For much of my adolescence, I wished I had been born years earlier so that I could have been the right age to experience – and appreciate – the 1980s, the way it had been meant to be experienced by a British new wave fan. I’ve had the opportunity to see several of my heroes of that era in concert already (including Duran Duran, Morrissey, OMD, and David Byrne [sans the rest of Talking Heads unfortunately]) but Erasure was still not checked off the list. Until this past Tuesday at the 9:30 Club, the first of 2 nights the electronic duo would be performing in the Nation’s Capital. To be fair, I was never an uberfan of the pair and really went to go hear the hits and get a preview of tracks from their new album Tomorrow’s World coming out in October on Mute Records, but that didn’t matter. There were plenty of obsessed and and terribly devoted Erasure fans at the front who had been queueing outside the venue for hours, appropriately attired in electric blue ponchos to battle the drenching rain remnants of Hurricane Lee tracking up the Eastern seaboard. I’ve never seen such soggy fans so happy.
I was so pleased when I heard Frankmusik (aka Vincent Frank to his mother) would be opening for the ’80s titans. South Londoner Frank released his debut album, Complete Me, in early 2009 and I still adore it to this day: it’s synth pop at its finest, and Frank is just the singer/songwriter to do this style. The selection of him as opener makes sense: he produced Erasure’s latest album Tomorrow’s World, and there’ s a definite respect and reverence going between the two acts. The unfortunate part: as he so cruelly pointed out at the start of his set, he said he realized that no one knew who he was and that he was going to do some old stuff, some new stuff, and some covers, no doubt to appeal to a crowd that were obviously only there for the headliner.
Personally, I would have preferred if he and his backing band (a singer/keyboardist and a drummer) had played more songs from his debut album (I wanted to hear my favorite song of his, “Confusion Girl,” but no dice), but I have to give the man his due. These fans, mostly 30 years old and up, took to him once he broke outs snippets of covers like Paul Simon‘s “You Can Call Me Al” and Stardust‘s “The Music Sounds Better With You.” He did finish with two newer songs, both with more of a r&b bent than I usually like, but I think they have a chance of doing really well here in America. The single “No ID” was just released this week and according to the Frankmusik Twitter, the track has already made it to #48 into the iTunes electronic chart, no thanks to the American mainstream radio market. “Do It in the AM,” a song Frank collaborated with Far East Movement, is the title of his forthcoming album due out on September 27, and it’s a hot tune. Check out the video for the song below.
Erasure fans from way back packed the 9:30. Was it because they were nostalgic for the music of their youth? Did they want to hear their heroes’ new music? Or maybe a little bit of both? I’ll never know for sure, but gosh, Erasure fans can be loud and unrelenting in their approval of their favorites. As mentioned in this review previously, I don’t know the band’s back catalogue as well as many of the other people in attendance that night, but it didn’t matter. Like most ’80s bands who have dutifully gone back on tour to wow their devoted and to proffer new tunes, Erasure does it with style and plenty of campy charm. This mostly has to do with frontman Andy Bell, and I apologize in advance now, but I can’t help but use his name and “flamboyant” in the same sentence. How else do you describe a man who arrives onstage with a Trojan helmet and a red sequined jacket? Once the jacket was removed, a diamond-encrusted belt and leather corset were revealed. (My good friend who went with me to this show said the first time she’d seen the band at Merriweather Post Pavilion in the late ’80s supporting Duran Duran, Bell was wearing buttless chaps, so this was a definite improvement in style.) This corset was later cut off, literally with a pair of scissors, by his bandmate Vince Clarke (programming/guitar) and replaced by Devo t-shirt shreds held together with safety pins. I mean, you can’t dream up this stuff!
But forget the “look” for a moment. Here is a band that has released 13 albums (Tomorrow’s World their 14th) and you can’t do that unless you’re incredibly talented and incredibly dedicated to the process of making music for the masses. The uberfans I mentioned earlier? They were contorting their bodies to the music, singing along to every word. Me? While I adored the live versions of their classics of “Chains of Love” and my personal favorite “A Little Respect” (a new version of this song’s video is above), I also really enjoyed songs like the flirty “Push Me Shove Me,” the attitude of “Love to Hate You,” and the majesty of “Oh L’amour.” New songs like “Fill Us With Fire” and “A Whole Lotta Love Run Riot” prove Bell and Clarke still have it, even after all these years. The two great backing singers in red and black were both visually and musically stunning additions to the performance. I’m a little confused by the gigantic gargoyles that were sitting onstage during the show, but I’m guessing it has something to do with Tomorrow’s World. That might be the album’s title, but on Tuesday night, the 9:30 Club was most definitely Erasure’s world. Fab show, guys.
