"Sexotheque" is kind of a fascinating song. On one hand, you’ve got a fantastically catchy song: a light and carefree groove with a killer hook in "oh, I bet money-money-money I bet", and an irresistible humming bit at the end. It’s one of those songs that’s works as well for listening as for dancing, and is perfectly at home on repeat.
On the other hand…there’s nothing on La Roux’s first album that suggests that they’d be capable of lyrics this terrible. It’s like a 12-year-old just became aware of affairs and stereotypical gender desires—girls want to “settle down”, but boys just want to have sex at all times—and in this 12-year-old’s mind, there’s a place that’s like a discotheque…but for SEX. And boys go there when they, ugh, “want to pound”.
Anyway, I’m going to listen to this about a 100 more times in a row to let you know where I can appreciate the song in spite of the lyrics.
Arial Pink is one of those infuriating indiepop artists like of Montreal or Fiery Furnaces, where fabulous songwriting is often undone with bizarre arrangements.
But just as those other artists occasionally hit the mark, so does Ariel Pink, and “Put Your Number In My Phone” is floating right beside “Round and Round” for songs that surface from the eccentricity.
Gary Numan’s The Pleasure Principal is one of those classics that I lived for way too long without. I always loved the sound where the cold synths met real drums in “Cars”, so why did it take me so long to get A WHOLE FUCKING ALBUM OF EXACTLY THAT?!
This morning, I walked by one of the more interesting ads on Metro—the ones showing the upcoming shows—and saw that none other than Bryan Ferry is playing at the Lincoln Theater. “The man’s almost 70”, I thought. “He must be sticking to the croony stuff, like ‘More Than This’ and ‘Smoke Gets In Your Eyes’. He’s probably not throwing ‘Virginia Plain’ in there or anything”.
And yet, when I checked a recent setlist of his: “Virginia Plain”! And “Remake/Remodel”! That…would be an interesting show.
This is kind of a fun video: Roxy Music doing “Virginia Plain” on Top of the Pops in 1972. The insane clarinet and Ferry’s vocal affectations make it sound more angular and quirky than it really is. It wouldn’t take much smoothing down to sound right at home alongside “More Than This”.
(btw, check when the Moog break hits near the end, and the BBC production crew is like, “Oh, vaguely weird sound. Put a yellow filter on the crowd and do craaaaazy double exposure.”)
This is your occasional reminder that Oh, Inverted World is a near-perfect album, one of those works where the songs seem less “written” and more “discoveries of a beauty that was just there all along.” This song still stuns.
I’ve always thought Tricky’s Maxinquaye doesn’t get as much love as it deserves. True, it’s hard to find many people who are aware of it that wouldn’t call it a classic, but to me, this is an album like Loveless: one that’s both totally of its time and genre (trip-hop in this case) and yet doesn’t sound date and transcends its peers. A classic that deserves to be trumpeted a little more and a little more often.