A Blog Of Ill Repute
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Top 10 A Blog Of Ill Repute Episodes
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The Bran Flakes - "What's It All About"
A Blog Of Ill Repute
08/07/09 • -1 min
review by Suzanne Casazza
The Bran Flakes continue their quirky pop mash-ups with their short but striking song, “What’s It All About” off their album I Have Hands released February 2009. The Bran Flakes’ album art features two people with giant purple paper mâchéd heads. It sets the tone for the kooky album of collage audio fun.
“What’s It All About” combines samples of orchestral sounds, horns, beat boxing, Japanese singing, pop vocals, and a kicky drum line. Barely over a minute long, the song shifts about every 10 seconds or so and keeps up a fast pace of genre shifts. It begins with an upbeat horn beat, mixes in exotic-sounding Japanese vocals, and then seconds later switches to sweeping Disney-style orchestra.
The song closes with a man speaking about morals and life lessons against an understated backbeat that is reminiscent of the sagacity of Baz Luhrmann’s, “Sunscreen Song.” His last words, “Your style won’t survive you, but your substance will. It is eternal, and it is what it is all about,” ends the song abruptly, and makes listeners wonder what other substance The Bran Flakes have in store.
Although you can’t call I Have Hands a concept album, “What It’s All About” certainly upholds the consistently playful theme. What begins as an eclectic mix of seemingly random sounds grows on listeners and becomes infectiously zany, leaving us wondering what unexpected twist is coming next.
Buy at iTunes Music Store
What It's All About (mp3)
The Bran Flakes continue their quirky pop mash-ups with their short but striking song, “What’s It All About” off their album I Have Hands released February 2009. The Bran Flakes’ album art features two people with giant purple paper mâchéd heads. It sets the tone for the kooky album of collage audio fun.
“What’s It All About” combines samples of orchestral sounds, horns, beat boxing, Japanese singing, pop vocals, and a kicky drum line. Barely over a minute long, the song shifts about every 10 seconds or so and keeps up a fast pace of genre shifts. It begins with an upbeat horn beat, mixes in exotic-sounding Japanese vocals, and then seconds later switches to sweeping Disney-style orchestra.
The song closes with a man speaking about morals and life lessons against an understated backbeat that is reminiscent of the sagacity of Baz Luhrmann’s, “Sunscreen Song.” His last words, “Your style won’t survive you, but your substance will. It is eternal, and it is what it is all about,” ends the song abruptly, and makes listeners wonder what other substance The Bran Flakes have in store.
Although you can’t call I Have Hands a concept album, “What It’s All About” certainly upholds the consistently playful theme. What begins as an eclectic mix of seemingly random sounds grows on listeners and becomes infectiously zany, leaving us wondering what unexpected twist is coming next.
Buy at iTunes Music Store
What It's All About (mp3)
Little Brother - "Breakin' My Heart"
A Blog Of Ill Repute
07/14/09 • -1 min
review by Kristine Ugalde
Little Brother is one of those underground hip hop groups that gained critical acclaim a couple years back, but never received widespread attention. While it may seem like an odd collaboration, I don’t know why I’m still surprised that Weezy is on the track. It's certainly the right direction to go, not only because the self-proclaimed “Best Rapper Alive” has established himself as a formidable emcee, but also his ability to blow up the track.
However, unlike other artists who collaborated with Lil’ Wayne in the past, Little Brother doesn’t take a backseat. They hold their own weight. Wayne’s verse is saturated with clever metaphors, and many might easily dismiss the verse as a freestyle cipher from the 90’s.
I found that the “She loves me, she loves me not” cut in the beginning as well as the hook lacked creativity. It sounds like an old school R&B song bordering trite, holding no emotional resonance. While personally I’m not usually drawn to songs about relationships, the specificity of the lyrical content is honest and on-point. Phonte’s line “Cause a woman's life is love, a man's love is life” on the surface sounds like a gendered stereotype, it speaks volumes about the dynamics between women and men.
Although it’s a romantic track, the track ends with Phonte’s commentary on the younger generation’s misguided consumption and critiques how the ethnic majority are the benefactors of hip hop materialism, proof that Little Brother manages to put out evocative, honest music, which is the basic foundations of hip hop as a musical medium.
Buy at Rhapsody
Breakin My Heart feat. Lil' Wayne (mp3)
Little Brother is one of those underground hip hop groups that gained critical acclaim a couple years back, but never received widespread attention. While it may seem like an odd collaboration, I don’t know why I’m still surprised that Weezy is on the track. It's certainly the right direction to go, not only because the self-proclaimed “Best Rapper Alive” has established himself as a formidable emcee, but also his ability to blow up the track.
