Music Review: Charli XCX – Pop 2

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Charli XCX

Pop 2

[Asylum; 2017]

Rating: 4/5

She wasn’t supposed to make it past 25. Charlotte Aitchison’s Charli XCX persona has never been geared toward longevity. Whether braving an apocalyptic day of reckoning on “Nuclear Seasons” or literalizing her mortality on “Die Tonight,” the Cambridge singer has long displayed a sense of fatalism in her music. On True Romance, Charli’s oncoming demise demanded romantic consummation, no matter how transitory. On Sucker, she combated encroaching death with puerile hedonism and carnal distraction. And unlike compatriots and fellow Bacchanalia frontline journalists Arctic Monkeys, whose distaste for English nightlife is so acute you might mistake them for teetotalers, Charli revels in the debauchery of the London club scene, viewing its inevitable hangover as fait accompli and, consequently, a nonissue. This is why her career never seemed likely to sustain itself; the good times were bound to kill this death-obsessed girl. But the joke’s on us: she’s still alive, and on Pop 2, Charli XCX returns for more profligacy, yet this time with a keener perspective recalibrated by the nuances of young adult maturity.

There’s a certain territoriality and arrogance in Charli naming her mixtape Pop 2, but much of her music is spent negotiating the line between admirable confidence and aggressive hauteur. Charli spent roughly half of Sucker explaining that she was too good for you — even if she’ll mete out second and third chances for the sake of comfort and familiarity — while elsewhere flaunting her superhuman tolerance to narcotics and a vast wealth that puts Croesus to shame. And so on Pop 2, we see more of the cocksureness Charli exhibits in spades, as on the escapist-affirmative “Out of My Head” (ft. Tove Lo and ALMA), as well as a self-assured autonomy on tracks like the prurient, cloying “Unlock It” (ft. Kim Petras and Jay Park).

Yet on most of these tracks, Charli XCX sounds to have abjured the truculence and grandeur that granted her notoriety on singles like “Boom Clap,” “Fancy,” and “I Love It,” with much emphasis on her guests, which include Carly Rae Jepsen, CupcakKe, Mykki Blanco, Pabllo Vittar, MØ, Dorian Electra, and more. The Caroline Polachek duet “Tears” finds the singer reckoning with her proclivity for caprice, singing “I killed our life, I’m crazy […] Door shut tight, that ain’t love, no.” In place of her trademark overconfidence, Charli delivers a comparatively unadorned performance, signaling what seems to be genuine feelings of remorse. She may not be the most convincing agent of regret, but Charli didn’t pen these songs in hopes of credence or validation. Instead, she’s singing for her own benefit, to make sense of the needless waffling and unrest in her relationships. More power to her.

In the last 40 seconds of “Delicious” (ft. Tommy Cash), the track shifts from a scrupulously produced club banger to a pristine choir. This is an apt metonym for the instrumentation and arrangements of Pop 2. With production help from the likes of SOPHIE, Life Sim, King Henry, EASYFUN, and executive producer A. G. Cook, the music vacillates between synth-powered spectral screeches and jolts and immaculate choral beds, as if to reconcile the delineation between the impersonal nature of club life, with its ephemeral hookups, and the deceptive jubilance of a real, long-term relationship. The result is mixed bag, with the album’s industrial moments more engrossing by virtue of their immediacy and the more human elements of the production turning into a slog if left alone for too long.

For better or for worse, Charli XCX is embracing maturity on her fourth mixtape. Now 25 years (and some change) old, Charlotte Aitchison looks to be relieving herself of the “born to die young” credo she’s so ardently maintained for the past few years in favor of something more stable. And though she may not find what she’s looking for anytime soon, Charli XCX, on Pop 2, is at least looking down a new path.

PC Music artist felicita shares video of music from dance piece Soft Power, new album coming in 2018

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Following felicita’s recent NTS radio show, the PC Music-affiliated artist has shared a new video for a work titled “hej!” Directed by Matt Copson, the video captures Polish dancing over sparse, fragile piano melodies that bend and swerve themselves through subtle wavering pitches and slight dissonance. The music comes from felicita’s Soft Power, an Unsound-commissioned performance piece featuring traditional dancers from Poland’s renowned Śląsk Song and Dance Ensemble. According to Unsound:

This unique work synthesizes traditional choreography and costume with new music to create a hypnotic multimedia experience. The concept stems from Felicita’s childhood education in traditional dance, and explores folk culture, national identity, tourism, branding, illusion, and farce.

