Dave Moore

@otherdavemoore.com

1225 Followers 358 Following

Music stuff. Minimal non-music stuff. 20 new songs a week or your money back at: www.otherdavemoore.com

2026 songs so far mapped to country
screenshot of RYM genre lists with reggae/ska/dancehall (30 subgenres), Regional Music (1,535 subgenres), and Rock (274 subgenres)
SIDE 1 Happy World I Want You Kool Aid Chemical Reaction Money The Great Magician SIDE 2 Where Have All the Good Men Gone? Gut Feelings Don’t Want to Play Anymore You Killed the Music Turn the TV On Mars
So this one poses a bit of a sticking point for me—I really disliked it on first listen and particularly disliked the arty framing it got in Pitchfork. I think that its avant hipster tendency to reduce global sounds to capital-N noise not only misses the spark in those sounds but often misses even the noise, like tuning your vacuum cleaner. The roughness—signifying as such—bothers me, because it’s too smooth, or smooth in the wrong way, like a rock tumbler’s artificial sea glass. It has also helped me understand why Manny Farber included Jules et Jim in his White Elephant Art essay, a choice that made me lose the thread a bit when I first read it, because I found Jules et Jim scrappy and charming myself. There’s something about the totalizing control exhibited over this work that smothers the little embers—in performance, in rhythm, in noise—trying to fly out. In fact, the way Farber describes Jules et Jim is not far off from my thoughts about the album: “Jules et Jim, the one Truffaut film that seems held down to a gliding motion, is also cartoonlike but in a decorous, suspended way.” But at the end of the day my body doesn’t reject this thing outright even though my brain is pretty convinced it’s right about this. Maybe it’s just a brain problem.
wall to wall olivia rodrigo coverage in pitchfork, a publication that once intimated I was a sleazy degenerate for liking ashlee simpson and interviewing brie larson
A screenshot of Lia Lia's Instagram from a few months ago. A burning cigarette with the following text written on it: "music, money, sex, fame, love, love [illegible from cigarette ash]." With "2026" on the picture.
Pitchfork review of ULTRA by Six Sex with a 7.7
With the benefit of hindsight, it seems possible that both the indie surge in the late aughts and the accompanying decline in the number of critics listing those albums were part of the same blip. I’m hoping that what I see as too much attention paid to a frustratingly thin bench of US and Anglosphere pop music is also a blip, because it really is a banner year for international not-in-English pop music—and by that I don’t even mean different forms of popular music that I happen to like more than pop as “genre.” Pop music outside the US and Anglosphere is regularly beating the CAPDY artists at their own game.
Norman Rockwell speech meme
Myaap: Pixie Dust JayJayy: Detour Fallon: Winter Princess LØLØ: God Forbid a Girl Spits Out Her Feelings! RAYE: This Music May Contain Hope 路傍の石: Album 13 HANA: s/t Fif: The Lower Forty-Eight LinLin: Disco Inferno Juky San: ĐẪM TÌNH Djy Biza: Art of War DJ M13 DA ZOL: No Ritmo Do Caos DJ Erik JP: No Clima da Sul La Joaqui: Electra Liz Cooper: New Day Djy Ora: The SGIDONOLOGIST2 Jack Harlow: Monica Whodamanny: Onda Biloba Yumi Zouma: No Love Lost to Kindness Julia Cumming: Julia
It feels weird to say that someone who was maybe the most popular artist in the world for two years before she even turned 20 and is probably a no-foolin’ genius besides has a tendency to hide her light under a bushel, so the analogy I’ve landed on for Billie Eilish is early Randy Newman, who had his own clear, if idiosyncratic, interpretation of his own work, but also shopped it around to other singers who could highlight the songcraft. —March 8, 2023 So when I said that I thought Billie Eilish was the Zoomer Randy Newman a few mixes ago, I did not expect her to literally put out the heartbreaking ballad for a mega-hyped toy movie.
YouTube screenshot of the Cannelle “Stereo” video with top comment “clears drake’s whole discography”
Global 200 excluding US chart. Drake peaks at #5
Second single “I Wanna Be Your Man,” made it to 12 on the UK charts
Deep Space Nine generator that says “The Gang Starts the Bell Riots”
Onion headline: Commentary - Boy, I Really Thought Like Shit Today Published: October 28, 2010
A to do list with “run up that road” and “run up that hill” checked but “run up that building” unchecked
It’s Batman
bubsy not caring
HILARY DUFF: DIGNITY
The Strokes broke through in the early 2000s with crisp-toned vintage guitars and an unapologetic croon from their lead singer. It was to be a decade marked by a return of sounds from the past.
In his earlier albums, Al usually succeeds only when he hews close to his own strengths – new wave and related circles – where later, the further divergent he is from those strengths the better. A reggae style parody falls flat in the late-80s, but by the 00’s, Al seems limp aping Weezer but astonishes on a 9-minute Frank Zappa song or a late-Beach Boys number as meticulous as its source material.
Selma on a bench: “Ooh this looks like fun: a bench!”
