Kyle Dixon and Michael Stein, “Stranger Things” ( Stranger Things, Vol.CFCF, “Pleasure Centre” ( On Vacation ).Gold Panda, “Time Eater” ( Good Luck and Do Your Best ).Leon Vynehall, “Paradisea” ( Rojus (Designed to Dance) ).The Avalanches, “Subways” ( Wildflower ).Alex Anwandter, “Siempre Es Viernes En Mi Coraz ón” ( Amiga ).Junior Boys, “Over It” ( Big Black Coat ).Bat for Lashes, “Sunday Love” ( The Bride ).Anohni, “Drone Bomb Me” ( Hopelessness ).Rae Sremmurd, “Black Beatles” ( SremmLife 2 ).AlunaGeorge, “I Remember” ( I Remember ).
Ariana Grande, “Into You” ( Dangerous Woman ).
PIZZICATO FIVE TWIGGY TWIGGY SPOTIFY HOW TO
How to Dress Well, “Just Let Go” ( Faraway Reach )
But “Closing Shot,” with its swirling synths and focused zip, feels like a pinnacle. I’ve been a fan of Lindstrøm going back to “I Feel Space” (2005), and “Baby Can’t Stop” (a collaboration with the singer Christabelle) was one of my top tracks of 2010. So we begin with glittery pop, end with rootsy folk and country, and in between take detours through electronic, jazz, hip-hop, indie rock, R&B, and modern composition.įor the record, my favorite track-#1 on my Pazz & Jop ballot, if I still voted-is probably “Closing Shot” by Lindstrøm, a caffeinated space-disco jam that I fell in love with as soon as I heard it. In other words, this isn’t 138 songs on shuffle the goal is to transition through clusters of similar genres and/or production aesthetics.
Despite the fact that it’s 10 hours long and no one is realistically going to listen to the whole thing in one go, I still strive to order the songs in a way that makes for a pleasurable listening experience. The sequence of the playlist always takes a little work to get right. (An exception in 2016: I bought Lemonade from iTunes.) I’m not proud of that, but the fact that my Spotify subscription provides me with access to almost everything I want to hear (and plenty more besides) means that I’ve become lazy about seeking out what it doesn’t have. In terms of the annual playlist, that means two things: 1) I simply hear many more albums and songs than I did in the pre-streaming days, meaning that the size of the playlist has expanded considerably and 2) if it’s not on Spotify, I’m less likely to include it. Rather, they’re the highlights of What I Heard in 2016.įor the last few years, what I’ve heard has largely been shaped by my reliance on Spotify to stream new music. Because I impose a one-song-per-artist rule, it’s not quite true to say that I preferred these 138 songs to all others.
PIZZICATO FIVE TWIGGY TWIGGY SPOTIFY PLUS
Shibuya-kei is also pop music at its cutest: it's a view to a world where the sweetness and simplicity of the girl-group era never ended but simply evolved, never out of step with the times but always true to its roots as well - the Lolita complex so pervasive throughout Japanese culture informs much of this music, and its youthful innocence is the key to much of its endearing charm.For the 13th year in a row, I’ve assembled a long playlist of my favorite songs of the year-which is to say, the songs I liked best from the 2016 albums that I listened to, plus assorted singles and other tunes that caught my ear. In its purest form, shibuya-kei is classic Western pop refracted through the looking glass of modern Eastern society - music cut up, pasted together, and spit out in new and exciting ways. Shibuya-kei - literally, "Shibuya style" - was the name given to the like-minded pop musicians who emerged from this consumer culture, a group of young Japanese weaned on a steady and amazingly eclectic diet of Western pop exports the result was an unprecedented collision of sights and sounds, with trailblazing acts like Pizzicato 5 drawing on disparate influences ranging from the lush lounge-pop of Burt Bacharach to the rhythms and energy of urban hip-hop.
The Japanese pop phenomenon known as Shibuya-Kei exploded forth from the ultra-trendy Shibuya shopping district of west Tokyo, an area home to some of the most fashionable and best-stocked record and clothing stores in the world.
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