PC Music notes that an album by felicita is coming in 2018. Could be an album version of Soft Power, could be something else. We have no idea. STOP ASKING. We’ll just have to sit tight for now and watch the video for “hej!” below.

And hey, if you’re in or around London, Soft Power will be performed Friday at Barbican for Unsound Dislocation alongside performances from NIVHEK (a.k.a. Grouper) & MFO and The Caretaker — oh, you know, just the absolute BEST musicians IN THE WORLD. More information can be found here.

♫ Listen: GFOTY – “Lemsip”

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GFOTY continues to be the girlfriend of the year by gracing us unworthy fans with another video in support of her delicious greatest hits compilation, GFOTYBUCKS, due out November 17 via PC Music.

The queen herself has let us in some of the behind-the-scenes gossip #JUICY: “This video is sick because it has that hot babe from the Linkin Park ‘Crawling’ video pretending to be me – maybe I shouldn’t have said that because people might’ve thought it was actually me and be like ‘oh wow GFOTY is so fucking bangin’.’ well, the cat’s out the bag now guys! anyway – yeah watch this amazing video by Ambar Navarro – Oh! and I’m actually drinking Lemsip right now.”

In addition to the release of her album, GFOTY will be opening a branch of *GFOTYBUCKS* at London’s Five Miles Club during the release party on November 23rd. Attendees will be able to taste some corporate, sugary GFOTY-tested recipes alongside the hottest *GFOTYBUCKS* baristas: GFOTY (live), DJ Warlord, MC Boing, Spinee, Ben Suff Donk, SURATI, Chema Papi Diaz & GFOTY (DJ set).

Take a little taste or even a gulp.

PC Music’s GFOTY preps the greatest greatest hits album GFOTYBUCKS, shares video for new song “Tongue”

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Every day, GFOTY goes to work hoping to do two things: share smash hits with her fans and flirt with a bunch of hot guys. It was true when GFOTY’s “Friday Night” streamed in 2012, and it’s just as true today.

Back then, GFOTY was just Polly-Louisa Salmon from London. From a small internet storefront, she offered some of the world’s finest fresh-roasted whole bean smash hits. Her name, possibly inspired by Moby’s dick, evoked the romance of the high seas and the seafaring tradition of early music listeners.

Now GFOTY is undisputedly the most popular musician in the world, and she’s set to drop her most important release of all: a greatest hits album titled GFOTYBUCKS. The 19-track release includes such smash hits as “USA,” “HUGE,” and “Don’t Wanna / Let’s Do It,” as well as deep cuts like “My Song,” “Tongue,” and “Red Silver Blue,” which are also smash hits. The album even includes smash hits not written by her, like “Unbreak My Heart,” “All the Small Things,” and “It’s All Coming Back To Me Now,” with the rest of the tracklist padded out by not only more smash hits, but also breakthrough singles, a few chart-toppers, and some greatest hits.

GFOTYBUCKS is due November 17 via PC Music, with a “32 page magazine created by GFOTY with exclusive GFOTYBUCKS recipes, lyrics and artwork.” Watch the video for a hybrid work featuring new song “Tongue” mixed with VIPOTY track “Poison,” listen to “Tongue” in full via SoundCloud, and let GFOTY inspire and nurture your human spirit — one smash hit at a time.

GFOTYBUCKS tracklist:

01. My Song
02. Believe
03. Don’t Wanna / Let’s Do It (Bucks Mix)
04. Tongue
05. Unbreak My Heart
06. Red Silver Blue
07. Poison
08. Huge
09. Mysterious GFOTY
10. Christmas Day
11. Lemsip (Bucks Mix)
12. All The Small Things
13. Lover
14. Drown Her
15. It’s All Coming Back To Me Now
16. USA
17. Kiss
18. Nobody Does It Better
19. Friday Night

♫ Listen: ENDGAME – Consumed

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Get the gas masks on, take a few final breaths of non-filtered air, and wait. There’s no escaping it. Every day, the virus grows, already infecting innocent bystanders from Stockholm to South Korean, Latin America to Berlin. You can fight it or bask in its glory. The queen of PC Music, Hannah Diamond, has already thrown in support by way of Tom Clancy x Deadpool-esque cover art.

