louiselux: (Default)
[livejournal.com profile] proteinscollide gave me an m, which hardly any of my songs begin with for some unknown reason.

Downloads are all YSI, m4a...

Might tell you tonight Scissor Sisters. They might sound like an Elton John tribute band at first, but I think so many people love the Scissor Sisters because they just write really good songs.

Maybe you can owe me - Architecture in Helsinki. I ♥ this song to death. I just do.

Mis-shapes - Pulp. Kind of grim and yet completely uplifting at the same time, like nearly everything Jarvis Cocker writes.

Murder on the dancefloor - Sophie Eliis Bextor. The soundtrack to the Saiyuki/Strictly Ballroom crossover what never got wrote.

Magnolia - JJ Cale. Other people love JJ Cale much more than me, but this is nice.

So I am cheating now and doing bands that begin with M, just because I can.

Monkees - Propinquity I only heard this song for the first time about two days ago and I love it to the extent of much repeat playing. It's sort of Mike Nesmith countryfied Monkees.

Maura O'Connell - Blue Chalk. She's like a female Elvis, I want to say. That might be over-egging it though, but her voice is beautiful.

Mark Kozelek - Bad Boy Boogie - Cover of the AC/DC song of the same name, but a world apart. Makes me think of the Sanzo-ikkou.


If you to play leave a comment and I'll give you a letter.

Ni

Sep. 29th, 2005 06:52 pm
louiselux: (Default)
Apropos of absolutely nothing other than it being on, this is my 'the sorry end of Ni Jienyi' song: Return to Oz (YSI)

Why do I not have a Ni icon?

Music meme

Sep. 8th, 2005 10:02 pm
louiselux: (Default)
[livejournal.com profile] daegaer tagged me for this ages ago - 30 songs on random from Louise's Winamp.

long-ass list )
louiselux: (Default)
No one tagged me, but I thought I'd do this anyway from a sense of the afternoon stretching on forever.

Six songs I like a lot (right now, this very minute). I think this shows where my brain is at, if you needed any clues.

1) Duchess by Scott Walker.
The best Gonou/Kanan song ever. Dreamy, wistful and sad - quite why this puts me in mind of an incestous relationship that ends in mass murder I'm not sure, but it does. 'It's that look of loss, as you're coming across.'

2) Hey Litte Girl by the Ramones.
The other best Gonou/Kanan song ever. Lyrics: 'Hey little girl, I wanna be your boyfriend. Sweet little girl, I wanna be your boyfriend,' repeat obsessively till end.

3) Destination, voice actors from Saiyuki. I really like how they all have to sing out of their register for this one - sort of low. Seki Toshihiko's (Sanzo) voice is dreamy on this, just like having cream poured in your ear. Hirata Hiroaki just manages it, and with that damned vibrato thing he does.

4) Amsterdam, Scott Walker. Oh the DRAMA! Crank it up.

5) It's your Duty by Lene. This is a catchy little number. *cough* [livejournal.com profile] mistressrenet says: the best song about tying up your boss and fucking him ever. True, but add 'sung by hyperactive chipmunks'. Sample lyirc: 'It's your duty, duty, to shake that booty, booty.'

6) Mathilde by Scott Walker. Why yes, I did just get the album. Whenever he sings Mathilde, I mentally substitute 'Sanzo'.
Charley, don't want another beer.
Tonight I'm gonna drink my tears
Mathilde's come back to me

Eroica

Sep. 28th, 2003 10:33 pm
louiselux: (Default)
The Eroica symphony was astounding. It's so-- big. Listening on record gives you no idea of the impact when it's performed live. The Funeral March was huge, just epic, with that wonderful part, which a friend first pointed out to me a long time ago: the part where the music builds and build and builds seemingly forever until it crests over the top and then fades back to an exhausted whisper. Really, it's practically like Beethoven's having an orgasm right there in the room with you, in your ear, only it's an orgasm magically transmitted over 300 years. That sounds a bit yukky as I read it back, but never mind, it's true enough. Eroica is as fresh and amazing as when he first wrote it, and and you can feel the force of his personality behind the music. He was almost deaf when he wrote it too. In fact, when they first heard it, apparently audiences found it hard to understand: it was too big, too grand a scale, and they weren't used to hearing such powerfully emotive music. It must've shocked them, and must've felt vaguely unpleasant and naughty, to be staggering from concert halls emotionally drained.

Klaus Heinz von dem Eberbach would've hated it.

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