However, unlike other artists who collaborated with Lil’ Wayne in the past, Little Brother doesn’t take a backseat. They hold their own weight. Wayne’s verse is saturated with clever metaphors, and many might easily dismiss the verse as a freestyle cipher from the 90’s.
I found that the “She loves me, she loves me not” cut in the beginning as well as the hook lacked creativity. It sounds like an old school R&B song bordering trite, holding no emotional resonance. While personally I’m not usually drawn to songs about relationships, the specificity of the lyrical content is honest and on-point. Phonte’s line “Cause a woman's life is love, a man's love is life” on the surface sounds like a gendered stereotype, it speaks volumes about the dynamics between women and men.
Although it’s a romantic track, the track ends with Phonte’s commentary on the younger generation’s misguided consumption and critiques how the ethnic majority are the benefactors of hip hop materialism, proof that Little Brother manages to put out evocative, honest music, which is the basic foundations of hip hop as a musical medium.
Buy at Rhapsody
Breakin My Heart feat. Lil' Wayne (mp3)
Vetiver - "Blue Driver"
A Blog Of Ill Repute
07/07/09 • -1 min
review by Monica McCallum
The opening chords of Vetiver’s cover of Michael Hurley’s “Blue Driver” evoke, in my mind, a very particular image. Driving through the desert, in an old beat up van with bad coffee, sporadic air conditioning, and stops at shady diners planted haphazardly in the middle of nowhere – I can understand why folk music is so popular out here. Of course, if you’ve never made the drive yourself, you can get pretty close simply by listening to this song. The steady tap of the drum and repetitive bass line in the background lend a sense of perpetual motion to the tune as it progresses steadily from start to finish, without a care in the world, ending only when a vocal siren wail pulls the song over for being too awesome.
Vetiver’s Andy Cabic first brought the group together in Greensboro, North Carolina where he met his fellow musicians Sanders Trippe (guitar and vocals) and Brent Dunn (bass). Since the group’s move to San Francisco, they have collaborated with numerous artists, including the delightfully original Joanna Newsom, amongst other local musicians, to produce a string of whimsical, earthy, indie-folk albums. “Blue Driver” can be found on Vetiver’s June 2008 release, Things of the Past, which boasts a wonderful collection of folk/rock covers from the late 60s and early 70s, revitalized by Cabic without destroying their originality. If you are looking for a mellow, blast from the past for your daily commute, be sure to listen to “Blue Driver” – you won’t be disappointed.
Buy at Rhapsody
Blue Driver (mp3)
The opening chords of Vetiver’s cover of Michael Hurley’s “Blue Driver” evoke, in my mind, a very particular image. Driving through the desert, in an old beat up van with bad coffee, sporadic air conditioning, and stops at shady diners planted haphazardly in the middle of nowhere – I can understand why folk music is so popular out here. Of course, if you’ve never made the drive yourself, you can get pretty close simply by listening to this song. The steady tap of the drum and repetitive bass line in the background lend a sense of perpetual motion to the tune as it progresses steadily from start to finish, without a care in the world, ending only when a vocal siren wail pulls the song over for being too awesome.
Vetiver’s Andy Cabic first brought the group together in Greensboro, North Carolina where he met his fellow musicians Sanders Trippe (guitar and vocals) and Brent Dunn (bass). Since the group’s move to San Francisco, they have collaborated with numerous artists, including the delightfully original Joanna Newsom, amongst other local musicians, to produce a string of whimsical, earthy, indie-folk albums. “Blue Driver” can be found on Vetiver’s June 2008 release, Things of the Past, which boasts a wonderful collection of folk/rock covers from the late 60s and early 70s, revitalized by Cabic without destroying their originality. If you are looking for a mellow, blast from the past for your daily commute, be sure to listen to “Blue Driver” – you won’t be disappointed.
Buy at Rhapsody
Blue Driver (mp3)
The Pains of Being Pure at Heart - "Everything With You"
A Blog Of Ill Repute
06/29/09 • -1 min
review by Joanna Clay
Birthed in the Big Apple in 2007, The Pains of Being Pure at Heart is comprised of Alex, Kip, Kurt and Peggy. The band name comes from an unpublished children’s story written by a friend of Kip, and the band notes musical influences such as Black Tambourine and My Bloody Valentine.
