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The streaming era and the lost art of the the physical singles, unique cover arts and B-Sides

2018.09.12 06:48 radiofan15 The streaming era and the lost art of the the physical singles, unique cover arts and B-Sides

I originally posted this essay in popheads this weekend and it got a positive reaction and some recomendations to crosspost this so I decided to give it a try.
In this streaming era we live in, we always complain about the length of the albums or messy rollouts... and yet, there's an element of the promotion that gets sidetracked in the conversations: the art of single releases. And no, I don't mean like music videos or traditional promotion, which still exists, but rather the advantages of PHYSICAL single releases. Of course I don't expect than in this times of diminishing sales for an artist to release a CD/cassette/vinyl of every single promotional release in an album cycle (even the bigger performers releases those as collectible items), but those small perks that physical (and to some extent, digital single releases before the streaming era) are sorely missed.
You see, back in the days of Elvis and Chuck Berry, singles were the source of income for artists, with the switch to albums not taking place until the 70s with singles becoming advertisement for albums. This last point had an adverse effect in the late-80s and 90s as record labels sometimes didn't issued physical singles from popular songs in the hopes that the audience will buy the whole album instead: this helped, for example, MC Hammer's Please Hammer, Don't Hurt 'Em to sell over 10 million copies as the lead single, U Can't Touch This, was released mostly as either 7-or-12-inches records (vinyls, for those who might not know) and in a CD format only in Europe (this is why it only peaked at #7 in Billboard); however, this system also prevented songs like No Doubt's Don't Speak and Goo Goo Dolls' Iris to chart at all despite being radio monster (the former in particular remained 16 weeks at number one in the airplay chart, and the latter for 18) because they weren't given physical releases in the United States other than promo CDs.
Even if a balance wasn't always reached (thanks in part to the prominence of digital downloads the next decade), two things remained standard when it comes to singles: a unique art cover, and the accompanying B-side.

The art cover

Back in the gay olde days, art cover for singles was basically a photograph of the artist either from a photoshoot, a performance or similar, or even a colorful graphic for the title of the song and the artist's name; it was everything that was needed back then. However, as album artwork moved forward from the usual portrait (thanks in part to releases like Otis Reeding's Otis Blue and the Beatles' Sgt. Pepper's Lonely Hearts Club Band) single’s covers slowly started to change to better complement the album's imagery.
If the album artwork revolved around a photograph of the performer, the singles were expected to follow suit (see: Mariah Carey’s entire discography, but specially the single Fantasy, in which the cover is the full version of the parent album Daydream’s cover photograph); in cases in which the cover was any kind of graphic the singles would revolve around the same theme (see: Coldplay’s entire discography, but especially the singles for X&Y that, just like the album, featured the titled written in the Baudot code), and for visually dedicated performers like Pink Floyd (see: the cover of The Division Bell singles) and 30 Seconds to Mars (see: the cover of the Love Lust Faith + Dreams singles) it wasn’t uncommon for the singles cover to follow a certain theme that might not entirely reflect the album cover.
Of course, this didn’t always happened: None of Michael Jackson’s singles reflected the artwork of the era and focused instead into represent the song itself (see: Scream and You Are Not Alone vs. HIStory) and sometimes it was common for the first, last or the occasional loose single to have a different style from the other releases of the era (see: Ariana Grande’s Problem vs. the other My Everything singles, or Lady Gaga’s Paparazzi and Just Dance vs. the rest of The Fame era, or Telephone in The Fame Monster era), but of course this was always subject to the artistic vision of the performer.
This doesn’t mean that it’s not like this anymore: some performers like Calvin Harris, The 1975 and Beyoncé still try to keep a consistent theme between eras, however they’re dime a dozen in this times. Just take a look at Nicki Minaj in the Queen era, moving from the consistency of Barbie Tingz/Chun-Li to Rich Sex and then Bed, all of them without any visual attachment to the parent album’s cover, which was apparently a stylistically choice… or a choice to say at least.
However, she at least tries, unlike people like Rihanna, who releases remixes EPs (see: Desperado, Sex with Me, Pose, Consideration) with the album cover instead of a dedicated cover like the other EPs (ex. Love on the Brain); or Taylor, who after creating a very consistent aesthetic in the 1989 era (with the exception of the Bad Blood remix, all of the singles in the era featured a Polaroid-inspired cover) seems to have been contractually forced to use the reputation album cover for every single of the era (except for the remixes, which needed colored version of the same image because why not?), which was kinda ironic because the RIAA certifications plaques included a different photo for each track, photos that could have been used very easily if she wanted to. And, in fact, there’s a limited physical release of Look What You Made Me Do with a proper cover… not exactly the greatest but at least it’s not the album cover.
And let’s not even talk about Dua Lipa: New Love, Be The One and Last Dance are photos of her with a flowery background, Hotter Than Hell sort of follows the idea (albeit with a red background), and then… Blow Your Mind (Mwah) and Room For 2 uses the photo that will eventually became the parent album cover (without the song title and with a colder tint) only to be followed by Thinking ‘Bout You reusing the same photo only with the song’s title this time AND THEN Lost In Your Light removing the song’s title once again, only to be bought back in the remixes EP; at least by this point New Rules finally found a new image (which was colored in a different way depending of the release, except for the fan-made-turned-official-release Initial Talk remix, which apparently needed its own separate cover) and IDGAF doing its thing with Dua shaving her armpits (once again recolored in the remixes EPs for your convenience, as it should be)… however, this makes me wonder why the Live Acoustic EP could get its own photo while the promo single Want To needed to rehash the cover of the upcoming The Complete Edition, which is basically a glittered version of the actual album cover and the same photo of 4 of the 8 singles released at the moment.
Of course Dua isn’t the only one, or the worst example, just the most prominent I could think of. Art covers are a dying art, especially in an era in which they are mostly seen in small screens, and when even albums can go lazy in the artwork department (ex. The Rolling Stones’ Blue & Lonesome, Britney Spears’ Glory) or not even bothering to have any real artwork (ex. Post Malone’s Beerbongs & Bentleys, Kanye West’s Yeezus) what can we really expect from the streaming era in the singles department? Photoshop failures like Mariah’s You Don't Know What to Do or Selena Gomez and Marshmello’s Wolves? Trying way too much approaches like DJ Khaled’s No Brainer and Sia’s Cheap Thrills? Lazy efforts like Bitch I’m Madonna, or Ed Sheeran in the whole Divide era? Or whatever the fuck Jessie J’s Bang Bang was?

