• The eternal quest for the swallow's tail

    Gen 4 2014, 17:36

    I've been mesmerised by a particular song for at least five years now: Swallow's Tail by HṚṢṬA. Its atmosphere is hauntingly sinister, its imagery elusive, and the lyrics arcane and mystifying. As such I've been trying to put together a definitive version of the lyrics for that time now, since no such version seems to exist on the internet; the only other one I've seen is certainly incorrect. I even tried emailing the band, but I got no reply.

    So here is my current attempt at transcribing this song. It's too incomplete and inaccurate to submit anywere except some kind of blog, imo.

    ___ (half?) seethe (hyacinth?) on green fall (greenful?) meadow
    painless (paintless?) stars of yellow
    lines fall from the swallow's tail
    secrets behind the grading vortex in the aether
    forces crackle in the air

    all on pins and needles, watching, disbelieving
    holy mountain glows purple
    start the repentance machine
    sinking black submarines cast shadows in the murky deep

    out, out, out of the hills
    through, through, through the dark woods
    down, down, down to the far, far shore
    all red with purple flashes, glowing in the ashes
    washing over all around

    one, one, one is the hole
    two, two, two is the key
    three, three, three is the swallow's tail

    digging underground
    go down without a sound
    the stoker's hold has grown cold

    ___ (half?) seethe (hyacinth?) on green fall (greenful?) meadow
    painless (paintless?) stars of yellow
    lines fall from the swallow's tail
    secrets behind the grading vortex in the aether
    forces crackle in the air

    all on pins and needles, watching, disbelieving
    holy mountain glows purple

    one, one, one is the hope
    two, two, two is the key
    three, three, three is the swallow's tail

  • I'm going to see Crystal Castles.

    Ott 3 2012, 13:09

    And when I do, I will have fulfilled my reason for existence.

    So, Crystal Castles, my favourite artist (just look at my charts!) were going to come here in 2009. This was before I'd ever attended a concert (I saw Yeah Yeah Yeahs at the start of 2010) and I was super nervous about asking my parents if I could travel all the way to Sydney to see them... but then I didn't have to ask, because the shows they were doing were 18+. I was devastated, as I'd be about sixteen when the shows were going to happen.

    Then, I was thrilled to discover, they were coming back in support of Crystal Castles (II). I was totally going to go, but then my mother had surgery scheduled for around that date, effectively preventing me from leaving. The really sad part of it is that she didn't go ahead with the surgery, meaning I was stuck at home knowing I could have been seeing CC. I vowed I'd sell my soul to see them if they ever came back to Australia, knowing it might be my last chance -- although I'm touching the wood on my desk right now in the hopes they'll be around for more albums.

    Another opportunity did arise this year, in the form of Big Day Out 2013. The lineup was basically a dream lineup, featuring not only CC but Yeah Yeah Yeahs (as I mentioned, I've seen them before and love them quite a bit, and it was a fantastic experience), the second band in my holy trinity. Additionally, I'd get to see Sleigh Bells and Animal Collective, and possibly The Bloody Beetroots, scheduling dependent. At least, they'd be present, along with a veritable pantheon of promising artists. Did I jump at the chance? No. It tormented me, knowing I was breaking my vow, possibly giving up on a final opportunity to see CC (as well as passing up on seeing YYYs again)... but, hell, it's Big Day Out. Like I was ever going to convince my parents to let me go to there, and, honestly, I wouldn't want to. The nicest way to put it would be that Big Day Out is not my cup of tea. So I agonised over it, but ultimately decided it was too much of a long shot. At the time, no other events had been announced. I despaired.

    And then, by chance, I found myself talking to a friend about CC. And it transpired that they had now announced they'd be doing separate shows at several venues! My heart leapt. This was destiny in action. I pleaded with my mother, and given my current medical problems, she couldn't really say no. So. It's official. I have the tickets. I'm going to be seeing CC on the 17th of January, 2013, three years and a week after I saw YYYs. (Holy shit, it's been three years already...) Now to await the third band, The Arcade Fire, so I can complete my holy trinity... Meanwhile, I'll be investigating CC's supporting act, Gold Fields.

