ITT: it's 2013

HURRY UP WITH MY DAMN CROISSANTS

This dude went from guilty pleasure to ''Yeah i'm pretty sad''. Also Young Lean

I'm into black metal, experimental, hip-hop, ambient and electronic, including:
House Of Black Lanterns, Deafheaven, ColdWorld, Pig Destroyer, Burial, Crass, Ulver, Altar of Plagues, Cynic, Whirr, Cardiacs, Grimes, Death Grips, El-P, Refused, Tim Hecker, Tonedeff, Obsequiae, Sissy Spacek, Kvelertak, Thomas Giles, Four Tet, Moss Icon, Raein, Cobalt, Phideaux, Ihsahn, Pyha, Zozobra, Septic Flesh, Oceansize, Lost Soul, Sabbath Assembly, Arghoslent, Swallow the Sun, Captain Murphy, Harms Way, Aosoth, Flagellant, Oranssi Pazuzu, Tonedeff, Lauren Bousfield, The Body, Woe, Fen, Menace Ruine, Deathspell Omega, Entropia, Alcest, Bosse-de-Nage.

>Check out my music taste: last.fm/user/Frubeling

easy
sunbather

Bastard is a classic though

Don't listen to him when he says the album will be out soon

rip kanyes career

*glass breaks*

Jesus, you are dense for someone into literature. You’re thinking on the surface level. You’re thinking, “If Kanye says something that comes across as clever or insightful, it’s deep.” But that’s such a pre-modern way to look at art. The way he interacts with the listener, building and subverting metamusical expectations, commenting on multiple metamusical, sociopolitical and personal subjects with single lines is brilliant. What work has played jump rope with the line between irony and sincerity as effectively as Yeezus? From the opening seconds of On Sight, to the chorus of I Am A God, to the final spoken sample of Bound 2, no other work of any medium has worked with such an ambiguity of awareness of its context. I’m not saying Yeezus is brilliant because it showcases great technical compositional proficiency or especially novel aesthetic innovations (though autotuned Chief Keef, Justin Vernon, ’80s guitars and trap beats have never been fused so artfully), I’m saying its ability to project outwardly from itself and work in a space so self-aware (yet somehow sometimes simultaneously ham-handedly solipsistic) that it shatters any post-post-modern dichotomy between affectation and sincerity sets it apart from other works of art. The whole album skips back and forth over the “is this dude serious?” line, only for Bound 2 to answer with a resounding “we have no ****ing clue.” Where the recent metamodernists have decided that continual sinusoidal oscillation between critical points of intense sincerity and irony is a valid solution to the nihilism inherent in extreme postmodernity, Kanye instead manipulates for the oscillation of the listener’s perception rather than affecting a self-defeatingly earnest oscillation of himself. In this way, Yeezus can be seen as a work of meta-metamodernism. To call the album “ahead of its time” would be a vast understatement.

...