The B-Sides

When singles were released in vinyl, the A-side was usually reserved for the popular or commercially viable track, and the B-side was, well, a different story:
With the advent of cassettes, 12” vinyl, and later CDs, the distinction of B-side became obsolete, instead the name became an umbrella term for whatever accompanied a single release in its release, which didn’t needed to be a sole track:
B-Sides were a necessity of the time, as they added an extra incentive to the casual fans to buy the single if they already owned the album, and gave non-fans a chance to explore more of the artist’s catalogue. However, as technology moved forward, the idea of B-Sides became obsolete and was slowly replaced by bonus tracks in deluxe or extended editions; in the past, B-Sides were compiled in especial dedicated albums (ex. Gorillaz’ G Sides and D Sides, The Killers’ Sawdust) and Oasis’ The Masterplan)), included as bonus tracks in reissues or being only available in box sets (ex. The Smashing Pumpkins’ The Aeroplane Flies High, Nirvana’s With the Lights Out and Prince’s The Hits/The B-Sides) as an incentive for new or diehard fans.
In today’s era is very common for single’s accompaniment to be either commissioned remixes or alternative edits for radio or videos, which would rarely get released in physical format or at all: Remixes are mostly thrown out in streaming services and digital stores without too much fanfare and normally as separated releases (ex. St. Vincent’s version of Maroon 5’s Girls Like You) and other version suffer of the same fate (ex. The “acoustic” and live renditions of Dua Lipa’s New Rules) or just get outright ignored (ex. The radio edit of Calvin Harris’s Faking It and the no-rap version of Camila Cabello’s Havana debuted in Now That’s What I Call Music! 65) as singles/EPs sections of artists get cluttered with entries featuring the exact same or similar photo for each slightly different version of a track when maxi singles or remixes EP were used with the exact same purpose.
Tracks that were once B-Sides are now issued as bonus tracks in region-or-retailer-specific editions of albums: There are a total of 24 songs released as part of Madonna's Rebel Heart but you would need to buy the deluxe edition in a European supermarket chain to get the first 20 (it's not enough to buy the normal deluxe edition, as there's still a track missing, Auto-Tune Baby) AND THEN either buy the super deluxe or the Digital EP to get the other 4 remaining tracks. You wanna get Dua Lipa's version of Cher's Bang Bang? Then go to Italy to buy a special edition of the standard version of the self-titled album... and if you want the tracks in the deluxe edition like Room for 2 and Last Dance you betetr import the Japanese version because otherwise you would miss out one track: For Julian.
Speaking of Japan, artists adds bonus tracks in that country's versions because the economy dictates that it must be that way: Admire David Bowie's God Bless the Girl from The Next Day from afar, join the conversation of why Muse's Fury remains trapped as an add-on in a foreign edition of Absolution and never stop thinking that Kanye West left Bittersweet Poetry to rot in Japan's Graduation edition. This also happens in the US with the Target bonus tracks: Adele's Can't Let Go, Lay Me Down and Why Do You Love Me from 25, Bullet for My Valentine with Breaking Out and Crawling from Gravity, Paul McCartney with Get Started and Nothing for Free from the recent Egypt Station.... the list goes on, and the idea of retailer exclusive bonus tracks is a controversial one
On the other hand, today’s equivalent of doubled A-Sided releases seems to be releasing a normal single and putting it as the first track in a made-up EP consisting of the previously released tracks from the same era, sometimes without even bothering changing the cover at all, just to get some of that juicy and sweet streaming money: The Chainsmokers pioneered this with their current release pattern of one song per month and inventing an EP out of thin air out of them (right now it’s called Sick Boy… Save Yourself and features 6 singles), however they’re not the only ones who do this: Twenty One Pilots has My Blood and A Few Others from Trench (which follows Jumpsuit/Levitate/Nico And The Niners), Muse recently released the originally titled The Dark Side/Something Human/Thought Companion/Dig Down (two of those songs are from 2017 BTW)… heck, even my faves aren’t safe from this practice. Unfortunately, artists doesn’t seems interested in the B-Sides concept anymore, outside of the occasional Record Store Day release, and honestly in this current music climate I can’t blame them. We always talk about how streaming have made charts stagnant or unpredictable/unreliable (sometimes at the same time) or albums/singles rollout meaningless, and yet, we don’t really stop thinking about how much EVERYTHING else has changed, either for the best or for the worst.
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2017.06.29 21:01 Nickknight8 The Unofficial /r/anime In Depth Summer Preview Part 3 (N - Z)

Welcome back to the final part of my unoffical summer preview
<-------- Part 2
Nora to Oujo to Noraneko Heart (Nora, Princess, and Stray Cat)
Information: MALANNKey Visual
Studio: ?
Start Date: ?
Episodes: ? (Short)
Genre: Comedy, Ecchi
Nora Handa is a boy who lives with Shachi Yuuri, who was adopted by his mother. With everyone supporting, the two of them grew up healthily even after their parents passed away. Shachi, who likes Nora the most, wakes him up every morning.
Nora spends his happy student life with Michi Kuroki, who is a disciplinary committee, honor student at school and childhood friend of the main character, Yuuki Asuhara, who is a gal but is very bright and can talk his worries to, and more friends at school.
One day, Nora meets a girl who calls herself Patricia at the park on the way to the school. Patricia is a queen at hell, and claims to come here to destroy the life on land. However, she is damaged heavily because she touched the life for the first time. The energy was stronger than her, so Nora needed to tend her. Patricia asked him to tell her about the mysteries of life, and he had to even explain the ero book that he found at the park...?!
Okay so as you can see, very little is known about this show. Hell maybe it shouldn’t even be on here. It’s an adaptation of an adult visual novel. So while this could just be hentai, they claim it’s going to a summer anime airing shorts throughout the season.
The strange this is that we know the director, but not the studio. I imagine we might find out soon, but still I find that really weird. The director is Kenshirou Morii, who seems to be an expert in making shorts, with all of his work being short chibi like shows. However, there is one major exception, as he directed an animated the entire first ED for Fullmetal Alchemist: Brotherhood. But I expect just another chibi comedy show with some ecchi elements.
Owarimonogatari 2nd season
Information: MALANNKey VisualPV
Studio: Shaft
Start Date: August 12th
Episodes: 7
Genre: Mystery, Comedy, Supernatural
Second season of Owarimonogatari.
It’s going to be great you lolicons.