The melancholy melodies of the talented four-some are reminiscent of dream inducing sugar-pop of the 80s and 90s. Their Slumberland single, “Everything with You,” sounds like the lyrical love child of the Velvet Underground and the Pastels with its magnetically soft vocals and bouncy beat. The sadly hopeful lyrics read like a journal-torn pubescent ballad: "I’m with you and there’s nothing left to do/Tell me it’s true/ ...and the starts are crashing through/ I want everything with you!”
Even if the themes may be youthful, the band is anything but immature with consistently solid tracks and stories that speak to souls of every shape and size.
Buy at Rhapsody
Everything With You (mp3)
Birthed in the Big Apple in 2007, The Pains of Being Pure at Heart is comprised of Alex, Kip, Kurt and Peggy. The band name comes from an unpublished children’s story written by a friend of Kip, and the band notes musical influences such as Black Tambourine and My Bloody Valentine.
The melancholy melodies of the talented four-some are reminiscent of dream inducing sugar-pop of the 80s and 90s. Their Slumberland single, “Everything with You,” sounds like the lyrical love child of the Velvet Underground and the Pastels with its magnetically soft vocals and bouncy beat. The sadly hopeful lyrics read like a journal-torn pubescent ballad: "I’m with you and there’s nothing left to do/Tell me it’s true/ ...and the starts are crashing through/ I want everything with you!”
Even if the themes may be youthful, the band is anything but immature with consistently solid tracks and stories that speak to souls of every shape and size.
Buy at Rhapsody
Everything With You (mp3)
Window Twins - "Purple Flies"
A Blog Of Ill Repute
06/10/09 • -1 min
review by Joanna Clay
“Purple Flies” by the Window Twins sends you into a mystical world of ambient infused folk that brilliantly exposes the debut collaboration between Tim Cohen (Black Fiction) and Jon Bernson (Ray’s Vast Basement). It showcases Tim’s audacious psych-pop roots, but at the same time it doesn't overwhelm Jon’s understated hippie-rock.
The song begins hesitantly with delicate instrumental and then introduces the soft harmonies of the San Francisco musicians. The lyrics tell the story of Joey, a guy that parked his camper on an island in the middle of the world by the nest of the purple flies. The synchronized chanting sounds like spoken poetry set to music with a distinct pulsating rhythm that simultaneously is hypnotic and irresistible.
Buy at iTunes Music Store
Purple Flies (mp3)
“Purple Flies” by the Window Twins sends you into a mystical world of ambient infused folk that brilliantly exposes the debut collaboration between Tim Cohen (Black Fiction) and Jon Bernson (Ray’s Vast Basement). It showcases Tim’s audacious psych-pop roots, but at the same time it doesn't overwhelm Jon’s understated hippie-rock.
The song begins hesitantly with delicate instrumental and then introduces the soft harmonies of the San Francisco musicians. The lyrics tell the story of Joey, a guy that parked his camper on an island in the middle of the world by the nest of the purple flies. The synchronized chanting sounds like spoken poetry set to music with a distinct pulsating rhythm that simultaneously is hypnotic and irresistible.
Buy at iTunes Music Store
Purple Flies (mp3)
Los Campesinos -- You! Me! Dancing!
A Blog Of Ill Repute
05/26/09 • -1 min
review by Lorraine Chambers
"You! Me! Dancing!" begins with a slow introduction, and then explodes into a surging wave of guitar strumming fun! You start jumping around and wishing that your earplugs had a longer cord! Then the singer begins to talk--is that a Welsh accent from a band named Los Campesinos? Yes, this is not a band from East L.A. This is a Welsh big band of seven! Back to the song, who cares where the band is from, we're having too much fun jumping around to this song! It's recess time again back in the schoolyard - get crazy!
Very reminiscent of the power pop scene pogo pits during the early punk days of the 70's. Yes - this is 'bedroom dancing' just like the singer says. (Resume bouncing around!) Whew! A wee bit of a rest with a melodic break with taps sounds tapping into a gunning taps rhythm. Another buildup to more madness?? Relax, there is more chatting, now we hear a female voice...oh wait, back to more 'Bedroom Dancing'! This song should be played daily so listeners got there heart rates up! Pure fun!