All throughout the London club scene, saturated with grime, an epidemic is spreading and the breadcrumbs lead right to Bala Club. The reggaeton collective has revitalized the lonely ex-European city and, as with nearly all culture movements, has begun to see the inklings of genre gentrification. Collective member Endgame’s mixtape halts any attempts by previous grime DJs to make their way into the Reggaeton resistance with Consumed.

Consume the whole mixtape below.

Watch: Danny L Harle – “Me4U” (starring Kim Chi)

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Top customer review

I love this song!
By Carrie Page · September 6, 2017

THIS SONG IS SO COOL. My daughter listens and listens to “Me4U,” and even her adult siblings have been drawn to it when they come visit. The track is soft and pliable, but can be molded and will hold shape. It will separate, but will also stay together. I haven’t listened to anything quite like this before; it kind of reminds me of the science projects we used to do as children where we mixed corn starch and water and you would get a unique consistency/texture. It’d be like a liquid, but if you tried to pick it up, it’d run through your fingers, then act like a solid if you slapped its surface. I can see that there is a therapeutic quality about listening to a song like this, kind of how it feels when working in the garden and moving your hands through the earth.

Customer questions & answers

Q: What happens if the song gets wet?

Answer: Depends on how wet. We live in a dry climate and my wife actually adds a bit of water to the song every other week or so because it starts to dry out a bit. If you think it’s too wet, then just leave it out on a tray in the sun to dry it out. Just make sure a cat can’t get to it. That wouldn’t be fun.

Q: does it come with a “play mat” of some sort?

Answer: No.

Q: do you consider the song to be edible?

Answer: No. While I do not believe it is poisonous (the primary ingredients in the song are notes and some form of baby oil), I would not recommend allowing or encouraging children to eat it, or listening to it with children who tend to put things in their mouths.

Q: is it good quality??

Answer: yes.

Danny L Harle’s 1UL EP is out now on PC Music.

Interview: Danny L Harle

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Danny L Harle is one of the most celebrated artists on the PC Music label, based on a string of deadly singles and collaborations with everyone from Panda Bear and Tinashe to Carly Rae Jepsen and Charli XCX. His first single, “Broken Flowers,” was what he called an attempt at writing a “completely conventional song,” but the SHAPE-affiliated artist has since branched out stylistically. Harle has said his latest EP, 1UL, is all about “making sad music that people can dance to.”

Lucia Udvardyova spoke to Harle about his label’s new MAJOR status, “pop,” the conceptual strategies of his music, and, of course, arpeggios.

What fascinates you about pop music and its structure?

I used to be solely interested in contemporary classical music, especially pieces that experimented with extremes of sound. Toward the end of my masters degree I started playing electronic music at club nights and soon realised that you can play around with extremes of sound with complete freedom in electronic music in a much more interesting performance context. After being enlightened to electronic music in this way I became interested in certain types of pop, as it had all the extremes of music that I was interested in during my classical phase (extremes of simplicity, complexity, loudness) but also had the added benefit of being super-fun.

I also like music with a ‘mechanical’ element. I’ve always loved instruments like the harpsichord, hurdy-gurdy, and player piano, as I find a kind of profundity in a sound made by a mechanical or robotic instrument that evokes a human emotion. My interest in the ‘industrial’ side of pop music is related to this — I am fascinated by music studios which have managed to design a mechanical formula for making pop music, such as always writing at the same BPM, using the same instruments, using modular but consistent structures etc. Examples of this are SAW, Motown, and (my favorite) Cherion studios.

Pop music has become once again the norm/normative. It’s omnipresent, the same way indie-rock used to be. Do you see it imploding and where do you see pop going in the future?

Pop music is always the norm by definition, the only thing that changes is the audience’s perception of whether they are listening to ‘manufactured’ music or ‘real’ music — the difference between which is pretty much illusory when it reaches the charts. I really like how the pop music culture in Japan and Korea allows for an acceptance and an embrace of the fake rather than a search for the real. The South Korean band ‘Exo’ are marketed to have supernatural powers that control the elements, and that is often incorporated into their videos, and J-pop has acts such as Kyari and Hatsune Miku. I would love to see that mentality reflected in Western pop music.

Can you talk about your association with PC Music — the label, the genre, the aesthetic as such? Has the public and media perception of it influenced you in any way?

I hadn’t heard of all these media outlets before PC started making an impact. I never read them before and I don’t read them now. I’ve never really needed journalists to help me find music, as I do my own research. I obviously read reviews of my stuff out of curiosity, but as I never read reviews about anything else, I tend to find it quite nice if they like my stuff and hilarious if they don’t.

