Steve Smith

Merry Christmas A Starter's Guide to Neo City Pop (format stolen from @ear_feeder, no relation or affiliation)

Lmaooooooo

So I take all my recycling down and the bin is overflowing (we’ve got some gamers on our hands, there was a switch box in the bin lol). I had to use my secret skill see which is “take out the shit that people lazily crammed in there and use half my brain when putting it back in”

SF is pretty strict about recycling and my apartment’s recycling bin is pretty small so I have to keep any kind of recyclable in a corner for when it’s empty again. Every time I clean it up I feel like a bunch of spiders are going jump out, and I’m disappointed that they never do

I think LL was unfairly stigmatized for being the first to make “girl” songs and do it well, no pun

bass is nasty on this one

Hear the playlist below for brand new music from: veno iNO + MR Sala + VivaOla 7co Guest room Kroi + Bluey from Incognito Geloomy YONA YONA WEEKENDERS moyura SUKISHA + _moh_ TOSHIKI HAYASHI(%C) + CBS pige jean open.spotify.com/playlist/1ojdY…

Read about my picks for this week in new Japanese music: open.substack.com/pub/neocitypop…

🀉🀉🀉🀋🀌🀞🀞🀠🀐🀐🀒🀕🀖🀗

A big pastime of mine is looking at what PlayStation games are on sale and then saying, “I don’t have time for any of that”

I remember Laura Nyro. In fact before we talk about “Yacht Rock” we have to talk about the rebellion of AM radio as a bastion of 1960s optimisim in the face of cynical seventies. Laura represented that nexus of civil rights gay liberation and women’s movements.

Dudes will read Childhood's End and make it their entire personality

What is this, 2007!?!?!?

ついにエンディングまで実装しました！ 果たして終着地までたどり着く者は現れるのか⁉︎ 空を飛びまわりながら音楽や仕掛けを楽しむ体験型アーティストサイト（もちろん無料） assmagic2026.github.io/ass-magic/

Album of the day. Quincy Jones' indomitable legacy and work can't be overstated. A world-renowned maestro with years of music history under his belt, Jones certainly had nothing left to prove at the dawn of the '80s. Honing his mastery as a tastemaker of emergent styles in popular music, he enlisted a mélange of all-star session players and vocalists from the L.A. music scene to round out this sophisticated 1981 set, The Dude, which was released 45 years ago this month. Drawing from jazz, Latin-pop funk, boogie, soul, and even a dash of hip hop, it's very much in the vein of the slick, dazzling production sheen Quincy was known for, topped off with catchy songs that benefit from his supreme craftsmanship and the songwriting talents of the likes of Rod Temperton and Stevie Wonder. This was the album that introduced soul balladeer James Ingram to the world via massively successful singles, "Just Once" and "One Hundred Ways," the latter of which he won a Grammy for. In addition to being a showcase for versatile singer Patti Austin, who sings background vocals throughout and sings the leads on three cuts, including "Razzmatazz" and the Stevie Wonder-helmed "Betcha Wouldn't Hurt Me," there's all-star cast of musicians and singers contributing to this album that's too hefty to list here. More importantly, The Dude could also be seen as the closest sonic bridge between two of Quincy Jones' most acclaimed productions—George Benson's Give Me the Night and Michael Jackson's Thriller.

I wish I could split myself into like 10 people, but not the garbage people splitting where each split has 1/10th the strength of the whole

And here are the Bandcamp links! Regular: percentc.bandcamp.com/album/offline Instrumental: percentc.bandcamp.com/album/offline-…