Erasure Set List
Sonos Luminos (new song?)
Always
When I Start to (Break It All Down)
Blue Savannah
Fill Us With Fire
Drama!
Save Me Darling
Ship of Fools
Chorus
Breathe
Victim of Love
Alien (acoustic version)
Push Me Shove Me
Love to Hate You
I Lose Myself
A Whole Lotta Love Run Riot
Breath of Life
Chains of Love
Sometimes
A Little Respect
//
Oh L’amour
Stop!
Tour Dates
Sept 08 Philadelphia, PA. Theatre of Living Arts
Sept 10 Boston, MA. House of Blues
Sept 11 Toronto, ON. Sound Academy
Sept 13 New York, NY. Terminal 5
Sept 14 New York, NY. Terminal 5
Sept 16 Chicago, IL. Congress Theatre
Sept 17 Chicago, IL, Congress Theatre
Sept 18 Milwaukee, WI. Pabst Theater
Sept 20 Indianapolis, IN. Vogue Theatre
Sept 21 St. Louis, MO. The Pageant
Sept 23 Austin, TX. ACL Live
Sept 24 Houston, TX. Verizon Wireless Theatre
Sept 25 Dallas, TX. House of Blues
Sept 27 Denver, CO. Ogden Theater
Sept 28 Salt Lake City, UT. Kingsbury Hall
Sept 30 Las Vegas, NV. The Palms Concert Theater
Oct 01 Los Angeles, CA. Hollywood Palladium
Oct 02 San Diego, CA. House of Blues
Oct 04 Oakland, CA. Fox Theater
Oct 05 Portland, OR. Crystal Ballroom
Oct 06 Seattle, WA. Neptune
The exciting debut album from Manchester, England’s Delphic will for sure be in my top 2 albums of 2010. The electro / dance / rock trio is currently touring as support for the Temper Trap, and this is their first significant tour of North America to boot after just playing three gigs in America in June. It was my distinct pleasure to speak with Delphic‘s accomplished guitarist, Matt Cocksedge, before their gig at the House of Blues in Boston, the second night on a month-long tour of our continent. I have to say, he’s probably one of the most (if not the most) eloquent musician I’ve ever had the chance to interview. In part 1 of this interview, we discuss the cynical music media and why they seem intent on comparing Delphic to fellow Mancunians and hometown heroes New Order, why he thinks their tourmates the Temper Trap are actually more similar to them than you might realize, and how Radiohead is a real inspiration to them.
Mary Chang, PopWreckoning: I think every single blogger I know of wants to be different [taking a different album review approach] than Pitchfork, endeavor to not be like them. My mom doesn’t get the blogging thing, when I was explaining to her what Pitchfork was, she thought it sounded like people who were going after other people with pitchforks. That was the way she interpreted it, not knowing what it was. Matt Cocksedge, Delphic: Yeah, makes sense. PW: But when you’re talking about promoting music to the masses… MC: But it seems like an accurate description of the press, doesn’t it? Hanging them out to dry. It’s difficult really. PW: Maybe I can ask you, have you discerned a difference between the British media and the American media? Have you felt one given you a harder time than the other? Or maybe you haven’t had a lot of exposure to American media, yet. MC: That’s the thing. I don’t know too much about American media reaction to us. All I know is that Pitchfork [when Pitchfork reviewed their debut album, Acolyte, released in June on Dangerbird Records here in America], that was out ages ago. I don’t know what else has gone with the release of the album, beyond that, I haven’t really heard [anything]. PW: To be honest, I don’t think I ever read that review. I’m sometimes scared to look… MC: Yeah, I’m scared to look! Really nervous. [smiles] PW: So you said that they slagged off Everything Everything? [the fellow Manchester band's debut album, Man Alive, was released in August in the UK] MC: They did, they did. And I just can’t help but feel there’s some sort of…the Everything Everything album was critically received in the UK… PW: Yeah, I reviewed it for another site and I really liked it. MC: It’s a great album, with so many ideas. PW: And very original. MC: So original! And even it doesn’t connect with you, potentially you can still appreciate the ideas, the originality, the experimentalism. You know, they’re trying to do something new with guitar music in a band. And certainly with our review, it was more an indictment of British music than an actual review of the record.
