that I hope becomes a blueprint for others to copy in the years to come. –E

Superorganism - Superorganism

(Domino)

No one quite knows exactly what a “Superorganism” is (in musical terms), but if it’s some kind of eclectic creature churning out broad, slightly-left field and all-fun pop tracks, then this London-based, multi-continental eight-piece bedroom-pop collective fit the description pretty well. Don’t think too much when listening to Superorganism and it’s a joyous and bouncy, accessible indie pop album brimming with catchy choruses and ear-worming melodies. Listen deeper, and it’s jumpy and rich, glitchy and noisy; laden with quirky “found-sounds” like car horns and screeches, and playfully complex and layered. Playful, fresh and fun, the octet’s debut proves that mainstream pop doesn’t have to be mundane and formulaic, and that there’s a potential future in interesting, inventive pop music. -E

Konoyo – Tim Hecker

(Kranky)

Following the somewhat disappointing Love Streams, Tim Hecker is back on top, as he turns to Japan for inspiration – in particular the ancient courtly music known as [i]gagaku[/i]. The archetypal flutes, drums and strings of this traditional genre are contorted and manipulated, and eventually swept away into the cold and eerie electronic drones typical of Tim’s previous work. What emerges are vast soundscapes that are both minimal and monumental. Tim knows exactly what he is going for and is in complete control, able to fuse points of extreme simplicity and intense noise together so seamlessly. Konoyo is one of the most immersive listening experience you will have all year, and certainly puts itself forward as contender for ambient album of the decade. -M

Cocoa Sugar - Young Fathers

(Ninja Tune)

There aren’t many sounds in modern R’n’B as soothing as the three Scottish voices of Young Fathers, pining in tandem with their signature hypnotic, larger-than-life harmonies. Cocoa Sugar brings together the trio’s expansive, hymnal vocals and impassioned performances over instrumentals constructed of bass-heavy beats and minimalist melodic injections; crafting dense tunes with emotional weight and political potency. There’s an ardent politicism running throughout tracks like ‘In My View’, ‘Toy’ and ‘Border Girl’, as well as an undeniably British perspective that makes Cocoa Sugar relatable, relevant and important. On top of all that, it’s also impressively experimental; Young Fathers’ freedom from traditional song structures, accompanied by their distinctively alternative beat style, feels abstract and purposeful and unlike anyone else. This is their finest release yet, a brilliant demonstration of their stylistic breadth as well as their ability to work politics into their very particular niche of R’n’B. -E

#music #2018 #end of year list #rock #pop #pop punk #ambient #hip hop #best of #lists

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luuurien · 3 years ago

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Taxiway - Absence

(Americana, Alt-Country, Indie Rock)

Tennessee trio Taxiway bring their unique, contemporary take on Americana to their debut album Absence. Using blues rock, Southern folk balladry, and modern economic distress to tentatively explore what the future holds. Things are highly uncertain on Absence, but what drives the album to success is its hopeful, deeply human drive to keep going.