Piko Tarou no Lullaby Lullaby
Information: MALKey Visual
Studio: DCE
Start Date: ?
Episodes: ? (3 min)
Genre: Comedy
Pikotarou will improvise the story of each three-minute episode using an illustration by the anime's director Takashi Taniguchi. He will tell each story in the style of a fairy tale and voice every character, including himself.
Takashi Taniguchi, in case you were wondering, is the guy who made the fart anime.
No thanks
Princess Principal
Information: MALANNKey VisualPV 1PV 2
Studio: Actas, Studio 3Hz
Start Date: July 9th
Episodes: ?
Genre: Action, Adventure
The stage is set during the 19th century London, in its capital where a wall divides the east and west of the Kingdom of Albion. Five high school girls, who enrolled in the prestigious Queens May Fair School, are involved in spy activities that involve disguise, infiltration, car chase, and more. These girls take advantage of their special abilities and fly around the shadow world.
Welcome to show 2 of 2 that I am insanely hyped about.

And while there is less reason for me to do so, since there are some red flags, I can’t help myself. A jazzy, early 1900’s gang warfare with girls who are spys and have powers. Sold! I mean it could’ve been without the powers but still I’m sold! The Pv’s alone have me hooked with the show oozing style. With it being an original, it has more of a chance to fall on its face, but man I’m just incredibly optimistic with this one.
Part of my optimism comes from Studio 3Hz and their last work Flip Flappers. But in their quest to create original works, none of their shows seem to do well financially. So why not make a show involving cute girls and team up with a studio who has had extreme success with that, Studio Actas, aka the ones behind Girls und Panzer. So they’ve got someone with experience in the formula helping them out.
The staff behind the show makes me really excited but also a tad worried. What’s not worrying is the director, Masaki Tachibana. He has worked on a ton of good stuff as a story boarder and episode director, but he really shines as a director, with his 3 previous works being .hack//Quantum, Tokyo Magnitude 8.0, and Barakamon. So he hasn’t had a true dud in my opinion, so I doubt this one will be either.
However, since this is an original, we got to look at script/series composer. Both of those roles are filled by Ichiro Okouchi and boy does his work vary. He’s written for such shows as Planetes, but he was also the script writeseries composer for Kabeneri of the Iron Fortress, which I know will turn a lot of people off of this show. But what he is most known for is being one of the founding creators of Code Geass. So take all of that information for what you will. It makes me approach the show with caution, but it can’t hamper my hype.
Last thing to mention is the music for the show is going to be done by the legendary Yuki Kajiura, who for the uninitiated, has done basically most of your favorite shows. Okay maybe not, but with shows like Sword Art, Madoka, and Fate/Zero under her catalog, she definitely has got around.
So while this show has a very real chance to go off the deep end, I’m still super excited. Its 1900’s spies, how can I not be excited. Well there was Joker game…
Saiyuuki Reload Blast
Information: MALANNKey VisualPV 1PV 2
Studio: Platinum Vision
Start Date: July 5th
Episodes: 12
Genre: Action, Adventure, Comedy, Supernatural, Drama, Josei
At last, the Sanzou Party has arrived in India. In this foreign land, where the anomaly's influence runs rampant, their battles only heighten in their violence.
And also awaiting them is their tragic fate from 500 years ago—
What will they find at the end of their long and treacherous journey?
So this is apparently a sequel to a show that had an unfinished manga adaptation back in 2004. And this is apparently part of a manga series from 1997, and its still going with the manga on its second sequel. And apparently the show is about cute boys with guns. And they all seem pretty identifiable. I mean just from the PV I can tell there’s the cool leader, a fun loving one, the violent one, and the smart one. Kinda like the ninja turtles now that I think about it. But to do a sequel after all this time is surprising, but at least it still gives hope to all those people waiting for a second season of their favorite show.
Handling production is Platinum Vision, whose only other work is Servamp. They even had Brains Base help them out with that. And besides that, literally nothing else. They’re brand new to the scene and this will be their first standalone work. Shame it’s a sequel so I couldn’t see how they do on their own.
The director is not new however, as Hideaki Nakano has worked on a ton of stuff before. Was any of that stuff notable or good? It varies, but I’d say his work leans mostly towards the forgettable side. Although he did direct Servamp and a couple other shows involving cute boys, so maybe he’s found his niche.
But yeah, as a 13 year old sequel, not much insight from me.
Senki Zesshou Symphogear AXZ
Information: MALANNKey VisualPV 1PV 2
Studio: Satelight
Start Date: July 2nd
Episodes: 13
Genre: Action, Sci-Fi, Music
Fourth series of Senki Zesshou Symphogear.
Shoukoku no Altair (Altair: A Record of Battles)
Information: MALANNKey VisualPV 1PV2
Studio: MAPPA
Start Date: July 8th
Episodes: ?
Genre: Adventure, Historical, Drama, Fantasy, Shounen
Tughril Mahmut is a young pasha serving on the Divan of the Türkiye Stratocracy. The clouds of war are gathering over his country due to the threat of an aggressive Empire. With the Divan split between warmongers and the pacifists, Mahmut begins his quest to keep the peace at any cost. As he finds himself deeper and deeper in the politics of the ancient world, new enemies and allies surface. Who will prevail? What will Mahmut do if war proves to be inevitable?
Looks like we’re getting another anime set in the Arabian nights. And this time it’s all about war and politics following a young ruler trying to save his kingdom. I mean obviously there are Magi vibes here, but I think this is going a completely different direction from that one. More on the strategy of war rather than magic.
This is Studio MAPPA’s other project this season along with Kakegurui. However, promos for this work have been airing since late last year, so I think its safe to say that a team in MAPPA have been spending a lot of time on this project. The first PV came out over 2 seasons ago, and animators work best when given a lot of time to work. Hell, the second season of Hero Academia is a perfect example of this.
So with a lot of time and being MAPPA’s premier project this season, they brought on Kazuhiro Furuhashi, who recently directed the absolutely beautiful Mobile Suit Gundam Unicorn. While Unicorn was breathtaking visually, the story wasn’t my cup of tea. But hey, we got a praised manga as a story source this time, so that shouldn’t be an issue. Now he did have 4 years to direct Unicorn, and that’s a lot more time than usually given for a seasonal show. But hey this show has gotten a lot more time to be developed than other shows. It’s almost like there’s a theme in this entry.
But yeah like I said, this manga has been recommended to me and has seen its praise around the internet. Sure it’s not being praised as anything more than solid, but it seems like a solid base for this anime to work on. And while Arabian nights isn’t my personal cup of tea, and the PV’s didn’t light my world on fire or anything, I still think I’ll be checking this one out. Everything just seems to be in line to make this show a successful one.
Skirt no Naka wa Kedamono Deshita.
Information: MALANNKey VisualPV (NSFW)
Studio: Magic Bus
Start Date: July 3rd
Episodes: ? (5 min)
Genre: Drama, Romance, Ecchi
Kominami Shizuka is a mild-mannered college student who is having trouble adjusting to city life. One day, she meets Kirishima Ryou, another student who projects the image of a cool older sister. The two hit it off, but Shizuka is shocked when Ryou attempts to seduce her. Shizuka initially assumes that Ryou is a lesbian, but Ryou is in fact a man who dresses like a lady.
Okay seriously. I know I half-jokingly said earlier that Nora could turn out to be a form of hentai, but come on. There is fingering in the PV.
So I initially played this off as Yuri, but no! IT’S A TRAP! Crossdresser who is actually a guy. No yuri here folks. Regardless, that seems to be the point of the show. People thinking they are a lesbian couple/lesbian flirting when in reality it’s actually a guy. Well at least those 5 minutes look like they’ll be full of kissing and holding hands.
Fun fact about Studio Magic Bus. They helped work on Legend of the Galactic Heroes. No reason I bring this up, just found it amusing. There last work was 4 years ago, and it was a hentai.
The director is Mitsutaka Noshitani, who although isn’t credited with anything on MAL, has quite the few credits as episode director for a ton of stuff on his ANN.
Look, it’s just porn bait. 5 minute porn bait. Just say no kids.
Teekyuu 9
Information: MALANNKey VisualPV
Studio: Millepensee
Start Date: July 12th
Episodes: ? (2 min)
Genre: Comedy, Sports, Shounen
Ninth season of the Teekyuu anime series.
… is what I would say if I had watched the last 8 seasons. But their all shorts so it’s probably really easy to catch up. Regardless, it’s more of the fun loving cute girl sports anime that I’ve heard about.
Studio and director are all returning for this as well. Fun fact this is Shin Itagaki’s pet project as he does like 50% of the total work on it (or at least that’s what the credits would make you believe). He’s also the director of Beserk (2016). Hey don’t shoot the messenger.
Tenshi no 3P! (Here comes Three Angels)
Information: MALANNKey VisualPV 1PV 2
Studio: Project No. 9
Start Date: July 10th
Episodes: ?
Genre: Music, Slice of Life, School
Kyou Nukui is a first year high school student hikikomori. His hobby is making Vocaloid songs and uploading them online. One day, he receives a message from a fan asking if they could meet up with him. At the meeting place, three elementary school girls were waiting for him. The three of them want to form a band and ask for Kyou's help.
We got our cute girls show for the season folks. A man obsessed with vocaloids gets to manage 3 elementary school girls trying to form a band. You know what that means…

