Great song, weird video. Although they could have made the whole video just her standing in that hallway, and I’d be fine with that.

I haven’t been following this too closely, but I’m still excited. Usually I go through phases of listening to Boards of Canada religiously or not at all. Whatever else these snippets signify, I’m glad that BoC still seem to have a fondness for numbers stations and that sort of thing. A few years ago I was listening to Geogaddi so much that I didn’t have time to listen to anything else. It got to the point where I bought a little shortwave radio and started listening to numbers stations before I’d go to sleep. “Atención” (a numbers station possibly based out of Cuba, according to Wikipedia) would come on around 1:00am, and I’d just lay there and space out to the sound of series of numbers being read off in Spanish for half an hour. These days I don’t really have time to devote to such tangentially BoC stuff like that. But I’m sure the music itself will be plenty.

We Strictly Suck Nips in the 18-24 Year-Old Demographic

Actually, it turns out in the UK “Banger” is already slang for a breast. So I needn’t have changed anything on that one.

(For a Nip)

We Suck Young Nips

Well, to each their own. At least you compared her to LDR rather than the tired old Marina comparison that I see so often. I feel the same way about Marina and the Diamonds as you feel about Charli XCX. I tried listening to a couple of her songs and just couldn’t get into them. But people seem to compare them because they both have black hair and are from the UK. Just my little rant.

I’m not sure how to put into words why I think Charli stands out from the rest of pop crowd. Maybe it has something to do with her energy. In some ways, LDR does seem more unique, but her vocal approach sometimes strikes me as more careless than cool. Charli I feel is better able to transition back and forth from an effortless spoken-word section to an intensely emotional singing (“Stay Away,” “Dreams Money can Buy,” her “Cold Nites” remix, “You’re the One”). Whether she’s singing or rapping, her vocals rarely fall flat for me, sound-wise. The exception being “Cloud Aura,” in which her delivery makes her seem like she’s trying too hard to sound effortless.

I’ve been a big fan of her ever since I first heard “Stay Away” back in 2011. At this point, True Romance almost feels like a compilation, since by the time it came out I’d already heard 10 of those songs. Of the three I hadn’t heard, “Take My Hand” is my favorite, especially the incredibly beautiful outro.

Charli’s Heartbreaks and Earthquakes mixtape remains my favorite collection of songs she’s released. “Grins” as it appears on that mixtape is perfect, and the album version here feels ever-so-slightly changed, although still awesome. But the original just felt a bit more ecstatic.

Let’s see . . . I can’t even think of much else to say, except that I love pretty much everything on this album. Even “Cloud Aura” has grown on me. Sometimes if I’m too tired to think, I find that Brooke Candy’s verse actually starts to sound kind of appealing. But at this point, I find myself mostly returning to “Grins,” “Nuclear Seasons,” “So Far Away,” “Stay Away,” and “Take My Hand.” Not that this album requires any use of the skip button.

No, you are not “rite.” Now go away. You can’t possibly hate Charli XCX as much as I hate you.

Sorry, my internet was down for the weekend, or I would have responded to this sooner. Here’s the site:

http://www.recordstore.co.uk/recordstore/recordstore/True-Romance-Signed/2HUC0000000?back=search.html%3Fterm%3DCharli%2BXCX

She signed 200 of them. She posted this link to facebook on March 25, so hopefully there are still some left.

One more try:

(spoilers) Saying this movie is racist would be like saying that the movie Funny Games advocates violence (because the two criminals in that movie survive at the end). That’s another movie that puts the audience in uncomfortable positions. I Wikipedia’d the Hays Code, and one sentence in that article says: ‘All criminal action had to be punished, and neither the crime nor the criminal could elicit sympathy from the audience,[2] or the audience must at least be aware that such behavior is wrong, usually through “compensating moral value”‘. Spring Breakers gives no such compensating moral value, nor should it have to. Most reasonable people shouldn’t have to be told that it’s wrong to go around robbing and shooting black people, or anyone else. Since we’re thankfully past the days of the Hays Code, movies can be a lot more interesting in terms of moral ambiguity.