    I AM SO EXCITED THOUGH. This may be the first time I'm not sad to be an adult, because it means I can see them (this is an 18+ show too).
  • Five Kylie Minogue songs from the '00s people should know about but often don't

    Ago 8 2012, 12:53

    I've been rediscovering these in my library lately and wanted to write about them. I could put together a much larger list of fantastic Kylie Minogue bonus tracks and B-sides, but in this case, I opted for quality over quantity. I recently wrote about her most recent compilation album and this inspired me to think about some of her more underrated singles, which in turn led to putting this list together: not underrated singles but 'hidden gems', songs you may not be aware of if you've only listened to her albums.

    They're not in any real order, though I put #1 there because it's in a league of its own, in my opinion. They're all fantastic tracks!

    5. Cherry Bomb (2007)

    Cherry Bomb is one of the B-sides to Wow, released in 2007, and also a Latin American bonus track on X. Honestly, it's as good as Wow; it's good enough to be on X and encapsulates everything I love about that album: it's glossy, glittery, catchy pop that showcases her vocal strengths with style. I think Kylie does 'sensual' really well with her breathy, sweet voice, and this is demonstrated to full effect here. The song is really reminiscent of Red Blooded Woman in vocal style and lyrical content as well; this song is frankly better than most of Body Language, a good album which didn't consistently hit the notes it tried to.

    4. Magnetic Electric (2007)

    A song in the vein of Cherry Bomb, Magnetic Electric is one of the Australian/NZ bonus tracks from X. This song sounds more like X than most of X does. It's shinier, sleeker, and burns white hot. I loved X for the reasons I love this song. It glows.

    3. Good Like That (2002)

    Reminiscent of a more classic Kylie sound, Good Like That was recorded around the time of Fever and is a UK B-side to In Your Eyes. I love how much fun this song is and how strong and confident her vocals are; Kylie sounds really good here. It's spirited and independent like any good Kylie anthem. It's a true shame this song is so unknown, because it's better than its B-side status implies. As an honourable mention, I'll say the other UK B-side, Tightrope, isn't bad, but it's got nothing on its sibling. By the way, this is the one song I won't argue shouldn't be on an album's main tracklist, just because Fever is utterly perfect as it is. But it's still as good as most things she's put out!

    2. Cruise Control (2003)

    The reason this list primarily focuses on B-sides is because they're more unknown. But I would argue, as a North American bonus track to Body Language, Cruise Control is one of her lesser-known gems. It's one of the best songs on the album, especially taking the second half into account. Actually, it's a B-side as well: to Red Blooded Woman. I think that was an appropriate choice, because this song is as slowly, gently provocative as the A-side. There's something surprisingly infectious about it. Honestly, it shouldn't've been a bonus track, because a) it's better than most of the album b) it suits it perfectly in tempo, lyrical content, and overall sound.

    1. Made of Glass (2005)

    This. This is it. The Kylie B-side. Actually, in Australia, Made of Glass is the double A-side to Giving You Up, except it should be the other way around, because this song is better. It's as ethereal as mainstream pop can get; it's Kylie whispers done perfectly. It's the Breathe of her 2000s style, and I adore it.. I feel pure bliss listening to this song for hours on end. It's so dreamy and captivating, and doesn't deserve to be forgotten the way it has been.


    I love the little thrill of finding a good B-side, and I used to actually buy singles regularly because I'm something of a B-side enthusiast. I'm rarely big on remixes and I'd take two good B-sides over four remixes, so it makes me sad that they're not as common anymore (see: Aphrodite).

    So, that's my list. It's not definitive, since, well, there are a lot of B-sides and bonus tracks out there, and there are many good enough to be on the list. Maybe I'll compile another one when I'm bored again, who knows? This is but a small glimpse into the deep ocean of forgotten Kylie songs. It's well worth pursuing her B-sides and bonus tracks the same way you would her studio album discography, because the songs are often of similar quality. The sheer size and scope of such a prolific artist's discography can be daunting to tackle; I haven't heard all of her B-sides and bonus tracks for sure, though I'm working on it. I've heard a lot though, and I'm glad I made the effort because, as this list demonstrates, there are some standouts among them.
  • Last.fm visual changes and other stuff

    Ago 3 2012, 11:27

    The short version of this entry is that I don't like them.

