Today we’re talking about work music. And I’m not talking about the Bruce Springsteen classics you and your dad blast out of yellow DeWalt speakers painting a doghouse in the yard (I don’t know if these moments really exist, but I saw it on a Lowes commercial once). No, by “work”, I mean the luxurious act of studying, for which the ear’s delicate palate prefers muted tones and hushed soundscape.
If you’ve entered the cranially-demanding world of *~the humanities~* then you’re well aware that Jersey Highway ballads are not conducive to the creative process.
I’ve never gotten the appeal of classical music as a work soundtrack, and am suspicious it’s just a go-to for people that don’t know better.
If you’re listening to Neon Trees’ The Picture Show this summer, you’re probably being forced to drive your little sister and her friends to soccer practice in a minivan, and she’s just reached over your shoulder to ask, “Can you play track three again?” and you grind your teeth as you cue the radio single, while in the back they incant “Louder!
[liveblog]The Swedish electronic–pop trio Miike Snow creates music that camps out in your ears longer than caffeinated undergrads on the walk for Tiesto.
There are times on Of Montreal’s album Paralytic Stalks in which the sonic assault is so unabashedly irritating that you pray desperately for those few moments of catchy bliss.
Depending on your tolerance level, knowing that Noel Gallagher is the man responsible for Oasis’ “Wonderwall” is either a deal–maker or a deal–breaker when approaching his solo work.