I’ll give them that the loli’s seem cute, but there are red flags for me as soon as a high school male is surrounded by 3 children. Now to give them some credit, this creator and studio has worked on a show called Ro-Kyu-Bu, which is the same concept but with basketball. And to my research I don’t think much creepy stuff goes on. I was kinda scared to dig deeper. Still, they seemed to be sexualized in the PV, so I’m still concerned.
So excuse my poor research earlier, but it appears Studio Project No. 9 is doing double duty this season. And for such a young studio, too! But unfortunately, I still have the same opinion that they haven’t made an above decent show yet.
What really matters is the people behind it, and it seems like Project No. 9’s main guy is at the forfront. Shinsuke Yanagi, who incidentally directed Ro-Kyu-Bu that I mentioned earlier, as well there most popular work And you thought there is never a girl online?. Not the best track record for my book.
So incidentally, with basically everyone returning, this seems like a spiritual successor to Ro-Kyu-Bu. So I guess they’re trying to strike loli gold twice. I tried to see the sales number of the last Ro-Kyu-Bu, and seeing as it did pretty well and got a second season, I just there judgement seems correct.
Information: MALANNKey VisualPV
Studio: Studio DEEN
Start Date: July 22nd
Episodes: 12
Genre: Action, Super Power
After THE REFLECTION, some of the people in all parts of the world are discovered with super powers.
Some become heroes, and others villains.
How did the Reflection happen? What was the cause of it?
With many unsolved mysteries, the world is lead into turmoil.
So in case you didn’t hear, this is the project that motherfucking Stan Lee is behind! I mean that’s a good sign, right? Right!? In all honesty, I’m not too caught up on the dealings with Marvel and their comic books. I also don’t know whether Stan is still considered a good comic maker. Or if he’s still as good as he always was. However, while he created the premise, I looks like he will not have a hand in the actual production of the show.
As for the premise he came up with… its strikingly similar to something. I just can’t put my finger on it.
Okay when you look into the details, its not exactly that similar to Hero Academia. Unlike MHA, only a select few get powers, with in MHA almost everyone gets powers. And this show seems to center around why people got powers, where in MHA its more on being a hero. But regardless, with Hero Academia running alongside it, it’ll have to do something different to stand out from not only MHA, but also other superhero shows as well, as even I have to admit we are overloaded on superhero shows.
Since Stan Lee is only co-creator, we need to look at the other half to get the full picture. Fortunately, he’s also the director, Hiroshi Nagahama. And boy did Stan Lee and DEEN pick up a good one here as he directed Detroit Metal City and almost all of Mushishi and its sequels. He’s the only staff listed, but I think as long as he’s behind it, I feel like the show will make an attempt to stand out. After all, he certainly stood out with his attempt to adapt Flowers of Evil.
Studio DEEN needs no introduction, and unfortunately they are also working on Hell Girl season 4 this season. However, they have grown enough that I think they have enough staff to easily pull it off. They did do Rakugo and Konosuba at the same time after all (Hopefully I’m not bringing back the Konosuba animation argument with this. It was fine and intentional (I think)).
Oh and for a fun fact to leave it on, Marvel actually has their own anime being made this season called Marvel Future Avengers, and its being done by Madhouse. But to make it an actual coincidence, they both are starting on the same date, July 22nd. They might have planned it, but if not, I find the coincidence amusing.
Tsurezure Children (Tsuredure Children)
Information: MALANNKey VisualPV
Studio: Studio Gokumi
Start Date: July 4th
Episodes: ? (15 min)
Genre: Comedy, Romance, School, Shounen
A series depicting various scenarios of young love. These stories range from a boy, crippled by his absolute lack of confidence in himself, cannot even accept the fact that the girl of his dreams actually asked him out on a date, to the near-psychotic girl that pours her own blood into her homemade chocolate in order to win his heart.
Oh god its so adorable.