Buy at Rhapsody
You! Me! Dancing! (mp3)
"You! Me! Dancing!" begins with a slow introduction, and then explodes into a surging wave of guitar strumming fun! You start jumping around and wishing that your earplugs had a longer cord! Then the singer begins to talk--is that a Welsh accent from a band named Los Campesinos? Yes, this is not a band from East L.A. This is a Welsh big band of seven! Back to the song, who cares where the band is from, we're having too much fun jumping around to this song! It's recess time again back in the schoolyard - get crazy!
Very reminiscent of the power pop scene pogo pits during the early punk days of the 70's. Yes - this is 'bedroom dancing' just like the singer says. (Resume bouncing around!) Whew! A wee bit of a rest with a melodic break with taps sounds tapping into a gunning taps rhythm. Another buildup to more madness?? Relax, there is more chatting, now we hear a female voice...oh wait, back to more 'Bedroom Dancing'! This song should be played daily so listeners got there heart rates up! Pure fun!
Buy at Rhapsody
You! Me! Dancing! (mp3)
Andrew Bird -- "The Trees Were Mistaken"
A Blog Of Ill Repute
05/25/09 • -1 min
review by Joanna Clay
Finding meaning in an Andrew Bird song is sort of what it is like when I try to analyze In Rainbows. He’s one of those artists that really uses instruments and vocals in true harmony to create pieces that are uniquely beautiful and poetic. However, many contend that it is simply that- words artfully thrown together without much thought for an actual story.
Rumor has it that Andrew was commissioned by Molly Shanahan to write the piece for an interpretive dance routine. Each artist was given an inanimate object to use as inspiration thus producing some of the ambiguous lyrics.
Nonetheless, “The Trees were Mistaken” is my favorite Bird song and I would love to steal his journal and see the evolution of his writing process and how he comes up with lines like “feathers are warm in molasses.” Similar to stream of consciousness writers, his lyrics roll off the tongue in rhythmical fashion as if each song is improvisation, performed on the spot as a result of his present emotions.
If you’re interested in checking out his writing process, Bird frequently contributes to the New York Times blog Measure by Measure detailing the development of songs such as “Oh No” and “Natural Disasters.”
Buy at iTunes Music Store
Andrew Bird - The Trees Were Mistaken (mp3)
Finding meaning in an Andrew Bird song is sort of what it is like when I try to analyze In Rainbows. He’s one of those artists that really uses instruments and vocals in true harmony to create pieces that are uniquely beautiful and poetic. However, many contend that it is simply that- words artfully thrown together without much thought for an actual story.
Rumor has it that Andrew was commissioned by Molly Shanahan to write the piece for an interpretive dance routine. Each artist was given an inanimate object to use as inspiration thus producing some of the ambiguous lyrics.
Nonetheless, “The Trees were Mistaken” is my favorite Bird song and I would love to steal his journal and see the evolution of his writing process and how he comes up with lines like “feathers are warm in molasses.” Similar to stream of consciousness writers, his lyrics roll off the tongue in rhythmical fashion as if each song is improvisation, performed on the spot as a result of his present emotions.
If you’re interested in checking out his writing process, Bird frequently contributes to the New York Times blog Measure by Measure detailing the development of songs such as “Oh No” and “Natural Disasters.”
Buy at iTunes Music Store
Andrew Bird - The Trees Were Mistaken (mp3)
Presto - "Pour Another Glass"
A Blog Of Ill Repute
05/18/09 • -1 min
review by Kristine Ugalde
No stranger to the game, Presto has been producing and DJing for almost 20 years. He describes his sound as “hip hop with a soul backdrop and jazz edge.” It is almost too easy to guess his influences: DJ Primo, Pete Rock, Jay Dee, Tribe--yet, he brings to the (turn)table a definitive edge.
Although State of Art was released June 2008, hip hop heads continue to sleep on Presto. Why? Because the digital age has led to saturation of wanna-be artists/producers now that hip hop has imploded the music industry and American culture. His album does justice to the hip hop luminaries before him and his collaborations on “State of the Art” with such influential hip hop greats such as Large Professor, CL Smooth, and Sadat X is an indication that hip hop, even with its explosion in the mainstream, is still capable of producing quality music.
His sound is jazzy, soulful, organic, old-school with refreshing enough to keep it contemporary. The layered instrumentation of jazzy keys, echoing horns, easy-going drum composition, and the inclusion of sleigh bells in a meticulous, yet subtle synthesis of samples shows his skill as a producer.
And so the age old question still remains: what is hip hop? Is it flashy videos, blatant misogyny, violence and brutality, or reinforcing materialistic values? To avoid sounding like a diatribe, the answer remains ambivalent.