    I've been a member of Last.fm since August 18, 2006... which is nearly six years, kinda frightening in retrospect (I was 12 then, too). My current account goes back to March 30, 2007, though I reset them on September 13, 2008, for reasons I don't remember. I think my charts were all jrock when I reset them. (By the way, I don't really like my Last.fm username anymore; it's from a translated jpop song, but it mostly just results in people asking me who Alie is, and if you read it properly then it sounds kind of emo. I've kept this account anyway since I have a lot of data associated with it. If you could transfer scrobbles I'd make a new account in a heartbeat.)

    Through the years, like any self-respecting website, Last.fm has gone through a lot of changes, many of them visual. However, I'll acknowledge that during my membership it's been fairly faithful to its aesthetics in the past. I've liked some and complained about many, but I have to say the current changes are the worst yet. I tried them on the beta site awhile ago (yes, I left feedback) and was unhappy to discover they seem to have gone live now.

    I favour clutter-free, spacious layouts; they're easy on the eye, if not the scrollbar. However, sometimes you have to make concessions. The old Last.fm layouts, as I've come to realise while gaining more knowledge about web design, were a decent compromise between space limitations and minimalist aesthetics. I would call the old stylesheet 'lively'; Last.fm pages tend to be host to a lot of information and as such the arrangement was fairly compact, but still readable. It made heavy use of columns, seeking to maximise use of horizontal space as well as vertical space. It was fairly modern and I liked the balance of light and dark colours; fortunately, the new design doesn't make any drastic modifications in those regards.

    The current layouts have too much padding, plain and simple. Everything looks empty and sprawls too much. I don't know why they took the navigational links on people's profiles (Library, Friends, Tracks, Charts, Neighbours, Events...) from the side of the page and put them where they are now. It strikes me as a fairly pointless change. I considered that it might have been to make them more prominent, but if anything I would say the old button sidebar was more prominent because of the colour change / position on the left side, protruding. Now they're positioned on the right and are too small to be readily apparent, in my opinion. It looks very unpolished, and there's way, way too much whitespace.

    The artist pages (and others in /music/), in my opinion, fared worse than the user pages, which as far as I can tell only suffered that one seemingly useless change. Again, way too much whitespace. Everything seems so much huger and daunting on-screen, with the charts having as much padding as they do and the font size having been increased. Sections like 'Top Tracks' take up about half of my screen, which isn't small or particularly cluttered as far as viewport availability goes, and 'Top Albums' are inordinately big as well. Useless whitespace between everything instead of the old 1px grey borders. The pale grey background of the shoutbox blends in with the slightly less pale grey background of the page and makes it look very insignificant.

    I've missed the old chart pages for awhile. I miss how easy it was to find a huge list of 500 popular artists. Now everything is huge and illustrated and takes up too much space. It's really unpleasant for me, especially because of my vision impairments; try browsing everything with one of your eyes closed (I'm half-blind) and you'll probably appreciate how much information can be fit in limited space a lot more.

    Lastly, the changes make the heavy use of white in the background seem more blinding because of the gaping spaces full of it.

    Time to see what I can do with Stylish, I guess.
  • Kylie Minogue compilation albums, or: Ultimate Kylie is still better

    Ago 1 2012, 12:06


    The Best of Kylie Minogue was released on the 1st of June this year to commemorate Kylie Minogue's 25th year as part of the music industry, but I only got around to reviewing the tracklist today. If you can't be bothered reading the whole entry, take one thing away from it: this album is outclassed by previous compilations and is in no way a definitive representation of her 25 years. It's the same thing rehashed... except lesser than its predecessors because of omissions. Also, before we start, I'll make a note of my preferences. My favourite Kylie era is Impossible PrincessFever, but I love a great number of songs from all of her albums, which is why I want to take a look at this compilation album.