So originally when I saw that this was a 4-koma manga, I got worried because with it being a romance. But fret not, as these are mini stories about multiple people starting relationships. And holy shit does everything about this scream cute. I mean the psychotic girl in the description is worrying, but I just watch the PV’s again and get the warm fuzzles.
Now I’m giving the credit for this cuteness to Studio Gokumi, as their previous work on Kiniro Mosaic and Yuuki Yuuna proves they can do cute things kinda well.
… Okay I’m not stupid. I know the studio has nothing to do with the cuteness that is a part of those shows. Its just I don’t want to give the credit to the director, Hiraku Kaneko. Why? Cause his previous works of hentai and ecchi shows have shown that his work has a particular fondness for the oppai. Or at least that’s what I’ve heard. This is honestly one of the biggest red flags I’ve seen, enough to make this adorable looking show something I’m a little hesitant to pick up.
However, I’m here to just give you the information. So I again emphasize that despite the adorable PV, there is not a good track record behind this director. So just take that into consideration before picking this one up.
Vatican Kiseki Chousakan (Vatican Miracle Examiner)
Information: MALANNKey VisualPV
Studio: J.C. Staff
Start Date: July 7th
Episodes: 12
Genre: Mystery, Supernatural, Drama, Shounen
Vatican City—Holy Land of the Catholics. Amidst the land, there is an organization that conducts rigorous investigations on "claims of miracles" from all over the world to ascertain their credibility. The organization is referred to as "Seito no Za" (Assembly of Saints) and the priests that belong there are called miracle investigators. Robert Nicholas, an ancient archive and cryptanalysis expert is partnered and good friends with Hiraga Josef Kou, a genius scientist. Together, the brilliant duo investigates the "miracles" and uncovers the incidents and conspiracies hidden behind them.
Today on “sure, that’s an anime”, mystery solving priest use the power of Christ to so mysteries. Maybe, that’s just the impression I get from all the information given.
It seems to be a mystery type of show (obviously), but what I’m most interested in is whether or not it will be episodic. The description makes it seem episodic, but with them emphasizing side characters in the PV it could have an overarching story. All I do know however is that they are some very handsome goth looking detectives. Going after that Black Butler market I suppose. (Also side note since I mentioned it earlier, Junichi Suwabe is in this, so more eargasms.)
J.C. Staff is a large enough studio that them alone won’t account for a shows quality, so we got to look at the director, Yoshitomo Yonetani. He’s been around for a while, so much so that I don’t really recognize much of his work. I do know that one of most recent work was the adaptation of Food Wars, so I guess that’s a feather in his cap.
Honestly, speaking from personal opinion, I’m not the biggest fan of the art style here. However, I am probably not the demographic for this, so if you want goth priests who are mystery solvers, then you got your show for the season.
Yami Shibai 5th Season
Information: MALANNKey Visual
Studio: ILCA
Start Date: July 3rd
Episodes: ? (most likely 4 min)
Genre: Dementia, Horror, Supernatural
Fifth season of the Yami Shibai anime series.
So it’s the 5 season of these 4 minute horror shorts. The last season was in winter. You already know if you’re watching this or not.
Youkai Apartment no Yuuga na Nichijou
Information: MALANNKey VisualPV
Studio: Shin-Ei Animation
Start Date: July 3rd
Episodes: ?
Genre: Slice of Life, Mystery, Supernatural
Inaba Yuushi's parents died in his first year of middle school, and he moved in with his relatives. Though they did care for him, he could tell he was a burden. After he graduated, he happily prepared to move to a high school with a dormitory. Unfortunately, the dormitory burned to the ground before he could move in! Yuushi doesn't want to live with his grudging relatives, but it's rough finding lodging as an orphaned student with little money. He finally finds a room in a nice old building which seems too good to be true.
The catch is that it is a Monster House, a place where humans and supernatural creatures—ghosts, mononoke, etc.—live together. Another high schooler lives there, a cute girl named Akine, and she's completely unfazed by the monsters. In fact, she can even exorcise evil spirits! Yuushi's high school life just got much stranger than he ever bargained for!
So Shin-Ei Animation, following there recent “hits” of Warau Salesman and Trickster, look to strike “gold” again with this light novel adaptation.
But from what I see, it seems like a general adventure-comedy ghostbusting affair. Kid moves out into a house that is haunted, must deal with ghosts with the help of a cute sidekick that totally won’t be a love interest. In fact it reminds me of RIN-NE, just with the roles reversed. And these types of shows usually tend to be episodic, but since this is a light novel I just have a gut feeling there will be an overarching plot. Or not.
The director of this ghostly comedy is Mitsuo Hashimoto, who despite working on a few personal projects and kids show recently, really has a pedigree of shows behind him, with him working on all three Dragonball series and directing 3 of the movies. He also directed the later seasons of Initial D. This is his first none kids work in a very long time, so it’ll be interesting to see how this comedy will play out.
So this is the definition of generic, but hey, like I’ve said before, generic isn’t always a bad thing. The animation did look a little sparse in the PV though, so we’ll see if this will be a “quality” show this season.
Youkoso Jitsuryoku Shijou Shugi no Kyoushitsu e (Classroom of the Elite) (TV)
Information: MALANNKey VisualPV
Studio: Lerche
Start Date: July 12th
Episodes: ?
Genre: Comedy, Romance, School
Koudo Ikusei Senior High School is a leading prestigious school with state-of-the-art facilities where nearly 100% of students go on to university or find employment. The students there have the freedom to wear any hairstyle and bring any personal effects they desire. Koudo Ikusei is a paradise-like school, but the truth is that only the most superior of students receive favorable treatment.
Ayanokouji Kiyotaka is a student of D-class, which is where the school dumps its "inferior" students in order to ridicule them. For a certain reason, Kiyotaka was careless on his entrance examination, and was put in D-class. After meeting Horikita Suzune and Kushida Kikyou, two other students in his class, Kiyotaka's situation begins to change.
So I can’t really get a feel for this one, since everything about it seems like it should be a high school comedy about just trying to do your best in school, but the PV gives off this almost drama like tone, like something foreboding is about to happen. I guess the main crux will be just how bad the school treats its lower classman and if there is a sort of injustice to fight against. Also, I hope the MC didn’t get to the “inferior students” class because of some stupid reasons. It also seems clear that it’s about a guy who meets two girls who will change his situation, so love triangle here we come. As a trade off at least the manga is somewhat popular, so hopefully that means that it has something to make it stand out. Maybe the school?
Lerche is coming of Scums Wish and 50 episodes of Assassination classroom, with some decent shows in between, so in my opinion they are riding high right now. Let’s hope this manga they choose to adapt will continue theirs ways of success.
We got Co-directors for this one. The first is Seiji Kishi, who has directed a number of quality shows that it would take me too long to list. However, I think most people will recognize him for his recent directorial work on the springs Tsuki ga Kirei. Our next director is Hiroyuki Hashimoto, who has done a ton of storyboards and key animation for a bunch well known series. His only directorial work is Is the order a rabbit? and depending on your tolerance for cute girls depends on your view on that series.
Overall, I think this shows main goal is to differentiate its school from other high schools. I think that’s the edge this show can bring to the table, and hopefully along with some good characters, we can get a good series out of it. I’ll still be checking it out, as I think it’s got a solid team behind it.
submitted by Nickknight8 to anime [link] [comments]