PW: Oh you know what, I think I did read it. I think they focused on the New Order aspect… MC: Yeah. PW: Which is interesting, because in almost every single American article I’ve read about you guys, it’s always focused on New Order. Now, I was too young to appreciate New Order at their height of fame and you also, neither of us were there for the wholeJoy Division / New Order thing. So I don’t come from it from that perspective. MC: That’s the thing. We know New Order‘s music a bit. What I always think about the New Order thing, if “Doubt” wasn’t on the album, if you kind of take “Doubt” out of the equation of the album, and then look at it in terms of New Order, it’s very, very different. But when “Doubt” is included, I think it’s the most New Order, most obvious New Order kind of touch point on the record. I’ve always wondered about that. But people will hear what they want to hear and say what they want to say. And we’ve made this music and put it out, and then you take what you get given. It’s certainly interesting, you know, going around the world…especially places like Japan, there’s much more positive feeling, I think. There’s a lot of cynicism in the UK especially And the UK press and the UK audience. It’s because we’ve been spoilt for choice [when it comes to music], we’re just completely spoiled.
PW: That’s the thing, I think that’s the reason why I’ve gravitated towards British music in general, because you have people like Steve Lamacq and Huw Stephenschampioning the little guys. MC: Every evening there’s a new band starting out… PW: Yeah, like clockwork every Wednesday I listen to Lammo’s “New Favourite Band” feature and while we don’t see eye to eye on every band, but it’s nice to hear different opinions. MC: Definitely. PW: It’s hard to hear about new [British] bands on American radio. I don’t think I’ve ever heard a Delphic song played in Washington. Back in February, VV Brown played the same dance night you guys will play in DC next Friday, and one of the songs being spun that night was “Halcyon”. Me and a girlfriend, we’ve got our tickets and we’re coming up the stairs and it’s coming out of the speakers. And we went crazy because we knew the song! We were very excited. But we were the only ones in the club that knew it. MC: That’s great! [grins] PW: So to have you guys come to DC is really exciting. I think it’s the only date you’re doing by yourselves on this tour? MC: Yeah, I think so. I don’t know if we’ve got one in LA… PW: I know you guys are doing Club Nokia [in Los Angeles] with the Temper Trap… MC: Yeah, we’re doing that…yeah, basically we’d come over here to tour with the Temper Trap. They’re lovely guys, which makes things a lot easier. Always a pleasure when you’re on tour with a band that is just nice, and good guys. Makes it a lot easier. PW: When I saw you guys in Denmark [at Roskilde Festival], Rick [Boardman, Delphic's keyboards / synths player] already knew you were coming to America to support someone else but couldn’t tell me because he’d get in trouble. The Temper Trap never even crossed my mind…when I first saw this tour’s bill, I was kind of surprised because I think of the Temper Trap as more of a straight forward rock sound. Did you have any reservations supporting them? Not that you really had much choice as support but…did you wonder, is this going to be an issue when we play to crowds primarily there for the Temper Trap? MC: No, not at all. We were really excited about it. We respect the Temper Trap a lot. I think what we do is very similar but we put it in different clothes. We both try and write songs and yeah, we’re songwriters…we put them in different contexts. Theirs is a more guitar-based thing and ours is a more synth-based thing. At the heart, we’re quite similar and something we share with them. I think it’s good. We’re not trying to steal fans, we’re not trying to be a better Temper Trap or trying to compete with them in that way. We’re a band on a similar tangent, but doing our own thing. They’re doing their own thing. Hopefully when people come see us, they can understand the similarities but appreciate the differences. And yeah, we’re really excited and thrilled that they asked us along. And really, really happy to be out here with them. We’ve only done the one show [at Philadelphia's Trocadero on Sunday night, 3 nights earlier], so I’ll let you know how it goes! [laughs] But at the moment, it’s been good!
