randomfurlong

GOT MY TICKETS (Qassandra this will be FABULOUS) *.* Loreen (!!!), Dana International, Brotherhood of Man and Dima Bilan are the final acts to be revealed: http://www.eurovision.tv/page/news?id=fina...niversary_event

Syndare have finally sent something over. Male R&B, because that worked so well for us last year. Ha.

Couldn't find an existing thread so I see no point in starting one :cry: , but is anyone else watching Elementary? Easily the best drama on TV atm for me, this week's was exemplary and a superb culmination to what's been one of the finest arcs of the series. Where they'll go from here, I don't know, but after how good this has been, I have faith. Also Joan's scarf this week was just FABULOUS *.* http://cdn.screenrant.com/wp-content/uploads/Stuart-Townsend-and-Lucy-Liu-in-Elementary-Season-3-Episode-12.jpg

not really enjoying it much so far, way too much Hannah. I did like the Jessa + Adam interactions and Elijah has been absolute gold, he needs to stick around.

another collapse from semi to final?! (before my deduction) what gives, ppl!!

yeah I don't get it either, most I've been behind your entry in a while! o wait there was henry saiz. okay so it's business as usual.

this was THE song for me and my flatmate when we saw them live and it is still supreme. the chorus just FLIES.

congrats John! didn't mind the song, tho it's overwhelming success is a bit surprising to me. solid enough result for Megan, just glad to be in the final at all having not voted for the first time ever oops lovely hosting Math, especially with the scramble to recover what you'd lost I think you did a grand job of still delivering in good time!

Pom de Replay out already?! f*** this bye

I'll be here! hoping Megan's miraculous qualification portends a better result than all the average odds promise...

'Cucumber' - tone all wrong for me. didn't feel any real emotion in any of it, and the Kylie-soundtracked scene was just too absurd, pushed way too far. 'Banana' is better, has a tighter focus and seems more self-aware of the character's foibles. (also more Freddie Fox, whose attitude gives LIFE)

Exactly. They mould the singer to their style, rather than the other way around.

15 Run-Time Imogen Heap Afbvd8g5hMU Imogen Heap got a little lost, for me at least, in all her technical wizardry; the method of production started becoming more important than the songs, which seemed to be awkward expressions of machines still not completely grasped in their usefulness. So I approached Sparks with trepidation, and while the compilation of several years' work bore the evidence of its production, 'Run-Time' stuck out for returning Imogen to the frenzied energy she harnessed so majestically on Speak for Yourself ten years ago. Heap's voice works best when doing similar acrobatics to her manic, unpredictable production, and the speedy synth bleeps of 'Run-Time' allows for her voice to freewheel across them, her breath seeming to elude her as she pushes herself into each verse with her trademark gusto. The feeling of motion in her work always makes it a somewhat exhilirating experience; here, seemingly fleeing from a dying relationship, she doesn't stop, instead fading into the distance as the listener stops, out of breath, and she goes on, never out of energy.

16 Bassically Tei Shi 9xYrCeucYzk Drums rumble ceaselessly as the track's bassline, an unsettlingly repetitive rhythm that's like a morbid heartbeat. It's the basic at the bottom of 'Bassically' - an intriguing title that sets the track a little off-centre before it even begins. Tei Shi builds the rest of the track on top of this beat, a mournful vocal and eerie effects swathed across the track until it devolves into a fevered wall of wailing, and one of the purest expressions of despair music heard all year. There's a great deal of release in those animalistic sounds, something for the listener to hold within themselves as the track barrels along on those increasingly manic, droning synths, before the crescendo as it all crashes together, halfway between a headbanging exhaltation and un petit mort, with the tangle of retribution and exhaustion that goes with it. You don't really need to listen to the lyrics to understand that this is a cry from within oppression, but what puts 'Bassically' above most tracks of its kind is its complete fearlessness: there's true wildness in those cries, a real sort of mania, and it's that edge of danger, insanity even, that makes this expertly constructed track so perpetually compulsive.

Syndare have voted this time. good songs! unexpected country at the top, but an expected song...

SURELY she's going to end up with Jack? I'm sort of glad to see the back of Malcolm Black, but it was a decidedly less batshit ending than normal which is a little disappointing. And god help them if they try and stretch it to another season, it basically feels done already in terms of Emily's story.

So this is on iTunes now - two months early! A response to the leak, I guess.

reserve pls. I need to have another 20-something flop in this contest and I need to have it NOW.

has Laura Welsh even had any airplay or exposure anywhere? I still don't like the updated version as much but she still did it sublimely when I saw her live the other day. :wub:

whichever way this goes, I see why you suggested I stick around Math! will feel very guilty for not voting if I just miss now - and astonished if I do to have got so much support! not that Megan doesn't deserve it but it didn't really sound like a big hit.

possibly! I'd be very surprised but thanks for the hope :D

sorry i didn't vote, I started a new job this week so I just didn't have the time at all. poor Megan but I wasn't particularly confident of q'ing anyway so let's just start afresh next time (I will vote in the final promise)

Jesus. That is good.

This show never ceases to surprise me, for better or worse. It's like it's on some sort of undiscovered drug.

17 Kicks FKA twigs QhLNyMCX5hU The clever thing about twigs' music is that it's incredibly simple. The subject matter of 'Kicks' is not dressed up in long, complex, cagey words; instead, twigs uses simple phrases in an almost conversational way to construct the finest ode to masturbation since Britney's 'Touch of My Hand'. The production of 'Kicks' pitches it within a sort of desolate soundscape akin to Burial or the classics of Portishead and Tricky, bursts of computer sound exploding like little orgasms as her voice trills its almost sardonic loneliness. 'Kicks' is a rebuff to a world that often encloses sexuality in a binary lock, insisting that solitude can augur the purest of engagements with the body and the spiritual effervescence of eroticism. This is one of the simplest, most elegant and most emotionally clear cuts on LP1, showcasing an artist who is unafraid to be openly expressive about her humanity and sexuality, and who understands how intricately they are tied up within ourselves.