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The muses of La Musa: Poppy

 Poppy is a musician. While a majority of Poppy‘s videos are short, bizarre sound bites about…something, it’s clear she is first and foremost in it for the music. She came out with an EP called Bubblebath in 2016, and her first full album is titled Poppy.Computer. Her music is catchy and upbeat, Marina And The Diamonds-esque with a dash of early Lady Gaga. But there’s also something about it that’s totally unique, heavily influenced by internet culture and the digital age.
Nonetheless,  post-genre art and music visionary Poppy has released her boundlessly ambitious and nu-metal  new album. I Disagree boasts a variegated nature which embodies “alternative” in the truest sense of the word, as Poppy bleeds the boundaries between pop, progressive, electronic, and metal, underpinned by unpredictable time signature shifts and indelible earworm vocal hooks. The album marks a dynamic and deliberate shift for Poppy.

 

Music by Bergman: Disq

Disq have assembled a razor-sharp, teetering-on-the-edge-of-chaos melange of sounds, experiences, memories, and influences. Collector ought to be taken literally—it is a place to explore and catalogue the Madison, Wisconsin band’s relationships to themselves, their pasts, and the world beyond the American Midwest as they careen from their teens into their 20s. This turbulence is backdropped by gnarled power pop, anxious post-punk, warm psych-folk, and hectic, formless, tongue-in-cheek indie rock.

Introducing…FOLK9

FOLK9’s “Sunglasses” (แว่นกันแดด) probably takes us closest to a radio hit on this list, with its immediate chorus and a colourful video that follows the song’s title.

With this video, the Bangkok-based quartet of Kittapas Surinta (vocals, guitars), Boripat Saengsiri (guitars), Korawat Sangtaweep (bass) and Nattaya Sorahong (drums) create a laid-back atmosphere which was perfect for the summer when it came out, but it will actually work anytime of the year or day. Their album is called ‘Chinese Banquet’.

Ville à Dômat #263: ‘The New Order’

Una manera diferent de punxar música. Una manera diferent d’informar. Benvinguts al nou ordre musical. Divus julius Bonasera estrena el més nou de Blaenavon, Destroyer, Post Animal, Oh Wonder, HMLTD, Half Moon Run o Tame Impala. A més tota la informació sobre el Mira Festival.

Dijous 22h/10PM 100.5FM Ràdio Ciutat Vella

Ville à Dômat: The New Order

Hit of the week: Nick Cave & The Bad Sees ‘Bright Horses’

Nick Cave could never be accused of adopting a whimsical perspective on life and how to live it. But the gothic troubadour’s world was plunged into very real darkness with the tragic death of his teenage son Arthur in 2015. The

awful event occurred during the recording of his previous album, Skeleton Tree – a release that trembled with the raw jolt of half-processed grief. It was extraordinary, consumed with emotion so intense listening felt like an intrusion.

After the shock comes the silence. Or so it is tempting to conclude, upon spending time with Cave’s sprawling and crepuscular 17th LP. Ghosteen doesn’t specifically address Cave’s bereavement. Yet allusions to the afterlife are ever-present. “Ghosteen” is the singer’s term for “migrating spirit”; elsewhere his lyrics are hauntingly specific in their imagery.

There are hints of Leonard Cohen in his sardonic old age in “Bright Horses” and its juxtaposition of a choir with Cave’s world-weary diction.