    Disappointment is inevitable when a compilation album spans such a long, prolific, and diverse career, but The Best of Kylie Minogue is a massive letdown in comparison to previous efforts, and fails to represent some of the most significant moments in her career. It's not a letdown as far as the songs go, because they're all great; it's more about the songs that should have been there and weren't. Sometimes what you don't say is more telling than what you do.

    By the way, since I'm very passionate about this (evidently) and wrote quite a lot to demonstrate my points, the cliffnotes are at the end.

    Track Listing

    The Best of Kylie Minogue has 21 songs on it (the Japanese release has 22, with Better Than Today, a fantastic song from Aphrodite, included). Listing them attractively would take up a lot of space, so, if you need the track listing for reference, I point you to Wikipedia.

    Now, far from me be it to hate on what actually is included. I adore all 21 (22) songs on this album, from start to finish. Obviously, they weren't going to miss her most successful single, Can't Get You Out of My Head, or where it all started, Locomotion / The Loco-Motion, or definitive hits like Confide in Me.

    I question, however, the selection of her modern songs. What's I Believe in You doing here instead of Chocolate? Obviously there's a little personal preference involved here, and admittedly, I prefer Chocolate by far. I think it's better. I guess you could make the argument Chocolate didn't perform on the ARIA charts as well as I Believe in You, as well as the fact that her other two singles from one of her less memorable recent albums, Body Language (still a good album, just less memorable), were included and also performed better on the charts (Slow and Red Blooded Woman, the latter of which is better than Chocolate and the best track on the entire album). So if we're using chart performance as the sole metric, let's look at the most egregious omission on the whole album: they picked Wow instead of 2 Hearts.

    You know what? If I had to be stuck on an island with one of those two songs, I'd pick Wow any day. And I'd've loved it if they included them both. But I'd pick 2 Hearts for this, because it's far more memorable. If chart performance is all that matters, 2 Hearts peaked at #1 on the ARIA charts and outperformed Wow everywhere. If we're looking at other criteria, 2 Hearts was the leading single of X. And you know what that means? It was her comeback from breast cancer. It's one of the most significant releases in her career because of that, and it's not on here. By the way, I singled out Wow because I'm biased in favour of In Your Arms, but you could easily replace all the arguments I made with it; even Wow outperformed In Your Arms, though I'll never understand why.

    I'm sure many Kylie fans (well, if the Last.fm shoutbox for the album is any indication) will have their own omissions to list. I don't want to make individual cases for all of them, but I ask: where are Put Yourself in My Place, Did It Again, and Shocked. And most importantly, where the hell is Come Into My World?

    If you're particularly attentive you might've noticed that there's one huge, gaping omission that I didn't mention, but I'll discuss it in the next section.

    I lied, by the way. I know where they are. They're on Ultimate Kylie, the vastly superior compilation album. And now I'm going to tell you this: Ultimate Kylie is still the definitive Kylie compilation, and if you want one for your collection, unless your favourite Kylie Minogue song is one of the inclusions from X or Aphrodite, you should get Ultimate Kylie, no questions asked. And, even if it is, you should probably still be buying Ultimate Kylie.

    Ultimate Kylie Is Better

    Over her career, Kylie has released eleven compilation albums, a list of which can be perused here on Wikipedia. Of these, four encompass all of her career comprehensively: Greatest Hits (1992), Hits+ (2000), Ultimate Kylie (2004), and now The Best of Kylie Minogue (2012). Of these, Ultimate Kylie is still the greatest and most definitive. It's pretty sad when a compilation album is released to commemorate an artist's 25th anniversary and it's outclassed by one that was released eight years prior, but that's how it is. I'm going to leave the first two alone for obvious reasons and just compare The Best of Kylie Minogue and Ultimate Kylie.

    However, I'll be lenient in that Ultimate Kylie was amazing; in fact, I even own two editions of it (the original 2CD release and the 2006 Showgirl Tour Special Edition reissue, which comes with a DVD with 32 music videos on it). In fact, comparison with Ultimate Kylie might seem unfair, especially if we factor in the 2006 reissue. Like I said, it has 32 music videos on it. By comparison, the CD/DVD edition of The Best of Kylie Minogue only has 21. Though I will give The Best of Kylie Minogue points here in that it has a video for every track.