Ella Langley: Choosin’ Texas — US peak #1, GXU peak #83 Kehlani: Folded — US peak #6, GXU peak #58 Noah Kahan: The Great Divide — US peak #6, GXU peak #39 Morgan Wallen & Post Malone: I Ain’t Comin’ Back — US peak #8, GXU peak N/A Luke Combs: Sleepless in a Hotel Room — US peak #11, GXU peak N/A Luke Combs: Be By You — US peak #12, GXU peak N/A Lil Uzi Vert: What You Saying — US peak #12, GXU peak #69 Pooh Sheisty: FDO — US peak #12, GXU peak N/A Don Toliver: E85 — US peak #15, GXU peak #100 Noah Kahan: Porch Light — US peak #20, GXU peak #102 Zach Bryan: Say Why — US peak #25, GXU peak N/A
when you google angine de poitrine, a bunch of polka dots appear
Technologies often take longer to reach full adoption than the discourse around them makes it seem, even in wealthier countries with more technology infrastructure. E.g., cable television finally got to 80% of US households only in 2000, with its peak at 90% in 2010. Global internet connectivity (hugely boosted through smartphone adoption) finally passed 50% in 2018, still very unevenly distributed between urban and rural areas, and smartphones have also been one of the most rapidly adopted technologies ever. But widespread global connectivity is a pretty recent phenomenon, its impacts are less than 20 years old, and it will still take a long time to reach true universal internet adoption.
google search for the letter b leads to an AI overview of Cardi B
screenshot from a newsletter draft, Dani Lia: Schwindelig (omgomgomg). "The real Renee Rapp? Dizzying, indeed -- a formidable opponent in the Pop World Cup."
But there was something specifically slapdash about the indie canon, which seemed to absorb little bits and pieces of broader conventional wisdom around classic rock but not others, deified a few non-indie nobodies that I never understood how anyone could possibly like, and drew meticulous lines between big influences and many tiny little ripples in ways that were exciting to me when I was younger but now make little sense to me. The story about the past seemed to change to retroactively match whatever minor contemporary indie artist was now in the spotlight. I came to eventually understand that the historicizing was happening backwards: find the next big thing right now and make the “canon” fit to it. It was never really about the past; it was about making some version of a past to fit the present, so that the present—which was small and insular by many metrics—would seem bigger and more important. My sense is that some version of “pop music”—most of which really falls under the umbrella that I’ve been calling A-pop—is going through something like its indie phase. What’s important about that distinction is that it’s an audience distinction more than an artist distinction, per se. The rock canon of indie sites in the early aughts didn’t only comprise “indie acts,” but conversations about every act was “indie” because of the weird way that they distorted history to make a selective crop of minor contemporary artists feel worthy of sharing that same canon.
Discogs screenshot of V/A: Sgt. Pepper Knew My Father The Three Wize Men*– Sgt. Pepper's Lonely Hearts Club Band 3:22 Wet Wet Wet– With A Little Help From My Friends 2:38 The Christians– Lucy In The Sky With Diamonds 5:26 The Wedding Present With Amelia Fletcher– Getting Better 1:58 Hue & Cry– Fixing A Hole 4:06 Billy Bragg With Cara Tivey– She's Leaving Home 2:51 Frank Sidebottom– Being For The Benefit Of Mr. Kite 3:07 Sonic Youth– Within You Without You 5:03 Courtney Pine Quartet– When I'm Sixty-Four 4:10 Michelle-Shocked*– Lovely Rita 2:25 The Triffids– Good Morning Good Morning 2:46 The Three Wize Men*– Sgt. Pepper's Lonely Hearts Club Band (Reprise) 2:40 The Fall– A Day In The Life 3:56
7. LE SSERAFIM: Blue Flame (2022) I am informed this K-pop group chose their terrible name in the most exhausting way imaginable, anagramming the phrase "I'm Fearless." They could have called themselves AIMLESS REF or the EMAIL SERFS. Or they could have used the phrase "I am fearless" and unlocked SLAM FAERIES and LESSER MAFIA.
Screenshot of Billboard Global 200 with "Stateside" remix by PinkPantheress and Zara Larsson at #1
Video game, NFS Heat
Ed Harris in THE TRUMAN SHOW (1998)
Remember: kombucha and reggaeton, it's important.
Screenshot from the "Che fastidio!" video. A character says "As soon as he gets arrested, you write a nice book about your toxic relationship, and then bam, a reggaeton track."
King PU$$Y Eater tweet
A long A.I. explanation of a garbled Simpsons quote as “at least two things wrong with that TITHE”
Frinkiac screenshot, "Tesla genes need the MOST attention."
screenshot from Alphaguess -- 6 guesses in 12 seconds
Josie and the Pussycats OST
it’s amazing just how silly my days have been these past few months, raising the baby. It turns out you don’t really “raise” a baby; you mostly observe and marvel at him. You lie on the floor, and smile, and laugh, and get bored, and then get interested again at some freshly discovered movement or moment. Sometimes you listen to music — a lot of novelty music, it turns out — and of course, you make lots of chicken noises. Baby laughter is manna. And you wonder: What will we share? What will keep us laughing?
“I’m currently feeling more inspired by film than I am by music,” she wrote online in November, describing music as “a limb I will probably never fully be able to cut from my body despite trying quite hard to do so at points.”