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At what point does music become lifeless? Could it be commercial pandering? Indeed, one could spend hours reeling off artists whose music has come across as a blatant cash grab. Whose time spent on their music was looked over with the vague haze of dollar signs clouding their vision. The sort of music whose sole purpose is to sell, sell, sell often comes with an aftertaste of lifelessness, a kind of coppery taste.
Paddy McAloon is a human curio. Sixty-four years of age yet comparatively ancient in outward appearance, he sports long grey hair which melts into a silver beard of equal length. For a photo shoot with the guardian he once sported a cane with a white globe atop it. While this may only be the singular instance of cane wielding one can attribute to McAloon, it’s an image that is seared in my brain; another addition to the aesthetic powerhouse the man is. It would be somewhat trite to call him an elder statesman of pop but with a visage like his, he practically yearns for the honour.
Muse’s career-defining Origin of Symmetry is one of the few albums that I consider to be a modern masterpiece. Their second outing took their musical status to new heights in regard to scope, quality, creativity and ambition. After investing many hours into this album over the course of 14 years, I still find it astonishing how effortlessly Muse branched out to a vast amount of contrasting genres where they were able to completely reinvent themselves musically.
Ever since I came to Vietnam to teach, there was one thing that piqued my interest which was to understand why Korean pop music was so popular in this country. Despite having already been introduced to the South Korean musical giants such as BTS and Blackpink, they still felt incredibly disposable after a few listens. However, there was one solo artist that grabbed my attention among the others. That artist goes by the name of Taeyeon.
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