PW: I have to ask, what did you think, coming back to America after 3 months since your last shows here? Did you approach that with trepidation? The last “gig” you had before that was Bestival, that was a couple weeks ago? MC: Well, it’s certainly different than a festival. You can’t do so much jumping up and down and getting people to clap. You’ve gotta be a bit cooler! [smiles] Yeah, we’ve done the support band thing for a while, we know how it works, we’re just happy to be back out here. The crowd was good. It was a really stressful gig, to be honest with you, because it’s the first date of the tour. Backstage is always bit hectic. You hope everything works. It was really hectic, but I really enjoyed the gig myself. Great venue, the crowd was loud, yeah, I enjoyed it a lot. PW: I have to say, as your set progressed, I could feel the audience getting behind you. I was in second row on the floor, which I was very happy about. I was surrounded by devoted Temper Trap fans and I basically explained who you guys were, and who the Hundred in the Hands were, because they’ve just put out their debut album last week. MC: Yeah, I’ve been meaning to get it. PW: It’s really good. I’d say that along with yours and Two Door Cinema Club‘s [Tourist History] albums, it’s up there in my top 5 albums of 2010. MC: Oh wow, cool. PW: And I heard smatterings of conversation after your set. One girl said, “yeah, it was kind of a slow start but after the third song with all the synth action, I really liked it!” MC: Yeah, what was really cool were the pockets of people who were really going for it! PW: [laughs] Yeah, that was us! We were the ones jumping up and down and pumping our fists. Expect that, I’ll get people excited for you guys tonight. MC: Cool, I’ll keep a look out for it.
PW: Going back to the album, having heard what people have said about the album, one thing that I found very interesting was that people were comparing my favorite song, “Submission,” to Duran Duran. MC: Really. PW: What would say about that? MC: Uh…I’d be quite speechless! [laugh] PW: Me too, and that’s because I’m a Duranie. MC: I’d never have saw that coming! Yeah, I dunno…I’m not offended by it at all. Certainly didn’t see that one coming. I dunno, it’s one of those things, you make music to put it out there and people will read into it what they want. “So this bit is like this…” and we would’ve never even heard of that band! And then sometimes they’ll write, “so this bit is like this…” and yeah, we did just rip it off a bit. [grins] Yeah, I don’t know if it was Duran Duran influenced, but I can honestly say I didn’t think anyone would say that. PW: It reminds me of what people said about We Are Scientists‘s second album [Brain Thrust Mastery]. I liked it better than their first because it was more polished and had the synths. People said it sounded like Duran Duran because it had synths. Just because they have synths doesn’t mean they were influenced by Duran Duran. Similarly, some people think anything with synths can be classified as ’80s new wave.
PW: “Submission” has the right balance of synths, guitars, beats, and everything is so clean. The echoes are absolutely perfect to me. It’s the perfect song. I can put on my headphones and go into my own little world listening to it. Do you remember how the song came about? How do your songs usually start, does it start with someone’s lyric, “hey, I have an idea“, or “hey, I got this great guitar riff, let’s work off of this…” MC: I think with “Submission”, I really think it came about from the beat, you know? We wanted a more down-tempo number. It’s still quite quick, but it feels a lot slower than a lot of the record. We really wanted a bit darker of a tune, more of… that kind of feeling, and it came from [Matt starts tapping the table with his hands in time to the killer main rhythm of "Submission"]… PW: I think that’s why I like it, it’s so funky. MC: Yeah, we’ve got the guitar riff at the end, that came quite early as well. Yeah, all the songs, they all come from different places, there’s no set way of doing it, at least in terms of the initial idea. When we have an idea, and we’re developing it, then you kind of have your way of working on it, trying to flesh it out and make that transition from idea to song. And that’s difficult, because not all of them make it through. Sometimes you have a great idea but you can’t fit it in the right context. That can be difficult. But that came from a beat. Other tune came from a sound on the synth, or a chord sequence, and there’s no rules with this sort of thing, is there? We have strong instincts with these things. We try to work within a concept or the framework of an album for the set of songs we want to write. And once you have that framework established, it’s constrictive yet freeing because you can explore all areas in a certain kind of musical world, in a way. That definitely how it happened with the first record. We knew the kind of record we wanted to make in terms of sound and what we were talking about, and really then it was seeing what worked within it and what didn’t work, and how best make an album flow and what we needed to do to give it more depth. There is no real right or wrong, it’s whether you get that feeling. James [Cook, Delphic's lead vocalist and bassist] might play me something. So do I get it, do I feel it in my gut? Does it give me that kind of emotion? If the answer is no, let’s write another one. And if the answer is yes, okay, let’s take it to the next stage, let’s develop it and put an arrangement around it, put words to it. Are there any words that fit that we have already? You know, so you build it from there. But the initial idea is always the most important thing. It’s whether you get a buzz off of it… PW: Like a spark of inspiration. MC: Yeah, definitely. Sometimes…we’re writing ideas for the second album now, and there are some things…James played me something he’d written the other day, and sometimes you can just hear immediately, “that’s a finished song,” even if it’s just something on the piano with a bit of melody. I just know what that’s going to be. And that’s the most exciting thing. That’s when you know at the heart, there is something really special. It doesn’t happen all the time, but then it’s something you really need to grab onto and protect, in a way. You want to keep it true and make something real out of it.