What is your stance regarding the major vs. independent music scene (considering PC Music — the label — is now part of Columbia and yours was the first release of this partnership) — is this dichotomy still relevant nowadays?

No, it’s largely an illusion, and I love illusions!

When you make music, do you approach it from a conceptual aspect?

I was a real ‘Johnny Concept’ when I was at music school, but now I tend to do what strikes me as fun or emotionally evocative. I don’t know how much of my old conceptual self still exists in my subconscious though.

Can you talk about how you make music from the perspective of form/content/idea?

I wrote some music recently by transcribing a sequence I liked in a Bruckner motet and then introducing some interesting modulations to it. It sounded completely different after a bit of experimentation. I tend to write melodies and chords first because that is what I am obsessed with. I usually write them into a ‘super saw’ sound with a low cutoff.


Your music is euphoric, the listener awaits an apex, a sonic culmination. Can you talk about euphoria and how you structure your music in general?


You’ve recently recorded an album with Pawel Siwczak entitled Harpsichord Sessions, with a subtitle “the Oldest Newest Old New Music.” Can you talk about it?

Baroque music uses arpeggios all the time because of the nature of the instruments; the same can be said for chiptune music. This limitation produced a way of expressing music that I find particularly emotional, and even though I live in an age where I don’t have to write an arpeggio to express a sustained chord, I choose to stick to arpeggios as I have fallen in love with the sound.

What is “new” in sound nowadays, what innovations can producers bring about? Is “newness” important for a musician/music as such?

Arbitrarily pursuing the ‘new’ is nearly always a bad idea, newness comes as a result of having a thing to say which current technology (or combinations of technology) can’t express.

What is important to you personally about music-making (the effect on the listener, your own feelings from it, its socio-political ramifications, etc)?

The best music for me is emotionally involving and also interesting to listen to. The feeling I most search for in music is euphoric melancholy. I don’t like thinking about the effect on the listener, as it seems to inhibit my creativity. I am a firm believer in Quincy Jones’ saying, “If it really turns you on, there is a chance that it will turn someone else on too.”

Can you talk about your latest projects & plans?

These days I’m interested in making chilled bangers, experimental euphoric music, and HUGE BANGERS. Also video game development and Kids TV shows.

PC Music release Month of Mayhemcomp, A. G. Cook covers Aphex Twin

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Hey, do you guys remember PC Music’s Month of Mayhem?

Well, I hope so, cuz…uh,

(Frankly, Mr. P is still too burnt-out from keeping up with A. G. Cook’s May-length onslaught of relentless MIDI mayhem to even RETURN MY CALLS from his timeshare in the Bahamas, and I’m still blowdrying the sweat and tears out of all of the state-of-the-art 1998 iMacs here at TMT HQ.)


I’m here 2 tell you that the entire Month of Mayhem has officially been condensed, converted to analog, xeroxed, collated, re-xeroxed, laminated, re-digitized, and compiled onto one handy-dandy compilation, and that compilation (entitled, ya know, Month of Mayhem?) is (drrrrrrrrrrrrrrrum-roll)



And, in addition to the jams rolled-out during that insanely hectic month of May, the comp also features a pretty heavy duty Aphex Twin cover (peep the accompanying video below, which also features “visuals by Timothy Luke and SCOTTY2HOTTY69”) created by Cook, who explains: “My set at Field Day directly clashed with Aphex Twin’s headline show, so I thought it would be nice to do a full-length, note-for-note cover of ‘Windowlicker.’ Spent a very intense 48 hours inside a windowless room – somewhere between a Braindance rehearsal and a labour of love.”

But wait! Before you check it out for yourself, here’s an artist’s conception of Richard D. James looking-on approvingly during his lunch break in the Warp Records mailroom:

Okayyyyyyyy……………………..NOW watch it.

Month of Mayhem tracklisting:

01. Me4U – A. G. Cook Remix
02. Never Thought
03. Lightning Lipgloss Life
04. Month of Mayhem
05. Distant Promise
06. Blink
07. Money on a Gold Plate
08. Cos I Love U
09. Dance Floor
10. 1Ul
11. Casey Asked Me Am I Angry
13. Droom
14. Behind the Wall
15. Real Love – et aliae Remix
16. Only You – Clark Remix
17. Windowlicker
18. Temple – TidalCycles Edit

Music Review: Danny L Harle – 1UL

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Danny L Harle


[PC Music; 2017]

Rating: 3.5/5

What’s the last thing you remember?