☆☆☆½

What's most impressive about Absence is just how modern it feels for an Americana album. More often than not, country and Americana groups today focus so heavily on past reminiscence that it's practically come to define the genre: Bonnie "Prince" Billy's work always swallowed in mortality and Lucinda Williams' pastoral storytelling allowed tender, romantic longing to bloom. It's hard to think about the genre, with its ties to American folk and roots music, without your mind going to the past. It's something Taxiway does, too, on Absence, but they assert their work fully in the present, resulting in a glorious new depiction of contemporary alternative country and Americana music. A trio hailing straight out of Nashville, it's almost a little surprising to hear Taxiway start Absence off so passively: Nobody's Watching is a tense, lonely beginning lamenting the way in which Southern communities have become largely ignored by the rest of the nation. Where bigger Nashville country acts often aim for the most immediate pleasures, Absence engulfs you in this quiet sort of turmoil, one where you're more likely to go home and sleep the weekend away rather than get angry. Taxiway have a fantastic understanding of just how tiring paycheck-to-paycheck life becomes, and their songwriting embrace all the little joys they're able to find. On Crasher, they're tempted to steal expensive alcohol and find a way into the fanciest hotel around them, those grasps at opulence everybody makes at one point or another. House Upon the Sand seeks nothing more than for a stable, settled place in the world with someone you care for. The basic platitudes across Absence are all familiar: love, disenchantment, escapism, but Taxiway's mix of modern social and economic stressors alongside the pure desire for fulfillment present in classic American music make Absence an impressively sympathetic record even in its most skeletal moments. It helps that the nine songs here are all sumptuously arranged and pretty damn catchy; Taxiway almost takes on a dream pop butteriness to their sound at times. Four Star's swirling slide guitar, interwoven arpeggios and snappy hi-hat groove let the melody by crisp and bright without ever losing its tension, and hearty ballad Sweet Rosalita decorates a romance song in the fact that these two lovers have only met online, sending money and text have become their only ways of showing love. It seems to be a one-sided relationship, the titular Rosalita abusing the narrator's loneliness for money and emotional leverage ("I'll buy you your own private airline to fly you / Wherever you say we should meet", "Your profiles have all disappeared"), but it's not a surprising notion considering how disconnected people have become from one another, and that sadness coats the guitars in dusty reverb and the vocals in a growing desperation. How to Fake Your Own Death finishes Absence on an especially somber note, bittersweet harmonies and a sluggish feel to everything puts the depressive state of everything that preceded it right up front for a final time. It's no surprise the album ends out riding into the sunset on a single, warm chord; for how difficult things can be, the world's beauty is still unparalleled. Absence immediately makes Taxiway one of the most thrilling new Americana bands, able to weave the genre's aptitude for retrospection and unfiltered tales of modern discontent with ease without it ever feeling like it's too gimmicky or conceptual for the band to handle. They keep things nice and easy throughout Absence, pulling you in with languid electric guitars and drums that pulse like a nighttime heartbeat that helps supplement their heartbreaking stories with the constant warmth of a dry desert or a lover's body heat, depending on how lonesome Taxiway is on any given track. Absence is at once withdrawn from present-day madness and forced to come into contact with it for the band to survive. Whether they're pissed about their bosses, or being taken advantage of, or learning how to distance themselves from an unhealthy relationship, the one thing they always want to do is survive to see the future. And it's difficult, and it sucks. But Taxiway are forever drifting into whatever life has in store for them to experience next.

#taxiway #absence #seven plates #alt-country #americana #country #dream pop #folk #indie rock #rock #2021 #7/10 #all i've missed 2021

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onestowatch · 4 years ago

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Tessa Kaye Battles Anxiety on "You Know Who You Are and I Hate You” [Premiere]

Tessa Kaye provides us with a highly relatable track detailing her everyday struggles. "You Know Who You Are and I Hate You” echoes the same sentiment that all those with mental illness deeply feel. They know as troubling as it is, it will always be a part of their persona. Like an unwanted friend you cannot shake loose, you are left seeking ways to make the relationship more manageable. With intoxicating soundscapes of twinkling bells and dewy droplets, the song leaves listeners swirling through a dream-like state. Her beautiful and breathy vocals radiate with raw passion. The singer shares, “although it could be about a romantic relationship as well, I'm personally talking to my anxiety about the ways it has debilitated my life at times. The song is a reminder that it’s perfectly ok to have days when you’re down, we’re all human and we’re allowed to be soft, feel delicate or just not ok.”

The Philadelphia born, Los Angeles based artist fuses R&B, electronic and indie pop to concoct a rare and unconventional sound. Through her candid lyricism and powerful vocal range, Kaye’s music ascends to soaring heights. Touching on vulnerable topics of heartbreak and mental distress, she reminds listeners that they are not alone in their suffering. Her riveting releases are also a way to stand up to those that see emotional pain as a frailty.

Growing up in Utah, Kaye’s adoptive family raised her in the Mormon Church. Being a black female in a predominantly white community did not come without its challenges, but the adversity has only made her stronger. Now as an adult, she has denounced the religion, moving to the West Coast to pursue a musical career. Listening to her stunning offering "You Know Who You Are and I Hate You” makes it clear that her decision really paid off.

Tessa Kaye · You Know Who You Are and I Hate You

#Tessa Kaye #Soul #Electronic #Indie Pop #You Know Who You Are and I Hate You

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vdbstore-blog · 7 years ago

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New Post has been published on Vintage Designer Handbags Online | Vintage Preowned Chanel Luxury Designer Brands Bags & Accessories

New Post has been published on http://vintagedesignerhandbagsonline.com/not-heard-nirvana-nevermind-how-fashion-co-opted-the-band-t-shirt-fashion/

Not heard Nirvana? Nevermind … How fashion co-opted the band T-shirt | Fashion

A tour around the high street this summer would uncover a few standout trends. Pretty off-the-shoulder tops. Basket bags. Bleached denim. Even some pool-ready inflatables. And at stores including Topshop, H&M, Primark and Forever 21, T-shirts for bands including AC/DC, Metallica, the Rolling Stones and Bon Jovi. The kind of purchase once seen on merchandise stalls at gigs and market stalls in Camden Lock has gone mass.

