you awaken to find yourself, to your great dismay, in teletubbyland. an innocuous keyboard tone rings over and over; vague squelching sounds can be heard in the offing; the sun child gurgles malevolently; and a female chorus sings: "noo-noo, that noo-noo, noo-noo for you, noo-noo for you." a bad trip? far too cliched. no, it's the last thirty seconds of killer mike ft. outkast's "akshon (yeah!)" earthtone iii's productivity may be low but every time they release something, it drops one's jaw. killer mike, for his part, raps effectively in his da-da-da-da-da-da-da-da-da-da, da-da-da-da-da-da-da-da-da-da fashion and, once again, disconcertingly makes reference to his "cock." the release schedule for decemeber shows something called outkast presents...big boi's speaker box, a double-disc set. anyone have more information on this?
n.e.r.d. win the short list award. is it because pharrell rides a bicycle? and listens to at the drive-in? the most shocking information from this article: chad hugo wasn't present because, according to pharrell, he was "locked up." but he seems like such a nice boy!
songs to download & sing: (in this order.) kylie, "come into my world" (fischerspooner mix) killer mike ft. outkast, "akshon" robbie williams, "feel" yeah yeah yeahs, "machine" missy elliott ft. ms. jade, "funky fresh" jay-z, "hovi baby" trina ft. ludacris, "b r right" toni braxton ft. loon and pharrell, "hit the freeway" justin timberlake, "senorita" beatings, "bad feeling"
fischerspooner justify their existence. like trevor horn & the buggles with the chick in the tube, they digitally manipulate kylie until, at 3:22, she reaches a state of perpetual climax. utterly fantastic (and hot.)
robbie williams, "feel." "feel" won't win any new converts; it won't alienate new fans. so then you're left wondering: is it interesting? pearl jam has carved out a career doing this exact same thing: are they interesting? no, says me. are they good? is "feel" good? well, it depends if you like that sound. "feel,"then, is the sound of robbie lifting the british music industry onto his shoulders, and the ensuing strain can be heard in the strings, in robbie's voice, and in the pensive piano. robbie is playing to his strength, a populism that, unlike u2, is direct and, unlike oasis, is made for yer mum. so if this isn't your thing, you won't want to hear it; if you live in the u.k., it seems like you're going to have little choice.