It’s late. You have to wake up early tomorrow. We’ll rise again, then, and drag out our morning haze, “Is this some beginning or the beginning of the end?” We’ll beg to make meaning of sleep’s screens in dawn’s dissonance. In the strain of waking, we’ll reverberate back into our selves from out of sleep. The hallway back to consciousness is lined with grey shapes and weird echoes. Only in dreams we see what it means; only awake do we wonder what it is. We are shaped in systems of sleeping, dreaming, and waking. We are destabilized and recovered, rested and deprived rest. In-consciousness: what language will you dream in tonight?

We call the matter we can’t express thoughts, the unwieldy masses weighty enough to warrant expression. So we talk and sing and sow language, the expression of the cranial intangible chemical fluidities. But for all our efforts to communicate the abstracts (love and hate, wonder, terror), stuff gets lost in our languages. And so we close our eyes and head inward. “In a minute I will wake up/ And learn to live with myself.

But right now, it’s late. And soon it’ll be early. Lives are determined in such terms. Moments mean now then, shifts breaking re-ending like Danny’s old “Forever,” like “We are here right now/ I need you to know.” After our dawn alarms, we’ll say to each other, I dreamed what does it mean and we’ll look at each other and pull on our feet stuff, dot brows. Already those dreams slip and wilt like flowers. Colors run. Wilting flowers are not broken things; they still shit oxygen, aggravate lungs into fullness, stand for systems of life. The fading of dreams into mornings and days into sleeps is not a death. That curtained highway separating sleeping and waking is memory imagining remembering projected, resignation (“I guess I’ll see you in my dreams, together”) and sigh (“Some dreams just fade away like yesterdays sunset.”)

There’s always time to remind us what we’ll forget. The forgotten stuff, ignored and relegated behind walls way back of the eyelids, is the dream space. Dreams recall re-imagining, and in their embrace, we twist selves, meet desires, stare at terrors. Too bright too fast too big, the dream space is the root of our most bombastic art, flitting from the fantasy factory of Hollywood’s wild heart spectacles to the rhapsodizing words of free verse and pop music, apocalypse road aqua cola for feeding our streams of (un)consciousness. Art as dreams is flowers breaking and re-mending, investigation and respiration of our histories and memories in a single synthesized space. In art, like Lynch and Woolf, like Mad Max: Fury Road and Broken Flowers, we confront convention to shake selves into the inexpressible space. By entering the cultural artifact into the dream space (close to us and far away; an un-home), we achieve clarity through distance: we see what is distorted by could be and if, maybe and unless.

Dreams fall like mallet on marimba; they ping and snap, “I’m here whenever you want,” the voice urges. In dreams, we remind us what we can’t remember wanting.

What’s the last thing you remember wanting?

I want ears to hear Danny L Harle and limbs to spin 1UL, a perfect document of pop music in the dream space, everything dialed way up past WAY UP, Technicolors and throbbing tempos ameliorating and ignoring all our memories. And I want all our dreams to sound like this. I want to move in a sweat like Euclid at the club, cooing “You’re the only one that I belong to/ Every part of me is a part of you.” The title track cascades lazer synth buzzed up over marimba con mustard and bottoms out in the sharpest neon discotheque in your head. Eyes spin, all parts moving; in Danny’s dreams, all limbs are created equal in motion. If you break the flower, it bleeds dreams, the stuff that stands for all our systems of life. In dreams as in pop music, we celebrate the joys we can’t remember and the melancholy we’re not ready for.

Because all our unresolved sadnesses leak through the sounds, like in dreams, like in life. Its creator called 1UL “an expression of melancholic euphoria.”

“Happy All the Time” is immaculate percussion, the whistles and basses at work obliviating sadnesses that nibble until that word happy conquers its accompanying feeling. “Happy All the Time” sees dreams, declines and buys concussion. “1UL” makes sure to separate hearts and bodies and heads, smacks of what mocks with “as if I could ever be the one you love.1UL is not a mocking art, but it is a critical one. It strives to separate head from heart from body. (You can’t make this EP if you don’t know how to dance. You can’t make this EP if you haven’t watched the dancefloor from the corner of the room, even a little.) Danny’s art is an exacting knife and anatomizing absorbing, observing the possibilities of dreams/pop music and rendering them in translation, inner-terpretation. (“I’m interested in the idea of like, translation through listening. Like trying to reflect what the listening process feels like.”) It’s there on 2015’s Broken Flowers where “Awake For Hours” is a remixed imagining of “Broken Flowers.” It’s a product of the pop song dreaming, perfect and incisive. Pop songs and dreams patrol crags between desire and humans. Somewhere in the distancing mechanism of pop dreams, we get to stretch from points of familiarity to unaddressed possibilities. We transform and re-find our selves. On 1UL, distance is achieved by separating the dreamer from the dream, making it about the producer. It is mechanism, not matter, and sometimes it chills.