    Furthermore, the album itself has two discs, the first devoted to the KylieLet's Get to It portion of her career and the second containing tracks from Kylie MinogueBody Language, which at time of release was her most recent album. It's a simple fact that there's more freedom to show off with 34 tracks than 21, and that comes from the 2CD format. (By the way, couldn't they at least have had 25 tracks? I'm all about arc numbers, let me tell you... There might not have been physical room on the disc, and I'm too lazy to do the math, but it's just a thought.)

    Why is it more definitive, though? Well, firstly, it includes all the omissions I complained about above, except 2 Hearts. Unfortunately, Ultimate Kylie was released in 2004, but as the track listing demonstrates, it's a more complete examination of her 1987-2004 career than The Best of Kylie Minogue is for 1987-2012. Eight years might seem like the difference here, but they only account for 18% of her singles (and, in fact, 18% of her studio albums) while amounting to 32% of her 25-year career (this calculation does not count her latest single, for reasons that should be apparent in the next section; I'm counting singles from X and Aphrodite). Not hating, they've been a high-quality eight years and she had cancer, but, as I complained above, the representation of these eight years is pretty imperfect anyway and exposes the flaws in the track listing.

    Secondly, The Best of Kylie Minogue is biased towards her more recent releases, which, in my opinion, both defeats the purpose of making a compilation album for her last 25 years and makes it less of a must-have(since many of the older songs are more forgotten by the new generations of her fanbase). Disc 1 of Ultimate Kylie covers 1987-1993 (21 of her singles, or 51% of her 41 singles as of Ultimate Kylie; I'm counting Giving You Up for the same reason I alluded to earlier, although it was actually released as a single in 2005), and Disc 2 covers 1994-2004 (the other 20, or 49%). Balance in all things. I wish I could say the same for The Best of Kylie Minogue, but it's not proportionate to the amount of singles she's put out. To illustrate my meaning, I put this together:

    If you can't view the image, I made a text version, viewable here.

    I thought I'd let you draw your own conclusions, but I'll say this: the '90s (and Impossible Princess) weep. Yes, they included songs from two of her previous compilation albums and completely ignored Impossible Princess, the only album to not have representation on here (inexplicably, because Breathe and Did It Again both would've been fantastic inclusions). I know; I don't believe it either. The cover art, incidentally, lies. As you can see, it features Kylie wearing a lot of neat badges depicting iconic images from her career, including past album artwork. I'm pretty sure there's a badge representing Impossible Princess-era Kylie on her collar, although my eyesight is too poor to tell for sure.

    However, there's one thing that her 2012 effort has going for it, and I'll detail it below.

    The One Way The Best of Kylie Minogue Surpasses Ultimate Kylie

    Timebomb was released to commemorate her 25th anniversary as well, and quite frankly it's amazing. Meanwhile, Ultimate Kylie only has I Believe in You on it, which is one of the most mediocre singles she released in the 2000s (though I still like it, it's just nothing on her earlier and later efforts).

    Did I trick you? Just kidding. Timebomb isn't included on The Best of Kylie Minogue. Why, I don't know. That's right—it doesn't even have a bonus single attached to it, unlike Ultimate Kylie. Still, go listen to Timebomb. It's a good reminder that Kylie is still an evolving, vibrant artist, unlike The Best of Kylie Minogue.

    Also, I was just kidding about something else, too. Ultimate Kylie has two new songs on the second disc; the one I omitted is Giving You Up. It's better than I Believe in You but still worse than Timebomb, because Timebomb is just that good.

    So, yeah, Ultimate Kylie is still cooler in that respect too, since, as Timebomb is not included on The Best of Kylie Minogue, it can't fairly score any points for it. And if it could, then I'd raise you Made of Glass and, no matter how amazing Timebomb is, you can't argue with Made of Glass. Sleeper top ten Kylie song.