2016.09.09 18:37 rccrisp Indie Pop and Twee: A Primer

Last year after seeing the excellent Shoegaze Essentials and Guide I got the idea of possibly doing something similar for Indie Pop. Part of it was the fact that I've hit a point in my life where nostalgia is trumping my desire to discover new music, partially because I had this mini breakdown in the Indie Pop Genre Specific Playlist thread and partially because a lot of bands in this genre just aren't discussed a lot period even though their finger prints are all over modern indie rock. Indie Pop and Twee was one of the first genres I ever fully explored so there's always been a sentimental attachment to it for me. So last Winter I started listening to all those old albums (thanks Spotify!) and took note of albums I would put on, what was dubbed then, an "essentials" list. It was a very casual exercise that ended up being a massive list of hundreds of albums. I wasn't even sure if I was even going through with this until some community nudging helped push me along.
I've since softened my stance on the definition of Indie Pop, the use of Twee and various other things like that, but this primer is mostly dealing with the classic definition of Indie Pop used by the British music press from the 80's and the bands and artists that have since been influenced by that scene. So while artists like The Shins, Elliot Smith and Grizzly Bear fall into this category we won't be discussing (much) about them.
Having said that I'm really glad I started this. I discovered old bands I never heard of, new bands from a growing Indie Pop and Twee scene I just wasn't aware of because they aren't captured in the music blog world, connected with some people over a love of music and reignited a fire for discovery. I hope you find this guide useful, it's long since shed title of being an "essentials" list because I quickly learned that 100 albums can't even come close to pointing out every great Indie Pop and Twee album. What I can say that for anyone that loves to dig into music and genre history this is a great jumping off point.


At first glance it might seem odd to discuss Indie Pop. For most people Indie Pop is a general catch all term for “Indie Rock” that maybe more melodic and accessible. This of course can encompass a variety of acts, whether it’s the psychedelic charm of Animal Collective, the upbeat peppiness of Grizzly Bear or even the synthpop styling of Grimes. However going back to the origins of the use of the word and things start to get a little less broad and little bit more interesting than simply “poppy” Indie Rock. The term Indie Pop, the genre and scene it created and its subsequent influence is one of the major foundations of modern Indie Rock. Heavyweights like Arcade Fire, The Shins, Sufjan Stevens, Phoenix and Vampire Weekend owe a lot of their sound from the original Indie Pop movement and contemporary artists like Mac DeMarco, Waxahatchee, Alvvays and Frankie Cosmos are either heavily steeped in the genre’s influence or outright trying to revive the genre for a new generation of listeners.
Yet like a lot of large genres there is a denseness that prevents people from exploring Indie Pop beyond the discography of Belle & Sebastian. The sheer number of works, ranging from long lists of singles, numerous EPS, compilations (both from artist and record labels) and full albums is encyclopedic. Following the different trends and movements is hard to track. On top of that Indie Pop “experts” love the mythology of their genre. The glorification of certain labels like Sarah Records, K Records, Rough Trade and Flying Nun Records, the break down into further genre buzzwords like Twee, C86 and the Dunedin Sound, and the cross genre nature of a lot of these acts and the debates within may seem like it’s overly difficult to get into it. However I feel the reward is worth it to cut through all that and get to the root of the sound. Within the genre are classic albums and songs, absolute masterpieces of perfectly crafted pop rock.

What Is Indie Pop?

What is seemingly an easy question is difficult to answer because Indie Pop is more than a simple stylistic genre. Much of it is born out of the musical world of the 80’s and the stylistic tenets were enforced by the times. The clashing of ideologies formed the perfect environment for wild experimentation in melodic music.
Stylistically Indie Pop is a form of Indie Rock focusing more on melodies. Indie Pop can be seen as a response to the growing Punk Rock and Post Punk scenes of the time. Whereas punk was aggressive with a political slant to their lyrics and Post-Punk was often concerned with either creating artful compositions or subverting rock’s norms Indie Pop looked to embrace the pop elements that were heavily seen in rock bands from the 60’s and early 70’s but still maintain that ‘gritty’ sound and DIY ethos of punk. There was also a strong desire to not conform to mainstream pop by maintaining their presence on independent labels. Indie Pop melodies are often very simplistic and adhere to the rock and roll format of being centered on guitar drum and bass however unlike traditional pop isn’t concerned with clean sounds and instead prefer the rough edges of Indie Rock. Lyrically Indie Pop looks to broaden its appeal over Punk and Post-Punk with songs the deal with slice of life situations and romance over political views or wordplay.
The Indie Pop scene is integral to the Indie Pop sound. Based off a number of small independent record labels most bands early on were house bands for various clubs around England and developed local cult followings. The small size of these bands and labels encouraged the release of singles over full albums. Notable record label Sarah Records started out producing only 7 inch singles. This meant that bands had to produce short, punchy and catchy music in order to gain a hold of anyone’s attention. These bands were similar to Indie Rock bands but had a more accessible sound so the journalists of the time collectively labelled them as Indie Pop.