PW: I think it is a gift when you’re able to create a timeless melody. A lot of music today, say hip hop, doesn’t necessarily have a great, underlying melody. It’s just not there. Or even some harder rock stuff. I saw Biffy Clyro 2 weeks ago at their first headlining gig of America, in Washington. They couldn’t even sell out DC9, and that’s a 200-capacity venue. MC: Really? That’s madness. They’re really big in the UK now. [Biffy Clyro regularly sells out stadiums there.] PW: I’m not a huge fan of theirs but I wanted to see history in the making. I consider Biffy kind of thrash metal, and my issue with thrash metal is that there isn’t a melody running through the whole thing, a melody that really grabs me. I’m not going to remember that song next week. Before or while you were in a band, were there any other bands that you looked to as idols? MC: Hmmm…Radiohead really, for me personally. They’re the bosses, aren’t they? The big kids in the class. I just think…they don’t put a foot wrong. They’re the band that I think always…I remember when we were working on parts of the first album, “what would Thom Yorke do?” kind of, that we said to each other kind of jokingly, but with a serious tone. They don’t seem to make missteps. And I think as a band they’ve always been so inspirational, because they’ve always done their own thing. Believed in what they do. Writing OK Computer and then bringing out Kid A, the most incredible movement in modern music, right? I think they’re certainly a band we have immense, immense respect for. And a band whose career path we look to and we’re like, if we have a career anywhere near that, we’d be happy. As a band who’s just released a first record, you’re very much at the whim at the reviews and the whim of word of mouth. And people are very open to speculation on things. And open to New Order comparisons! [laughs] But I think as we release more records and release more, people see what we’re actually about. I think looking at a band like Radiohead, at Pablo Honey or even The Bends, and seeing how they were labeled as, like, Pixies‘s wannabes, and all that kind of thing. Then they kind of emerged and blossomed into their own thing. I think we’re really eager to kind of move on and keep developing, and show people…we’ve still got a lot to prove, I think, and we’ve still got a long way to go, and a long way to improve. We’ve got a lot to prove to ourselves and everyone else as well. And who we are. And we’re just excited to be given the chance to do that. Some people [in bands] do that to them [finger gesture], and some people, “thanks for believing in us, we want to pay you back.” You know? I think that’s the Manchester spirit a little bit, that bit is anyway. Sorry, I hope I didn’t offend you doing that! PW: Haha, no worries. Was that a bit of anti-Southerner kind of thing? MC: [laughs] Oh, no no! It’s just that kind of gang mentality in Manchester. PW: “All for one, and one for all” kind of a thing? MC: Yeah, it’s a band thing as well, but we don’t feel like part of London. We’re a Manchester band and proudly so, but we don’t feel like we’re a part of any scene in Manchester. There are three or four of us versus the world as it were. You’ve only got your mates to rely on, they’re the ones you want to see it through with. And so to kind of prove ourselves is a massive, massive thing. And it’s something we are working on and will hopefully achieve.
Stay tuned for part 2 coming soon…
Tour Dates
Oct 05 – Phoenix / Toronto*
Oct 07 – Newport Music Hall / Columbus*
Oct 08 – DC9 / Washington, DC^
Oct 11 – St. Andrews / Detroit*
Oct 12 – Metro / Chicago*
Oct 13 – Turner Hall / Milwaukee*
Oct 14 – First Avenue / Minneapolis*
Oct 21 – Popscene / San Francisco&
Oct 22 – Fox / Pomona, CA*
Oct 23 – Club Nokia / Los Angeles*
^ Delphic only
* supporting the Temper Trap
& with the Hundred in the Hands
Welcome back, readers! The summer is winding down and I’m still listening to danceable hip hop and R&B jams that make me want to shake my tailfeather on the dance floor. Well, kitchen floor really. Last week I unleashed a Sampling Edition, Part 1 to whet your musical appetites and had so much fun that I decided I’d double down on your asses with a two-parter. Not for the A.D.D. musical aficionado, these tracks featuring a plethora of samples in unique and unlikely capacities. Sometimes it’s fun just trying to see if you can figure out what part of the song belongs to which artist. Either way, it’s a luscious mix of sounds and beats that make some of your favorite songs a tad more danceable. And that’s always good.