What if you wake up someone else?

These questions that we ask each other (and our artists and their albums) before sleeping and after waking struggle to mine meaning from lives and loves. We want to remember, before waking, what we wanted before sleeping. We document and interpret, talk our dreams out to each other, scratch for meaning in image and in sound, sound alarms over moments. A text like 1UL (and a text like Frank Falisi, a text like you) is the dream and the document, the over-the-top pop of convention that urges to supplant bombast in service of dissembling. 1UL makes meaning of participating. It’s ill-conventional. 1UL sounds good. Remember, “I want our dreams to sound like this.” Remember, in dreams, many things at the same time.

Re-writing the dream is criticizing the inexpressible and manifests as pop music detailing pop music, not people. Dream interpretation is useful and transcendent and cold. The promise of the inexpressible, as dream or as pop, details overleaping history/memory to reflect the world as it is (simultaneously ugly and joyful) and propose a better better one. It’s where we get cheesy untact, ham-fisted earnestness. It’s the heart and furnace that drives the best work of dreamers like Carly and Charli. On 1UL, the (mostly anonymous) female voices don’t grit and grain like E•MO•TION or Number 1 Angel or even Laurel Halo’s Dust. The voice is the expressionless expressing the inexpressible. Pop songs engage engaging; the hook is crush and love and fuck rendered in music, as dream. 1ULrenders dreams in such saturated producted tones and some moments chill where they crave heat. Too much of too much is not enough grain, an unlatching where nightmares convene.

1UL seeks out the conventions, the *NSYNC boppery that haunts Danny L Harle and this review (and this writer). But 1UL also seeks to document the dream, to distance the dreamer from the dream stuff. Pop music as an exercise in perfection (like the producer machines that made the future-90s blurbly tracks for *NSYNC and Backstreet Boys and Britney to hip-pop over) is too sheeny, too compacted and cut off from the anyspace that dreams thrive in. But the blurblies all had Justin Timberlakes, furnaces that keyed into us as we keyed into them. That key is in distances and highways and how they’re collapsed; spaces between realities and dreams, perfections and humanities. There is the sweat and haphazard engagement, and there is the bombast of dismissal; there is the way a body feels waking up from both.

1UL is all we see or seem, and it’s all the better for it. These songs occur before and after the malign world of the Manchester bombing (“It was supposed to be a dream, not a nightmare”) and the London Bridge attack. Dreams will twist us if we let them. An EP review is no place for spinning politic or ceaseless re-characterizing of current events. The world is not a metaphor and it and its art should not be written off as such. And a pop song is no place for a world. “Whether the dreams brought on the fever or the fever brought on the dreams Walter Gilman did not know,” Lovecraft reminds us, “an expression of melancholic euphoria.” Danny and Walter and I walk in the same early mornings, hold heads against similar pillows. The horrors don’t precede hopes. The horrors are the hopes, and the dream splits the difference. 1UL knows how dreams sound. And it hopes for its self and the way it hopes ears will get it. I want every dream to sound like Danny’s. He remembers what he wants. I want every moment of 1UL to be reconciled with hopes for the world we’re in, not the one we can’t get to, the one of apocalypse pop, sheen and not sweat. I want to be the one you love. I know I won’t be, not always. Just like the dreams can’t ever always anything. But to admit in the motion and communing of dreams means that we love the conventions that drive humanity and seek embrace over autopsy. We ground and transcend. We break and flower.

It’s late now. Tomorrow is early. Remember how we sound; remember wanting to dream.

Danny Sunshine – “Never Thought”

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Today’s the last day of PC Music’s Month Of Mayhem, and the (seemingly) final entry in the series is “Never Thought,” a sweet, shuffling, and buoyant pop song attributed to one Danny Sunshine, aka Danny L Harle. It’s a track that’s popped up in a few mixes and has been passed around in bootleg … More »