The Beginning: Jangle Pop and C86

In the early 80’s Post Card Records setup shop in Glasgow as a means to distribute the music of Orange Juice and Josef K. Both bands defied conventions of independent music of the time; their songs while still heavily punk influence had a ‘jangly’ quality to them similar to numerous 60’s Folk Rock bands, most notably The Byrds. From this the genre of Jangle Pop was born which is often seen as the father genre to Indie Pop. Both genres share a number of similarities mostly a focus on melody and a number of Indie Pop bands, such as The Go-Betweens and The Wedding Present, can be classified as existing in both genres. Jangle Pop would continue to grow through the early 80’s as other bands like Aztec Camera, Lloyd Cole and the Commotions and The Monochrome Set becoming major acts within the genre.
The subsequent years would see Jangle Pop come into prominence with two important bands. Stateside in 1983 R.E.M would drop their debut album Murmur, selling well for I.R.S and drawing massive critical acclaim in both America and England. In 1984 The Smiths would launch their self-titled debut in England, becoming a critical and commercial hit. The album peaked at number two on the UK Album Charts and would remain on the charts for 33 weeks. The Smiths’ sound provided by Johnny Marr’s sublime guitar work coupled with Morrissey’s morose lyrics is seen as the major influencers on Indie Pop.
In 1981 music publication NME released a successful compilation tape of what they deemed were the most exciting independent rock acts at the time. The compilation, now known as C81 was seen as a massive success. In 1986 the magazine was looking to recapture that same magic again. Now dubbed C86 the compilation, while not exclusively containing Indie Pop music, featured many of the major acts that would have a lasting influence on the scene. While varying opinions on how influential the C86 compilation was at the time, with some saying it was the beginning of indie music as we see it today while other stating its legacy is hindsight nostalgic romanticism nothing can take away that for a lot of young music fans it was an introduction to bands and sounds they otherwise would have unlikely been exposed to.

The UK Scene

In the post C86 world bands who had gained exposure through the compilation found a small but hungry group of music fans waiting for more Indie Pop. 1987 saw a number of bands finally getting the chance to release full length debuts as opposed to the myriad of singles many of the bands had been releasing previously.
Among these debuts the sound and landscape of Indie Pop was already shifting. Despite being these bands first proper albums many of them had been releasing music and playing gigs for years. Primal Scream, artist behind the Indie Pop anthem Velocity Girl would already muddy their sound and build upon Indie Pop with various influences that would lend more to the band that would release albums like Screamdelica. The Wedding Present’s debut George Best can be seen as the most straight forward major debut of 1987 but even still the band makes a strong case for the separation of Indie Pop and Twee by wearing their punk rock influences on their sleeve. George Best is equal parts melodic and aggressive, a blurring of where pop punk ends and Indie Pop starts that worked well with the working man ethos of both their sound and their lyrics. McCarthy would remain strongly in the Indie Pop sound with their first album I Am A Wallet but the band’s lyrics had a much more social and political slant to them.
In the bridge from the 80’s to the 90’s Indie Pop’s influence began to bubble from the underground to the mainstream. Bands like The Primitives and The La’s would score cross over hits with Crash and There She Goes respectively. In a major coup Spin magazine declared Teenage Fanclub’s Bandwogonesque to be the best album of 1991, beating out Nevermind. As Indie Pop grew so did the independent music scene in the UK grow as more experimental genres like Shoegaze and Dream Pop concurrently developed alongside it. On top of that fertile music scenes like the Madchester movement sparked ever increasing cross breeding between the genres that were making up the UK indie scene. From this mix of influences would bring forth Brit Pop which would close out the 90’s as the largest music movement in the UK.

International Developments

Seemingly similar but independent developments of pop focused Indie Rock began to spring up within the same time frame as they were in the UK. Although these scenes would be smaller their influence would be felt in the genre’s life span. Most notably in the US the Pacific Northwest, Northern California and the Washington DC area would develop significant scenes for Indie Pop and Twee.
In the late 80’s and early 90’s musicians in the Shibuya district of Tokyo had a similar love affair with 60’s music but instead focused more on the era’s “kitsch” value and heavily adopted elements of Baroque Pop, Bossanova and Lounge Pop. The style was dubbed Shibuya-Kei and much like Indie Pop offshoot Twee began to influence more than just music but also fashion and art. Through the 90’s the Japanese Indie Rock scene would embrace more traditional Indie Pop in bands like Advantage Lucy and Twee with bands like Shone Knife.
The Dunedin Sound can be seen as one of the most significant Indie Pop offshoots. A scene centered in the University Town of Dunedin New Zealand it was supported by Flying Nun Records who released many of the early records from notable Dunedin Sound artists such as The Clean and Tall Dwarfs. College radio station Radio One at the University of Otago provided the platform for the scene to grow as most New Zealand radio stations were prone to play foreign acts over home grown musicians. Popular bands that grew from the scene include The Bats, Able Tasmans, The Renderers and The Chills. With heavy Jangle Pop influences the Dunedin Sound is typified by extremely lo fi aesthetics, vocals that are sometimes incomprehensible, overtly simplistic melodies and an almost free form nature to the sound. A number of acts, such as Pavement, Mudhoney and Yo La Tengo have cited the Dunedin Sound as critical influences on their own work.

The Rise of Twee: Sarah Records and K Records

As Indie Pop a significant development occurred during the late 80’s and early 90’s. In the UK Indie Pop was showing its limitations as an expressive art form and a combination of increasing popularity, easier access to full-fledged studios and artist looking to grow past their punk roots began a second and in a lot of ways more significant movement within the genre. With Sarah records stocking its roster with an ever increasing number of bands who embraced fey aesthetics, female vocalists and a broadening use of instruments. The British music press pejoratively dubbed this brand of Indie Pop as “Twee.” While the press seemed to rail against the preciousness and feminine nature of Twee fans embraced it and the scene around the genre began to seep into other aspects of life including fashion, art and aesthetics.
The Pastels can be seen as the godfathers of British Twee music. Their debut Up For A Bit with the Pastels had already started to build past the basic confines of Indie Pop and delved into garage, pop punk, orchestral and synth sounds. Shedding away punk’s simplicity would have a profound effect on a number of Twee bands to come.
Following The Pastel’s release a number of releases from Sarah Records would solidify the basic tenets of UK Twee. The Field Mice Snowball would lay the ground work for the quintessential Twee album with simple sweet melodies and charming lyrics. Another Sunny Day’s London Weekend would add a healthy dose of wry tongue in cheek humor to the formula while Heavenly’s Le Jardin de Heavenly shows a band walking away from Indie Pop’s shaggy dog sloppiness in search for pure pop perfection and added texture with the introduction of keyboards and female vocals.
On the other side of the Atlantic Twee would be born from an entirely different set of circumstances. With Punk and more specifically Hardcore Punk being the predominant form of underground rock the hard hitting scenes of California and Washington DC caused a backlash of sorts that started in Olympia Washington with the band Beat Happening. Unlike UK’s Twee artists who were looking to expand, build upon and grow out of punk’s confines Beat Happening seemed to be regressing, stripping the speed and musicianship of hardcore punk, harkening back to the bubble gum and surf influences of The Ramones and bringing music back to its purest most primitive form of pop. By 1988’s Jamboree Beat Happening had made an art form out of taking the most simplistic music and turn it into something both familiar in its melodies and alien in its shambling simplicity.
More important than Beat Happening itself was frontman Calvin Johnson finding of K Recrods. K Records, along with a number of other indie labels like Slumberland Records, provided the environment for a number of North American bands to experiment and deconstruct pop rock. Most notable protégés of K Records include the energetic Tiger Trap, the angelic Lois and the precious sound of The Softies.