One consolation is that Presto takes us back to the fundamental sounds of the early 90’s. Sampling jazz and soul music using a keyboard rather than an MPC gives the production a sense of intimacy and live instrumentation.
Blu still doesn’t disappoint. A favorite in the underground scene, his consciousness and ability to illustrate day-to-day vignettes demonstrates how the resurgence of West Coast hip hop deviated away from gangsta rap and into an art form used to contextualize his environment. His flow displays his excellent storytelling skills about how he emerged from being a eager amateur to internet/underground success. Blu balances his cockiness while still maintaining his cool against the jazzscape background.
His album does justice to the hip hop luminaries before him and his collaboration on his album “State of the Art” with such influential hip hop greats such as large professor, CL Smooth, and Sadat X is an indication that hip hop, even with its explosion in the mainstream, is still capable of producing quality music.
Buy at iTunes Music Store
Pour Another Glass (mp3)
No stranger to the game, Presto has been producing and DJing for almost 20 years. He describes his sound as “hip hop with a soul backdrop and jazz edge.” It is almost too easy to guess his influences: DJ Primo, Pete Rock, Jay Dee, Tribe--yet, he brings to the (turn)table a definitive edge.
Although State of Art was released June 2008, hip hop heads continue to sleep on Presto. Why? Because the digital age has led to saturation of wanna-be artists/producers now that hip hop has imploded the music industry and American culture. His album does justice to the hip hop luminaries before him and his collaborations on “State of the Art” with such influential hip hop greats such as Large Professor, CL Smooth, and Sadat X is an indication that hip hop, even with its explosion in the mainstream, is still capable of producing quality music.
His sound is jazzy, soulful, organic, old-school with refreshing enough to keep it contemporary. The layered instrumentation of jazzy keys, echoing horns, easy-going drum composition, and the inclusion of sleigh bells in a meticulous, yet subtle synthesis of samples shows his skill as a producer.
And so the age old question still remains: what is hip hop? Is it flashy videos, blatant misogyny, violence and brutality, or reinforcing materialistic values? To avoid sounding like a diatribe, the answer remains ambivalent.
One consolation is that Presto takes us back to the fundamental sounds of the early 90’s. Sampling jazz and soul music using a keyboard rather than an MPC gives the production a sense of intimacy and live instrumentation.
Blu still doesn’t disappoint. A favorite in the underground scene, his consciousness and ability to illustrate day-to-day vignettes demonstrates how the resurgence of West Coast hip hop deviated away from gangsta rap and into an art form used to contextualize his environment. His flow displays his excellent storytelling skills about how he emerged from being a eager amateur to internet/underground success. Blu balances his cockiness while still maintaining his cool against the jazzscape background.
His album does justice to the hip hop luminaries before him and his collaboration on his album “State of the Art” with such influential hip hop greats such as large professor, CL Smooth, and Sadat X is an indication that hip hop, even with its explosion in the mainstream, is still capable of producing quality music.
Buy at iTunes Music Store
Pour Another Glass (mp3)
Lee Bob Watson - "Let the Hate In (I Won't)"
A Blog Of Ill Repute
05/11/09 • -1 min
review by Robbie Santos
Lee Bob Watson’s track “Let The Hate In (I Won’t)" comes from his CD Family Album (Grass Roots Record Co.). Watson does not adhere to a set genre and is not quite country or indie rock. But rather, he brings together a unique blend of folk, country, and soul-jazz. Heavily influenced by the music of the late 60’s and 70’s, he combines different several layers into a distinct sound punctuated by his soulful vocals.
Lee Bob Watson passionately proclaims in his track that “I won’t let the hate in” with a country, gentlemanly like drawl on top of a steel guitar. The virtues of perseverance and faith through hard times seep through the song, leaving the listener with a simple message of optimism. Watson lets his talents shine through as the track expresses the story being told by a man and his guitar. He lays down bluesy, rhythmic guitar solos as his vocals echo the plight of the everyday person. The sound is completely organic and never comes across as forced, taking on a kind of a grassroots charm which makes it easy for the listener to identify with the message Watson is trying to send.
Lee Bob Watson’s track, “Let the Hate In (I Won’t)”, presents the soul-searching quality that the blues brings about but as well as his own unique sound. In these difficult times, it is easy to delve into negativity and spread it to others but Watson encourages hope and love through his catchy, nuanced song.
