Chirpin' in yr lobes - 3.16.10

This morning's issue of The Daily Cardinal features two music pieces definitely worth checking out. First off, Anthony Cefali's exhaustive review of Liars' new joint, Sisterworld, succinctly outlines what makes it one of the year's most surprising outings. As he says, "There is a hurt sexuality to the album, twisted around the arbitrary nature of human interactions and given voice by Sisterworld's morose sing-a-long choruses and guitars that float like a body down a stream." It's amazing how tense the album is, how on-edge they are from start to finish. It's the closest so-called "punk rock" has ever been to cinematic, if only because their foreboding sense of horror is so pervasive. It's less visual than visceral, though, and I guess that's the point. The most impactful horror films keep us on the edge of our seats in inquisitive fear, and this is the first album I can think of that elicits the same reaction.

On another note altogether, Justin Stephani's column this week focuses on the state of the singer-songwriter. I'd like to think I had a bit of a hand in some of this (the entire premise revolves around The Tallest Man on Earth, who you may remember as one of my favorite acts around), but regardless he gets to the root of some of the same issues brought up in Nitsuh Adebe's column I linked to yesterday. That is, what does "pop star" mean anymore anyways? It's a common quandry in the veins of ye olde Pop Curmudgeon's dome, and I'll probably try my own crack at it at some other juncture.

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