The Late 90’s

By the end of the decade both Indie Pop and Twee were being explored into deeper regions of the genre making for some exciting developments. One of the most significant was the formation of the Elephant 6 Collective. The collaboration heavily influenced by The Beach Boy’s Pet Sounds would take many of the tenets of Indie Pop and fuse them with psychedelic elements. Notably The Apples in Stereo, The Minders, Beulah and of Montreal would be heavily influential in shaping the fusion heavy turn Indie Pop would go onto in the 21st century.
Starting in the early 90’s and continuing even to today Sweden has become a hot bed of Indie Pop activity. The founding of Labrador records in 1998 help grow the scene. Originally pressing only 7’ singles, an homage to Britain’s own Sarah Records, Labrador would be the home of such notable Swedish Indie Pop bands like The Acid House Kings, The Radio Dept, Club 8 and Suburban Kids with Biblical Names.
Throughout the 90’s American band The Magnetic Fields were releasing some of the best synth tinged Indie Pop on either side of the Atlantic. However their most notable achievement and most lauded album would be released in 1999. 69 Love Songs is not a pure Indie Pop album and in fact covers a number of diverse genres. The album’s main theme though, the celebration of the love song itself, allowed the band to take their Indie Pop sensibilities and apply them through the filter of differing genres like punk and lounge.
In Glasgow, Scotland two Stowe College students, Stuart Murdoch and Stuart David recorded a number of demos that impressed the school’s Music Business course. On the strength of those demos the College’s label, Electric Honey, assisted in the production of the band’s debut album. The Album was Tigermilk and the band was Belle & Sebastian. On the success of that first album the band signed with Jeepster Records and would quickly release the Indie Pop classic If You’re Feeling Sinister. Both Tigermilk and Sinister can be seen as the epicenter of the entire Indie Pop movement, containing the jagliness of Jangle Pop, Morrissey inspired lyrics and Twee’s cleaner production and propensity for using traditional instrumentation. While Belle & Sebastian took everything that came before them and turned out a slew of masterpieces they also became a heavy inspiration for the Indie Pop and Twee acts to come. Sinister is often seen as a crossover hit in the underground, an Indie Pop album that didn’t just appeal to Indie Pop kids but the Indie Rock community as a whole.

Indie Pop in the 2000s and Beyond

At the turn of the century the Post Punk/Garage Rock revival would cause Indie Pop and Twee to take a back seat in the world of Indie Rock. While a number of establishes acts continued to release albums it seemed new artists were few and far between. Still a number mostly North American bands such as The Shins, The Decemberist, Granddaddy and The New Pornographers with meld Indie Pop sensibilities with Indie Rock to success.
By the middle of the 00’s a small resurgence of traditional Twee and Indie Pop was seen primarily out the UK and Sweden. Camera Obscura, already two albums deep into their career, would release their two landmark albums, Let’s Get Out of this Country and My Maudlin Career. Sweden would be a major factor in this era as albums by I’m From Barcelona, Suburban Kids with Biblical Names and Peter, Bjorn and John would be released with the later scoring an international hit with Young Folks.
Bringing us into modern times it seems that in the post 10’s there’s a strong contingent of new revival acts that may not have much blog buzz but are popular acts within the Indie Pop and Twee Niche. Allo Darlin’, Veronica Falls, The Blanche Hudson Weekend, Tennis, Math and Physics Club, The School, Alvvays, Alpaca Sports and Frankie Cosmos among others. While Indie Pop’s reputation today is mostly that of a nostalgic genre filled with revivalist I personally feel it’s shows the strength of the sound, how through the peaks of valleys new generations are always creating their version of the sound. I’m not sure what’s next or what’s to come, all I know is especially after getting familiarized with the new scene I can’t wait to see what’s next.

Visual Primer Chart

The Primer is designed more with the intent of introducing the genre rather then making a definitive list of "essentials." There were some hard limits imposed for the list and more importantly bands were only allowed to have one album represent them. That doesn't mean that this is the band's only good album (or in some cases even their BEST album) but the choices were made to illustrate the roots and growth of Indie Pop and Twee and provide more accessible entries that fit the classic Indie Pop template as opposed to fusion bands with a few notable exceptions.
Do you feel an album is missing from here? I probably agree (seriously if this was an essential the first three Belle & Sebastian albums should be here.) Dozens of personal favorites and some of the "funkier" Indie Pop albums were removed in order to make a more streamlined primer to help people get into the genre. Nothing was more painful from a fan perspective to have to cut long time faves for an album that was more important or more inline with the aim of this primer (Full confession: I kind of feel Beat Happening to be a bit overrated.)
With that hopefully for a lot of you this send you on a journey of discovery that I know you won't regret.

Additional Resources

indieheads Classic Indie Pop/Twee Pop Primer by lordsum64 - An absolutely amazing playlists that takes the genre from it's pre Indie Pop roots to the modern world of indie pop. Contains many bands not on the primer chart but deserve a listen. Big thanks to lordsum64 for making this.
/mu/ Indie Pop Essentials Chart
/mu/ Twee Essentials Chart
Pitchfork: Twee as Fuck
Belle & Sebastian - If You're Feeling Sinister (Pitchfork Classic)
AV Club Gateway to Geekery: Twee Pop

Credits and Thanks

Thanks to -Napoleonidas- and TommyBeast whose input into this has had some serious influence on the final chart.
Biggest thanks go to lordsum64 who seemed just as enthusiastic about the project as myself. While I was casually doing work on this since last winter things didn't really kick into gear till May this year and throughout the summer he and I have had a lot of back and forths about potential albums and artists to be represented. Truth be told this chart went through a massive metamorphosis with his input. He turned me onto a lot of bands and I think I introduced him to a bunch and it was great to collaborate with him. This list is just as much his as it is mine so that's why i've put his name in the by line.
Also thank to /indieheads for being a community that would be receptive to a large undertaking like this. I spend most of my reddit time here and it's always been fun. Hope you all have a good read and look through on the chart and would love feed back, there maybe a time when we'll need to revisit this again.
submitted by rccrisp to indieheads [link] [comments]

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