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.Destiny’s Child - “Bootylicious” Sample: Stevie Nicks – “Edge of Seventeen“
Who doesn’t love that chugging guitar riff that sets the tone of the Stevie Nicks classic “Edge of Seventeen?” Apparently, Destiny’s Child wanted to pay homage to one of the foremothers of rock n’ roll by pilfering the sound for the intro of “Bootylicious,” a cheeky video that actually features a cameo of Miss Nicks herself. As is the case with all great art, ironically Nicks and her writing team were subconsciously channelling their inner-Sting as it’s been said that the guitar and drum parts sound eerily similar to The Police‘s “Bring On The Night” and they only realized it afterwards. Wow, I wasn’t ready for that jelly.
.Notorious B.I.G. feat. Puff Daddy & Lil’ Kim – “Notorious B.I.G.” Sample: Duran Duran- “Notorious“
One of my favorite hip hop artists of all time (may he rest!), Notorious B.I.G. enlisted the help of some of his Bad Boy family members to create one of the more memorable hip hop and rock mash-ups from the 1990′s that is the quintessential personal anthem of his own self-proclaimed notoriety. Big up to Biggie for being able to make narcissistic songs so damn catchy by sampling a Duran Duran chorus and jangly guitar licks. Or was it Puff Daddy‘s idea? After all, he does claim to have invented the remix.
.Jay-Z feat. Memphis Bleek – “It’s Alright” Sample: Talking Heads – “Once In A Lifetime“
Oh Jay-Z, can you ever do wrong? It’s a song like this that makes me wonder what the hell does Talking Heads lead singer David Byrne have to say about this? It takes balls to sample Talking Heads for a hip hop song about maxin’, relaxin’ and chillaxin’. Apparently Jay and Memphis Bleek borrow from a Kraftwerk song (“The Hall Of Mirrors”) here too so the musical sample is essentially an ambitious composite of the two. Does Jay-Z really listen to new wave and synthpop? If so, holler back, young’n.
.Puff Daddy feat. Mase – “Been Around The World” Sample: David Bowie – “Let’s Dance” This track may be too slow to do the Harlem shuffle, but it still does make me long for the golden days of 90′s hip hop. With the help of then bromantic musical partner Mase, Puff Daddy had innovation on his mind when he laced this track with the inventive music of David Bowie‘s classic “Let’s Dance,” while stealing the chorus from Lisa Stansfield’s soft-rock hit “Been Around The World.” Whatever happened to her? Is she still looking for her baby? Does Puff Daddy have a soft spot for the light music station? This is another example of odd musical pairings that totally work and leave it to Puffy to pioneer the art of musical interpolation and mixing the unlikeliest songs.
It was hard selecting a sample of DJ Girl Talk‘s dizzying, creative as hell, genius mash-up tracks off Feed The Animals, but “Shut The Club Down” is one of my favorite tracks. In this one song he samples everyone from Avril Lavigne, Aphex Twin, Jay-Z, Rod Stewart, Butthole Surfers and Ray J, among others. I chose to feature the Aphex Twin track because he selects the breakdown of the incredible “Girl/Boy Song” during this track’s breakdown, while lacing in Rich Boy’s “Throw Some D’s.” Girl Talk finds a way to satisfy any type of musical enthusiast: 80s, rock, hip hop, synthpop, and pop. I can’t wait to finally catch a set of his at Street Scene San Diego next month. I’m going to wear my “Engineers Do It Better” t-shirt and hope he picks me out of the audience to jump in his inflatable raft and crowd surf. Sigh, I love me some Girl Talk.
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The exciting debut album from 
PW: Going back to the album, having heard what people have said about the album, one thing that I found very interesting was that people were comparing my favorite song, “Submission,” to 
