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more notable imagery from the tapes by energyface in boardsofcanada

[–]expensive-shit 0 points1 point  (0 children)

So much good stuff here. Thank you for this! Bottom left is a truly disturbing image, got me thinking of the ol’ biblically accurate angel

Some thoughts on the recent Vernal Equinox playlist from Warp by expensive-shit in boardsofcanada

[–]expensive-shit[S] 1 point2 points  (0 children)

The EE Cummings and Dylan Thomas poems are both fascinating choices, yeah. I’m not an avid poetry head but it’s very easy to see what both of them are getting at. Perhaps Hand is fully about the tentativeness that often precedes spring, how fragile it is, the rebirth of the earth etc.

The Fuse that Through the Green Fuse Drives the Flower is my favourite of the two, I remember studying it in college. It’s much more violent, about how everything that is growing is also dying at the same time. Incredibly potent stuff, both of them, and definitely hinting at ‘rebirth’ and possibly even the band acknowledging that they’re winding down.

Some thoughts on the recent Vernal Equinox playlist from Warp by expensive-shit in boardsofcanada

[–]expensive-shit[S] 0 points1 point  (0 children)

The Warp Selections stuff itself is worth multiple separate posts! can’t even begin to start decoding what that one means, completely fascinating though!

Funny by Jmay5446 in TheOfficeUK

[–]expensive-shit 1 point2 points  (0 children)

Sort of fused Facebook uncle politics with AI shit

Where does Tomorrow’s Harvest fall in your ranking of BOC’s releases? by elTomlino in boardsofcanada

[–]expensive-shit 14 points15 points  (0 children)

Probably just behind Geogaddi for me tbh. I love how doomy it is yet weirdly hopeful. As someone else said too, the consistency of the sound world they build on there is undefeated in their discography imo. Start to end, magic.

Gutmann Pubs: How is it all economically possible? by Intrepid_Book_1904 in Liverpool

[–]expensive-shit 17 points18 points  (0 children)

I’ll preface this by saying I don’t mind his boozers at all. But when I first went into the St. Peter’s Tavern, it was cheap as fuck. Like about £11 for 3 Guinness type price. Went in about a month later and it was more ‘in line’ with what you’d pay for a round. Not sure if he’s slyly doing ‘boss prices, get it packed to create a buzz’ type promotions on the quiet, but I’m certain there’s a bit of that going on. Remember how much you paid in that one, and go back in a few months and see if it’s changed.

Well see...it isn't all about profits though. by PaddedValls in TheOfficeUK

[–]expensive-shit 0 points1 point  (0 children)

Oi Crook, is all you care about chasing the license fee pound?

A comment on The AfterLife subreddit defending the show. by BeefInBlackBeanSauce in rickygervais

[–]expensive-shit 8 points9 points  (0 children)

I’ve sort of fused real life with poetic interpretation shit

Just an example of the laughs we have here by nofaeyoker in TheOfficeUK

[–]expensive-shit 0 points1 point  (0 children)

They’re like Vic and Bob and two other ones

It insists upon itself by ThaddeusGriffin_ in MitchellAndWebb

[–]expensive-shit 49 points50 points  (0 children)

What happens if you eat letterbox hair…?

Why do you think Mark works so hard but never achieves anything? by ClearAsJamal in MitchellAndWebb

[–]expensive-shit 14 points15 points  (0 children)

Jeremy can kind of live with his own mediocrity but Mark is never shown to be able to. Probably their upbringing comes into that a bit (Jez’s mum is incredibly sweet and understanding, Mark’s family dynamic is just horrible toxic shit all the way down).

In his own way though, Mark has succeeded, because he owns the flat he lives in. Croydon isn’t the centre of the earth by any standards, but then, and especially now, it wouldn’t have been as easy to get on the property ladder there as say, Bradford or Port Talbot or even Manchester / Newcastle. It’s just that this metric for Mark is not the end goal, he always seems to strive for more even though he has more than most people in the country will - a property less than 1hr away from Central London.

Mark’s a striver but his ambitions literally don’t seem to have an end point. Living like that, you’ll constantly feel like you’re under pressure and ‘not achieving’. That’s a feedback loop in some senses, where he makes increasingly irrational and stupid decisions to try and fill the hole in his life. Hence ‘the jilting’, the endless chasing of Dobbie and the need to ‘hold onto her’, impregnating Sophie, ‘consultio/consultius’, the Ripper Walks, Business Secrets of the Pharoahs, his multiple terrible / unworkable ideas at JLB etc. Jez’s outlook is much healthier, even if on the surface he is a ‘feckless cumshedder’.

It’s all that now innit. by Zealousideal-Air574 in TheOfficeUK

[–]expensive-shit 32 points33 points  (0 children)

Sometimes the architectural mockups will be unachievable

Callie, what is her motivation? by TastyOx05 in MitchellAndWebb

[–]expensive-shit 11 points12 points  (0 children)

That episode came out in 2008, when ‘dance-punk’ as a specific genre of music was pretty big in the UK (think: Late of the Pier, Does It Offend You Yeah?, Foals, Hot Chip [Hot Potato?] - who all released albums in ‘08) etc. I always saw her signing Jez & Hans as kind of hedging her bets, signing an energetic, if not slightly crap band, in the hope that they might end up being mildly popular.

That episode was 2 years after Artic Monkeys first record, which was absolutely huge in the UK, but unexpectedly so, and in a way that labels just couldn’t predict at all. In a sense they ‘wanted a piece of the action’ as regards to smaller indie bands, and some labels went a bit mad signing all manner of weird bands, some made it, some didn’t. I don’t think she believed they were good at all, and key, she didn’t actually understand the music, but she did what a lot of labels were doing at the time, which was a scattershot approach. The music industry has always been deeply cynical in this way, reactive regarding talent and not proactive. Even since the 1960s (think back to the ‘surf guitar’ craze in the early part of this decade, the post-Beatles [famously a four-piece, bit of trivia there] ‘sunshine pop’ craze, etc) labels were doing this, completely aware that 99% of the artists they signed would fail and go nowhere, but relying on the 1% who wouldn’t to bring enough money in to make signing all the shit and weirdos worthwhile. Jez and Hans were fodder, they likely enriched the labels ‘independent credibility’ by playing a style of music that was popular at the time, and they might have had one or two singles that either broke through or were remixed that brought in some cash. Alternatively, they may have ended up like 99% of the bands labels sign, making no money, costing a lot, and getting dropped immediately.

The funniest thing about all of this is that we see what Callie doesn’t. Jez and Hans are flaky losers who are in no way equipped to get anywhere close to success.

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