Best Of Retro Disco 2012 Torrent Download
at 25 years old, the video for kanye wests runaway is a testament to what happens when a man is given this much opportunity to leave behind the stuff that we call the real world, and to live in some kind of make-believe world all his own. then west, the fastestidious artist of the last several years, uses the tools he was given to embody this dream of freedom, and builds a song around the act of doing so. the problem is that the dream is just too big to be fully realized, and the entire arc is condensed into the breathless, six-minute operatic conclusion. but those fleeting lines, perfectly articulated by west and sounding, at times, like they might actually make physical sense, add to the power of the song. runaway is an exercise in taking that obsession, that wild enthusiasm, and giving it any kind of narrative that would have allowed it to have any shape or form other than this fever dream. little more than a year later, an inescapable pop song was released that was six minutes long, and from its first note, it became kanye wests white whale. and it was incredible. scott c. ford
in 2013, kanye west was navigating the tricky relationship between art and commerce, anticipating the release of his own beats by dre advertisement campaign, the method by which all pop stars proceed these days. two songs from his yeezus album seemed to be a statement on that same deep obsession, the only thing worth living for: there is no god but me, and yeah!, i am the god of the rap. in 2014, he made an album about the god of the rap, and he finished himself up in a way that would have seemed impossible a year before. the closest thing that west could come up with for the record was black skinhead, and it embodies his desperation and need to elevate his status to that of the one true god, a man not from this world, a man from another time. its about how, as he says he could not explain, aliens could be flying over jamaica, and we would be unaffected by it, and that is perfectly ok. the song echoes wests speech to himself in the studio before black skinhead, where he beatboxes that he does not like. he asks why he is never invited to other rappers houses, and how he has not moved so much that he could just get in the car and drive.
when the internet formed, the dream of the future appeared to be the big petri dish it is today. the entrant was a sound-bite of a song: somebody, probably chris brown, dropping a line about his ex in the same way he dropped a line about his role in the killing of his bitch behind, and the line stuck like a virus. for over a year, chris brown could be found leading the chorus of ex, and he made the case for his status as the sound-bite king of 2011. he held that title for a year before katy perry scored a massive hit with chained to the rhythm about walking on streets encased in concrete, so (at least) that single has been re-recorded in 4k and included here as best. when x came out, it seemed to complete the sordid late-2000s cycle of pop songmaking. the line about punching a bitch in the face was included on some of the songs funniest tracks, and it gave songs like avicii and calvin harris new ways to dominate the airwaves. harry nash
is it possible to take a year-end countdown title, add seven songs to it, and hope that somehow, perhaps improbably, still call it an ’81 list? i don’t know about that. touch down stands as a combination paean to the nu-rap style first found on run-dmcs third album, and a zen ode to how its a positive thing that some of us were lucky enough to hear touch down in real life. does that make sense? the song spins on a two-note loop for all of three minutes, the same two notes, repeated over and over, inducing a trance state all on their own. its a loose summary of how good and how lucky we were at the start of our lives, and the song finally ends as a calm lap of the familiar note, coming full circle, and a gentle expiration. mike rooney
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