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Looks like we have a bit of a fight brewing between Welsh rockers LostProphets and indie starlets Foals, which seems to have started on Twitter.Â
After the LostProphets posted a message recently saying “I”™ve got some news. Foals are fucking shit.” Lead singer of Foals, Yannis Philippakis, responded via Twitter with “Lostprophets. LOL!” Later expanding on this with “Being insulted by the Lostprophets is a bit like watching a yapping, boney old chihuahua piss on its own leg.” It”™s not clear what initially sparked the argument but with banter like that I think it”™s one to keep an eye on. Remember kids, arguing on the Internet is like competing in the special Olympics. Even if you win, you”™re still retarded.

Post author By The Spotisfaction Team
Post date July 7, 2010

Looks like we have a bit of a fight brewing between Welsh rockers LostProphets and indie starlets Foals, which seems to have started on Twitter.Â

After the LostProphets posted a message recently saying “I”™ve got some news. Foals are fucking shit.” Lead singer of Foals, Yannis Philippakis, responded via Twitter with “Lostprophets. LOL!” Later expanding on this with “Being insulted by the Lostprophets is a bit like watching a yapping, boney old chihuahua piss on its own leg.”

It”™s not clear what initially sparked the argument but with banter like that I think it”™s one to keep an eye on. Remember kids, arguing on the Internet is like competing in the special Olympics. Even if you win, you”™re still retarded.

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Pint sized pop star Prince says the days of the Internet dominating pop culture are over”¦

In a break from common trends Prince”™s latest album 20Ten, out later this summer, will not be available for download, but a physical copy will be given away free with classy tabloids the Daily Mirror and Daily Record. Not alone in his opinion, Jack White is also dedicating himself to physical formats, Prince explained in an interview to the NME “The Internet”™s completely over, I don”™t see why I should give my new music to iTunes or anyone else. They won”™t pay me an advance for it, and then they get angry when they can”™t get it.” And here was us thinking that all these people wanted to do wasÂ make a livingÂ creating music and sharing it with the world. What do you guys think? Technophobia? Short-sightedness? Discuss. Not sure what this VFTA malarkey is all about? See here. To listen along with Ben, BSS”™ “Broken Social Scene” is on Spotify. Click the album art below to purchase a copy of the album from Amazon.

As the new millennium surged on and the decade reached it”™s dizzy midpoint, the now infamous Broken Social Scene continued to evolve, shifting the perspectives of the followers that they had gathered up to now. This time, the boundaries were to be pushed further and wider as the band set about crafting what was to become their most varied, ambitious and commercially accessible album to date. They were to create a new way of dreaming.Â Following the three year gap since their previous sound exploration, “You Forgot It In People”, the band had been hard at work writing new, ambitious material. “Broken Social Scene” saw more collaborators than their previous efforts and included artists such as The Dears”™ Murry Lightburn and Jason Tait of The Weakerthans. The new ideas that formed from these collaborations, coupled with the already vast scope of the existing collective, serve to add a world of colour to the third album. From the opening track ”˜Our Faces Split The Coast In Half”™ and the tune”™s rays of yellow sunshine, it is clear that this new album will not only provide a more coherent picture of what the band are about but also an illustrated soundtrack to the listener”™s life. The use of driving rhythms, and the cacophony of instruments that drift in and out ofÂ the introductory track alone clearly show this quality. One significant element to the band”™s sound on this collection is the sense of experimentation. This can be heard throughout the album but most notably in the dabbling of different time signatures and effects, prominent in ”˜7/4 (Shoreline)”™. The experimentation also creeps into existence around the end of some of the tracks, where various members of the collective sample techniques and potential song directions. The colours of the album tend to get brighter around tracks such as ”˜Swimmers”™ and ”˜Superconnected”™, both offering meaty drum beats dripped in a shoe gaze mentality and melody. However, the band do revert back to their previous, darker territory as the album reaches it”™s climatic end in ”˜It”™s All Gonna Break”™. In this shady closing track the harsh lyrics “When I was a kid, you fucked me in the ass, but I took my pen to my paper, and I passed you. You know I love the shit, ”˜Cause the shit tastes so good, I”™ve got pastures waiting in the woods” leek from the otherwise optimistic album, and remind the listener that emotions themselvesÂ are, in fact, colourless. “Broken Social Scene” marked the peak of the bands musical exploration, and in a way reveals the true “broken” element to the vision that the ever expanding collective have built. The break doesn”™t necessarily come in the disjointed nature of the song writing but more in the way that every track, each representing a different emotion, appear to be scattered around perhaps replicating real life. The self-titled effort also symbolises how Broken Social Scene have the unique ability, yet again to set their music and song to dream like imagery, but this time in full technicolour! Ben Hawling