    Now, I've almost been 100% negative about this album, but I'll take this moment to say that it's a little undeserved. It's still a good album, because all the songs on it are good. That's a testament to Kylie Minogue, not the track listing, though. So I would still recommend you listen to it... if Ultimate Kylie didn't exist. Actually, these days, if I want someone to listen to Kylie, I start them with the best (Fever), but compilation albums are good for that too.

    This album is a disappointing way to commemorate Kylie's career. They could've released something way cooler alongside it, like a singles boxset or a 3CD compilation or just another 2CD one. 21 songs just can't hope to cover such a range of songs as Kylie has released; she's released 51 singles and three promotional recordings since 1987. You might make the argument that quality is better than quantity, and frankly I think Hits+ (2000), Ultimate Kylie's first disc is bloated, but that argument doesn't apply here because there's nothing special on The Best of Kylie Minogue that wasn't on Ultimate Kylie and there are a bunch of songs that are on the latter that are missing from the former. (There are several that are missing from both, but that's neither here nor there.)

    Some other factors have to be mentioned, though I deliberately didn't mention them before now in order not to muddy the comparison between the two actual albums, and it's that on Amazon, the original Ultimate Kylie costs $8 more new than The Best of Kylie Minogue, despite being eight years older, and they're similarly priced on CD Universe. It's also likely a lot harder to get your hands on in retail stores, particularly the CD/DVD edition. It's kinda inevitable that a 2CD compilation would cost more than a one CD version, to be honest, and that may have been why they chose to make The Best of Kylie Minogue one CD. I believe that these commercial considerations (though understandable) come at the cost of quality and comprehensiveness, and that none of this makes Ultimate Kylie less definitive.

    In any case, I'll concede that's impossible to objectively compare them. You might prefer The Best of Kylie Minogue for the reason I'm deriding it: 'short and sweet'. You might say that The Best of Kylie Minogue represents the absolute best of her career while Ultimate Kylie doesn't, and that's debatable (not to mention I disagree with you). But I think I've made a strong case that Ultimate Kylie is a hell of a lot more comprehensive, something that I firmly believe her 25th anniversary release should've epitomised. Although it seems to have had a good selection process (look it up), I think it failed its mission.


    I wish I owned the Les Folies Tour Edition of Aphrodite; it's fucking amazing and I regret not buying it. I wish they'd made something cool, something you could cherish forever, instead of this. Props to Kylie for staying relevant and wonderful so long throughout the years. Can't wait for 2013.

    Also, I maintain that Made of Glass, the second A-side (that's right, it's the double A-side in her native Australia instead of the B-side, like on international releases; there's no beta to be seen here because this song is flawless) of Giving You Up, should've been on the second CD of Ultimate Kylie instead.

    One day I hope some kind of compilation will be released that showcases her more underrated singles, bonus tracks, and B-sides. And double A-sides. And promotional singles. Hidden gems, as they were. And Timebomb and Made of Glass will both be on it. I don't know if it'd be legal to include iTunes bonus tracks on anything but an iTunes edition of this hypothetical compilation, because I'd include Magnetic Electric on it too. I think Magnetic Electric is a better representation of the definitive X sound than half of the songs that actually made it onto the main tracklist, and it's a horrible shame that it's been lost in the realm of iTunes bonus tracks. As of writing, I have 1100+ plays of Magnetic Electric in foobar2000 since August 2010 (they aren't all scrobbled because I only scrobble sporadic periods of time in my listening history for a number of reasons, which are irrelevant and would pad this already too-long journal entry).

    Get on my level.



    - Glaring omissions and space limitations make this a lacklustre representation of Kylie's career.
    - Ultimate Kylie is better.
    - Kylie Minogue is amazing.
    - Made of Glass is flawless.
    - I put way too much time into this.
  • Dream

