The Underground Sound of Emerson College
“Holiday” by Madonna My mom is nothing if not a Madonna fan. Released in 1983 off of Madonna’s self-titled debut album, “Holiday” was Madonna’s first hit—before “Material Girl” or “Like a Virgin”—and represents the 80s at its finest: palpable synth and feel-good dance beats. Somehow, Madonna makes even the cowbell cool. What’s most special to…
Anniemal, as a whole, was welcomed with open arms by the indie scene and music critics alike. Through sheer word of mouth, dance-pop had suddenly earned a seat at the table in indie music. With tracks that commented on class, like the title track, or freaky, slinky breakup songs like “Always Too Late,” Annie reshaped a genre that was at times campy or cheesy into something undeniably cool. They weren’t songs about huge emotions, or parties for the end of the world, but rather songs about life. Friendships and nights out and one night stands, and I guess manic Spice Girls. It could be argued that, without Anniemal, dance-pop may never have gotten the respect it deserves.
Smooth-brained mood waiting at airport terminal for very early or very late flights For that ultimate liminal space where fluorescent light sterilizes the eyes and the utter monotony of each minute passes, seemingly slower than the last, sending the mind turning in its concentric purgatory like a hamster on its wheel. — Christian Jones Cold…
Doggone can do it all. Producing, recording, songwriting, singing…his creative vision is one that spans every mode of production, and it’s evident through his consistent delivery. Within a year and half, he’s released six singles, all intentionally paired with a visual aid and entirely his own creative direction, of course.
Exile in Guyville could be a sob story about shitty ex-boyfriends and childhood trauma and bad sex, but Phair doesn’t sing it like she wants your sympathy, or even like she’s particularly upset over the situation. It sounds like she’s resigned herself to it. It’s the tone of voice of a breakup that you’ve known is coming for months, the end of a relationship that you’ve already mourned the loss of by the time the conversation happens, the numbness that comes with deciding not to expect too much. Her vocals are devoid of any flourish or technical stylings, but are instead a monotone that sounds like she’s complaining to you over the phone.
“Spellbound” by Siouxsie and the Banshees “Spellbound” (1981) is the perfect example of Siouxsie and the Banshees’ magnetizing goth sound. Released as the first single from the band’s fourth studio album, Juju, “Spellbound” brews up Siouxsie Sioux’s hypnotic vocals, bewitching guitar riffs, and a heavy bassline to send you floating in mid-air. From her geometrical…
Design by Gabrielle Finucan By Heather Thorn Introducing… The Name Game playlist with over 50 songs, all with names in the titles. Meet Alison, Anna, Angelina, Angie, April, Baba, Billy, Brett, Bonnie, Buddy, Caroline, Chelsea, Clint, Delilah, Eleanor, Elise, Francis, Frederick, Harry, Heather, Henrietta, Iris, Jessie, Jezebel, Johanna, Jolene, Josslyn, Jude, Judy, Julia, Layla, Lizzy,…
Design by Sophie Parrish By Mario Sierra and Julia Schramm Arcade Fire – The Suburbs / The Dismemberment Plan – The City Phoenix – Girlfriend / Best Coast – Boyfriend Duster – Inside Out / Teethe – Upside Down The Drums – Days / Frank Ocean – Nights The Promise Ring – Nothing Feels Good…
Unlike the steady and booming resurgence of Duster within the past years, Eiafuawn has seen little resurrection outside of smaller spaces. On February 25, 2022, archival record label The Numero Group released deluxe pressings of Birds in the Ground, as well as full Spotify and Bandcamp uploads. But the area that Eiafuawn finds itself in doesn’t need to be large, and the album doesn’t need a cultural revival. It only needs to play in quiet bedrooms and turned-up headphones, existing in the personal and authentic world it cultivates for each listener. 20 years later, Eiafuawn stands as a meaningful record of early 2000s slacker artistry—gloomy and detached yet oh so emotional. Maybe in our own interior worlds, everything is still all fucked up, but in Parton’s world of Birds in the Ground, everything is right.