One of the first creepypastas (creepypasta? Not a word I ever expected to pluralise) I can remember sticking with me is a lurid story about a person buying a strange-looking copy of the 2000 game The Legend of Zelda: Majora’s Mask, and slowly coming to realise, through a series
Some love songs, as we’ve seen, live on details, on specifics, about a particular scene or the way someone looks or similar. Others are more abstract, and that’s the case in different ways with these two. One is about a beginning, or even the space before a beginning,
The following will contain spoilers for both Hades and Hades 2 at least up to the end credits of both. Hades 2 is one of those sequels that is, at base, evolutionary rather than revolutionary, to use a critical cliché. Its basic gameplay loop is much the same as its
Here, two songs that came out within a year of each other, something that seems to happen more often than one might expect given that these songs are mostly chosen randomly. Both songs are from pivotal mid-90s albums, which were lauded at the time but have only grown in stature
Two artists we’ve already encountered here; in one case as part of a band, while the other slips between categories, offering us a B-Side where we’ve previously looked at an A-Side. So both sneaking past my “no repeated artists” rule in different ways, albeit without breaking it. Like
Performance is everything on all of these records, of course. These aren’t poems, they’re songs, and they demand to be experienced and analysed as such, as holistic pieces of art wherein the distinct parts come together. But this entry in particular capitalises on the distinct sounds and moods
This falls very much under the “other ephemera” category as far as this blog goes. As with popular music, and perhaps even more so, I like to make a case for video games as art, contra Roger Ebert’s famous assertion to the contrary (which, to be fair, he did
This time, two songs from only a couple of years apart, from two of the great male voices of the 20th century. Two singers heavily associated with each other, but also very much associated with ideas of cool. As we’ll see, though, these are both songs that very much
This week, it’s perhaps two of the most famous bands in the world, from the respective decades with which they’re most associated. Like last week, the A-side this time is an album track while the B-side is a very well-known single (plus an actual B-side, in a one-off
Two songs here from bands often grouped under the nebulous and occasionally suspect label of “classic rock.” Two bands, moreover and indeed relatedly, who are not typically known for extremes of emotion, or even particularly for love songs (with a few exceptions). The A-side is an album track, and not
Unfortunately, I have to admit from the off that a lot of the songs in this project will, reflecting my music taste, lean white and male. There are a lot of reasons for this, some of which I’m capable of rectifying, others less so. But for that very reason,
The love song is the basic unit of the song, we might even say the default form. In the same way that the novel has become the dominant prose form since the 18th century, the love song dominates the airwaves. Listen to a given radio station for an hour, regardless