    Gen 19 2011, 22:57

    I dreamed last night my mother dragged me to a Pavement concert, except Pavement was a mostly instrumental band fronted by Amy Milan of Stars. I dreamed they were playing music so beautiful that I sobbed endlessly for each sound resonated through my body and chimed in my heart. I dreamed that each note touched me so deeply that all I could do was cry because of the overwhelming emotion. It filled me with powerful, passionate sorrow and wild, unrestrained ecstasy. I heard a gorgeous synaesthetic colourscape (iirc I wrote a journal entry about my synaesthesia a long time ago); the sensation of all the colours and sounds and emotional yearning was as if my synapses had all been set alight and opened up to more, profound sensation that scintillated me to the core, gracing me down to each cell. I became tied into the music. Somehow I also deleted all my Last.fm scrobbles as a result of this music because I decided I wanted to be a devotee and never listen to any other music, since this was all I wanted to listen to in the first place and it would be tantamount to infidelity if I even so much as flirted with another band. Then I woke up and couldn't remember the music. At least my Last.fm wasn't deleted. FML

    P.S. I wasn't on drugs even though the synapse thing probably sounds like it.
  • Worship at the shrine of

    Dic 4 2010, 2:51

    Depicted from left to right:

    Top: Florence Welch (Florence + the Machine), Shoko Nakagawa (中川翔子), Susan Coffey (model), Alison Sudol (A Fine Frenzy)
    Middle: Ayumi Hamasaki (浜崎あゆみ), Vienna Teng (Vienna Teng), Leah Dizon (model), Karen O. (Yeah Yeah Yeahs, other)
    Bottom: Alice Glass (Crystal Castles), Regina Spektor (Regina Spektor), Emily Haines (Metric, Emily Haines & The Soft Skeleton), Kylie Minogue (Kylie Minogue)

  • Crystal Castles

    Nov 29 2010, 3:16

    I'M SEEING Crystal Castles LIVE.

    AT LAST. After years of waiting patiently for them to come and do their own headline act in Australia that I can actually attend, I'm seeing them perform 25 Jan. at the Enmore Theatre in Sydney. This is an earthshaking event and I must announce it to everyone, people who hate CC, people who love CC, people who have never heard of CC, people who feel mildly about or indifferent to CC... I am in full-scale fangirl mode. Not the kind that ruins concerts for everyone, just the kind that won't shut up about said concert.

    I was pretty much crestfallen when I found out CC were coming to Australia again but only performing at Big Day Out, since for various reasons I was unable to attend. Then I found out they were doing their own concert at the Enmore and I didn't dare to hope for it but I can go and as;f;sdf. Cannot wait. This will fulfil my existence. Well, actually, I need The Arcade Fire to return to Australia to fulfil my existence, but until then, it'll do. :D
  • The Arcade Fire

    Nov 9 2010, 9:57

    They finally merged The Arcade Fire with Arcade Fire! I spell it The Arcade Fire since I'm used to it and I think it's more graceful, but admittedly I think Arcade Fire is better since it's the current name. It's nice to have them combined after all this time. Thanks, last.fm, though you're a bit late. :p

    On a side note of nerdiness, I think the stylesheets should have some min-height applied to the comment section. There aren't any comments on this, so my resized but max-height avatar juts out of the comment area x)

    It's trivial, but hey, attention to detail, no?
  • An apology

    Lug 17 2009, 14:13

    Today I've become a lot more humble. I hope I can live up to these newfound ideas. While they mostly involve me realising I'm a better person than I deliberately act to be, they're definitely feelings of humbleness and rerecognition of my insignificance.

    I tend to view myself as a stupid, frivolous, limited person, and I realise that's the person I've been presenting to the world. I've been acting deliberately ignorant about things to troll and simply because that's how I see myself. I've hidden the sensitive and 'smarter' side of me beneath a thick-headed stereotype. Another reason I do this is arrogance. I don't really know how to explain it logically, as it's not logical.

    I am one small person in a huge world. I've always appreciated this, but in the last few months, I've mostly shut myself off from it and hidden behind the 'sheltered' aspect of me (the girl that is rarely allowed to leave the house). I'm not sure why other than arrogance. Shyness? Not wanting to disclose my personality?

    This isn't really relevant to LJ, as I am honest in my journal, but it is to a lot of other places, so I'm posting it on last.fm. The person I act like elsewhere isn't who I am at all, and I don't want to be seen as that person.

    From now on, I'm going to be true to myself, and I'm sorry to everyone.