Buy at iTunes Music Store
Let The Hate In (I Won't) (mp3)
Lee Bob Watson’s track “Let The Hate In (I Won’t)" comes from his CD Family Album (Grass Roots Record Co.). Watson does not adhere to a set genre and is not quite country or indie rock. But rather, he brings together a unique blend of folk, country, and soul-jazz. Heavily influenced by the music of the late 60’s and 70’s, he combines different several layers into a distinct sound punctuated by his soulful vocals.
Lee Bob Watson passionately proclaims in his track that “I won’t let the hate in” with a country, gentlemanly like drawl on top of a steel guitar. The virtues of perseverance and faith through hard times seep through the song, leaving the listener with a simple message of optimism. Watson lets his talents shine through as the track expresses the story being told by a man and his guitar. He lays down bluesy, rhythmic guitar solos as his vocals echo the plight of the everyday person. The sound is completely organic and never comes across as forced, taking on a kind of a grassroots charm which makes it easy for the listener to identify with the message Watson is trying to send.
Lee Bob Watson’s track, “Let the Hate In (I Won’t)”, presents the soul-searching quality that the blues brings about but as well as his own unique sound. In these difficult times, it is easy to delve into negativity and spread it to others but Watson encourages hope and love through his catchy, nuanced song.
Buy at iTunes Music Store
Let The Hate In (I Won't) (mp3)
The Love Language - "Sparxxx"
A Blog Of Ill Repute
04/13/09 • -1 min
review by Perry Chavez
Sparxxx is an experience that is lighter sound-wise than the Love Language’s debut single Lalita with a bouncy guitar and harmonies that channel the Beach Boys. It has a somber tone in comparison but equal amounts of awesome.
More emphasis is placed on the melody and vocals on this track as they sweep over the fast guitar whose prominence sometimes changes and can be sparse at other times. The melody’s notes rise and release, like a cold, refreshing wave at the beach, into the chorus. It would be a shock to find that the Love Language’s Stuart McLamb was not influenced by 60s pop because this song unconsciously has what seems to be influences of artists of that period.
The song feels naturally a piece of that time period but with a modern twist because it rocks way more than anything could back then.
The tone is surprisingly upbeat for a song that describes the singer’s “heart in ruin”, but then you hear that the tone is inspired by “white lies [that] have set [his] heart on fire” as he continues to describe that a girl he was smitten with wants to watch his heart in pain. It then all makes sense. He’s angry, he wanted her to “blow [him] away, like a birthday candle” instead of watching him squirm, and it’s chilling to hear him end the song chaotically as he emphatically screams “do what you, want!” because that’s exactly what she did to him.
Buy at iTunes Music Store
Sparxxx (mp3)
Sparxxx is an experience that is lighter sound-wise than the Love Language’s debut single Lalita with a bouncy guitar and harmonies that channel the Beach Boys. It has a somber tone in comparison but equal amounts of awesome.
More emphasis is placed on the melody and vocals on this track as they sweep over the fast guitar whose prominence sometimes changes and can be sparse at other times. The melody’s notes rise and release, like a cold, refreshing wave at the beach, into the chorus. It would be a shock to find that the Love Language’s Stuart McLamb was not influenced by 60s pop because this song unconsciously has what seems to be influences of artists of that period.
The song feels naturally a piece of that time period but with a modern twist because it rocks way more than anything could back then.
The tone is surprisingly upbeat for a song that describes the singer’s “heart in ruin”, but then you hear that the tone is inspired by “white lies [that] have set [his] heart on fire” as he continues to describe that a girl he was smitten with wants to watch his heart in pain. It then all makes sense. He’s angry, he wanted her to “blow [him] away, like a birthday candle” instead of watching him squirm, and it’s chilling to hear him end the song chaotically as he emphatically screams “do what you, want!” because that’s exactly what she did to him.
Buy at iTunes Music Store
Sparxxx (mp3)
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FAQ
How many episodes does A Blog Of Ill Repute have?
A Blog Of Ill Repute currently has 16 episodes available.
What topics does A Blog Of Ill Repute cover?
The podcast is about Radio, Public, Free, Blog, College, Music, Indie, Reviews, Podcasts, Review and Mp3.
What is the most popular episode on A Blog Of Ill Repute?
The episode title 'The Bran Flakes - "What's It All About"' is the most popular.
How often are episodes of A Blog Of Ill Repute released?
Episodes of A Blog Of Ill Repute are typically released every 7 days, 16 hours.
When was the first episode of A Blog Of Ill Repute?
The first episode of A Blog Of Ill Repute was released on Mar 1, 2009.
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