What does it mean when something so aligned with an alternative point of view – one that prioritises your love of your favourite band as primary statement to the world – is co-opted by fashion? This year the humble band T-shirt has become something of a battleground between generations, where ideas of authenticity, image and symbolism are at loggerheads. This was writ large earlier this month when Kendall and Kylie Jenner released a series of T-shirts on their Kendall + Kylie website. On the front were designs that resembled T-shirts for Tupac Shakur, Biggie Smalls and Ozzy Osbourne, with selfies of the sisters superimposed on top. Voletta Wallace, Biggie’s mother, was quick to denounce it on Instagram, posting an image of the T-shirt with a cross through it.

Kendall Jenner on Instagram wearing one of her controversial T-shirts. Photograph: Kylie + Kendall/Instagram

The T-shirts have since been withdrawn, with the Jenners posting identical messages of apology on each of their Twitter accounts. But they have arguably caught the flak of a change that has been happening for a while – the band T-shirt moving from merch stall to fashion item. Nicolas Ghesquière started it off in 2012, when he produced a T-shirt for Balenciaga using red font similar to that of Iron Maiden’s logo. Band shirts – or at least logos that have the look of a band shirt – were then a key part of the first Vetements collections, with T-shirts and hoodies in the spring/summer 2016 collection straight off a heavy-metal merch stall. Worn by Kanye West, Rihanna and Kylie Jenner, the look changed from fans at a gig to superstars with serious social media followings.

Vetements, Paris fashion week, 2016. Photograph: Rex/Shutterstock

Kanye West at LAX airport, 2015. Photograph: Broadimage/Rex/Shutterstock

Topshop’s head of design Mo Riach says the AC/DC is their bestseller and that band T-shirts “epitomise that cool, laid-back, effortless look. They have become something of a wardrobe staple for the Topshop girl.” This is backed up by shoppers around the Oxford Circus store on a weekday afternoon. Nicole Green, who is 17 and from Lincolnshire, is wearing a Guns N’ Roses T-shirt. She says she has “heard of the band but couldn’t tell you any of their songs”. She has four band T-shirts including an AC/DC one. She says she likes them because “they’re part of a new era indie look” and that she would buy another one “if it was on trend”. Iman Kelly, 19, is in a Kiss sweatshirt from Primark. She has “listened to some of the music but I also like the style and look of the logo.” Kelly isn’t a purist though. “I don’t think it matters if someone is wearing a band T-shirt but doesn’t know the band,” she says. “If they like it, I don’t have a problem with it.”

These T-shirts seem, at first glance, to contrast with the “woke” movement’s impact on fashion. Making statements of causes you care about on your T-shirt is very 2017. It started last year with Dior’s “We Should All Be Feminist” T-shirt, then the Corbyn Nike T-shirt by Bristol Street Wear, which sold out during the election campaign. There is now a “Grenfell tube sign” T-shirt worn by Rita Ora, while Topshop has T-shirts proclaiming, simply, “Vote”. The next wave, though, moves on from the specific to something more generalised: “Save the Future”, “Make a Stand”, “Female Forever”, “Don’t Dress for Boys” or – who can argue with this one? – “Choose Love”. With digital culture, things that start in full voice – a political statement, fervent fandom for a band – quickly turn mass and, in the process, they fade to background chatter, becoming a trend rather than any niche statement of allegiance.

If someone in their teens sees these T-shirts as fashion statements, those in their 30s and beyond are more likely to view one as statement of identity, like wearing football colours. I am 39 and have six band T-shirts, all for bands or musicians that I love: Prince, the B-52s, Larry Levan, Hot Chip and – yes – New Kids on the Block. I tried – and failed – to buy a Frank Ocean T-shirt at his recent Lovebox gig. I am also the proud owner of a Beyoncé “I Got Hot Sauce in My Bag” tote bag. The idea of wearing something with the image of, say, Phil Collins or Green Day or Lorde – none of whom have ever featured on my Spotify account – for purely aesthetic reasons is an alien concept. No judgment, but I would feel like I was faking it. And I work in fashion.

Steve Birnbaum, 35, sees both sides. The documentary film-maker set up Band of Shirts, an Instagram account documenting people wearing band T-shirts in New York, two years ago, with captions telling the stories behind their T-shirts. He says he encounters more and more young people “wearing T-shirts but they’re not a fan of the band. I don’t censor [what they say] and feel bad sometimes; they get abuse online for wearing the shirt.” He says he understands why people feel so strongly. “Music is so personal so if someone doesn’t know the reference it feels disrespectful to you,” he says. “If someone is wearing a punk T-shirt but knows nothing about Misfits, it comes down to being a poser. Some people have punk as their lifestyle – no wonder they’re angry.”

An image from the Instagram document Band of Shirts. Photograph: Steve Birnbaum/BandofShirts

Purists will no doubt disapprove of the growing market for luxe takes on the band T-shirt, such as St Luis, the T-shirt brand set up by Patrick Matamoros. He has sold customised band T-shirts – including one worn by Justin Bieber – for $1,500 (£1,158). And Off-White, the label founded by Kanye West’s creative director Virgil Abloh, has a take on a T-shirt for Oasis’s 1993 tour, on sale for £188. Selfridges has Music Matters, a summer-long initiative with instore gigs, merchandise for Bieber’s tour and affordable band T-shirts for Marilyn Manson, Naughty By Nature and the Beatles available, along with four-figure designs by Vetements. “For each of our creative campaigns we take inspiration from what we feel is shaping and moving forward the retail industry,” says Bosse Myhr, the director of menswear, “as well as from the cultural conversations that are important to us, and to our customers.” Myhr says that “rock iconography has been making an impact for a number of seasons … brands have been keen to adopt the visual artistry of music communication.”

Sex Pistols babygrow from www.kidvicious.co.uk.

Of course, this adoption isn’t entirely new. Rock T-shirts have been worn by non-rock people for years, as a sort of broad brush stroke idea of cool. See Friends’ Rachel Green – hardly a punk fan, surely – in an MC5 T-shirt in 2003. Or the Sex Pistols’ artwork: a Never Mind the Bollocks babygrow can be yours for £16.99 from a website called kidvicious.co.uk, suggesting the lock-up-your-daughter band are now just a punky look worthy of your newborn’s drool. Scarlett Eden, a vintage buyer at Beyond Retro, laughs when I ask her if people buying T-shirts at the store like the bands. “Not at all. One of my friends gets really annoyed about people wearing Ramones T-shirts. It was a way to represent the music that you liked and now it’s just a fashion thing.”

One of Andy Warhol’s most overplayed quotes is “I am a deeply superficial person” – a quip that implies the ability to see the significance in the surface of things. I am reminded of Warhol’s work when thinking about these T-shirts. I don’t imagine those shopping at Topshop are consciously identifying as students of the proto-postmodernism that took Campbell’s Soup out of the supermarket and into the gallery. But the change of context and the free-for-all approach to images and statements perhaps suggests his ripples are still making their way across the pond of pop culture. Deeply superficial people are everywhere in 2017 – the Jenners included.

Band T-shirts for most, then, are about playing the rock chick and the concept of a wild night out in the 70s – that’s why the more distressed the design the better. “This is one of the only items where we’ll still sell it if it’s ripped with loads of holes,” says Eden. “We often find the best ones in the warehouse bins because the really distressed ones would have been thrown away.” In a sense, in a post-truth world, faking it is an outmoded concept. Actually going to the gig or listening to the music isn’t the point. Whether vaguely aligning yourself with feminism by proclaiming “The Future Is Female” or with rock chick vibes in distressed Guns N’ Roses, now you just get the T-shirt.

Jefferson Airplane T-shirt.

Nirvana T-shirt.

Biggie Smalls T-shirt.

A T-shirt from Kendall and Kylie Jenner’s clothing line. Photograph: Kendall+Kylie

How the band T-shirt evolved

1968: the first rock T-shirts are produced, made by Bill Graham, the concert promoter who worked with bands such as Jefferson Airplane and The Grateful Dead.

1978: Arturo Vega designs the Ramones logo, with the names of the band’s four members around an image of the eagle similar to the one on the American flag. It is now one of the most recognisable band logos – and T-shirts – in the world.

1979: Iron Maiden’s logo appears on their debut EP, The Soundhouse Tapes. It goes on to feature on T-shirts, and becomes a classic of the band T-shirt genre.

c.1985: Run-DMC begin producing T-shirts with the now-classic logo with red bands. It is so recognisable that there are parodies with everything from “OMG WTF” to “Corbyn” between the red bands.

1991: the Nirvana logo with a smiley face is used on a concert poster. It lives on 26 years later – worn on T-shirts everywhere, by everyone from Romeo Beckham to Fearne Cotton.

1997: Biggie Smalls is fatally shot in Los Angeles. Unofficial tribute T-shirts to the rapper become popular.

2005: Streetwear brand Supreme collaborates with graphic designer Peter Saville on a T-shirt using the design he made in 1979 for Joy Division’s Unknown Pleasures. This design is now almost a meme of the rock look. It is possible to buy leggings with Unknown Pleasures zigzags on them.

2017: Kendall and Kylie Jenner produce T-shirts with images of Biggie Smalls, Tupac Shakur and Ozzy Osbourne with their selfies over the top. Controversy ensues.

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