A Temporary Autonomous Zone
for everyone
Reblogged from thathobocat, Posted by opulentes.



clean bathroom tips
organize your closet
how to fix a leaky faucet
how to keep a clean kitchen
removing stains from your carpet
how to coupon
what to do when you can’t pay your bills
see if you’re paying too much for your cell phone bill
how to save money
How to Balance a Check Book
How to do Your Own Taxes
how to take care of yourself when you’re sick
things to bring to a doctor’s appointment
what to expect from your first gynecologist appointment
how to make a doctor’s appointment
how to pick a health insurance plan
a list of stress relievers
how to get free therapy

how to remove a splinter

how to avoid a hangover

what to do if you get pulled over by a cop
a list of hotlines in a crisis
things to keep in your car in case of an emergency

how to do the heimlich maneuver

recipes that take 30 minutes or less
Yummy apple thing
Brownie in a cup
Cookie in a cup
French bread pizza
Egg tacos
panera mac n cheese recipe
different salad recipes
harry potter recipes
healthy recipes
various cookie recipes
chocolate cupcakes w/ eggless cookie dough topping
s’mores pie 
nutella hot chocolate
peanut butter nutella swirl cookies
cookie in a mug
starbucks holiday drinks
fruit leathers 
brownie in a mug
how to make ramen 1000x better
eggless cookie dough (not to bake, just to eat)
make recipes using things you already have
how to put together a very fancy cheese plate 
make different flavored lemonades
various desert recipes
make tiny chocolate chip cookies
20 dishes every cook should know
learn how to make your own tea
Macaroni and cheese in a mug
Study snacks (2)
40 on-the-go breakfast recipes
what the hell is a mortgage?
first apartment essentials checklist
how to care for cacti and succulents
the care and keeping of plants 
Getting an apartment
time management
create a resume
find the right career
how to pick a major

how to avoid a hangover

how to interview for a job

how to stop procrastinating

How to write cover letters
Traveling for Cheap 
Travel Accessories
The Best Way to Pack a Suitcase
How To Read A Map
How to Apply For A Passport
How to Make A Travel Budget
Better You
read the news
leave your childhood traumas behind
how to quit smoking

how to get a book published

how to knit

how to use a polaroid camera

how to solve a rubik’s cube

how to stop biting your nails

how to stop procrastinating

how to stop skipping breakfast

how to stop micromanaging

how to stop avoiding asking for help

how to stop swearing constantly

how to stop being a pushover

learn another language
how to improve your self-esteem
how to sew
learn how to embroider
how to love yourself
learn how to do yoga
100 tips for life
learn how to make your own cards

I’ve been living on my own for almost 4 years now and I have like 50 tabs open.
Bless the person who put together this post, it ought to be made into a pamphlet for everyone in highschool/college.



A latecomer in my annual list. I’m also aware that my list from this point on gets mighty samey - sorry.

I’ve got this thing about how I am certain that this year will be known for the revival - not reinvention or evolution - of genres. Keeping a bit of mystery about what is to come in my list, some of the biggest albums of the year are just channeling post punk, acid house, funk, american folk and shoegaze as if the 1980’s and 1990’s were just around the corner. 

Gesaffelstein’s work in it’s entirety, even the stuff on Conspiracy Pt. 2 takes this ethos and applies it to production. While a lot of modern artists strive for rawness and organic sounds, Aleph is using modern equipment to create staggeringly polished and clean tracks that are a throwback to the corporate pop of the 1980’s. It’s the complimentary release to the other ‘big French DJ album of 2013’ (Random Access Memories), ironically sounding more mechanical, robotic and artificial in every way.

The album bounces back and forth almost 1:1 between being dark ambient and being in-your-face hardstyle, but I just have to give mention to Pursuit. That 55 second mark is one of my favourite moments in music in 2013. 55 goddamn seconds of buildup to a kick hard enough to give the listener whiplash.

(Source: Spotify)


James Blake’s second album was a good example of how I can be stubborn with my preconceptions and it stalls me from appreciating something for what it is. I don’t think I listened to this album for 4-6 months after it’s release, simply because I did not like what I heard on my initial listen. The timing of the release didn’t help either - literally in between my two most anticipated albums of the year. 

Musically it was a direction that I wasn’t really familiar with, particularly coming from Blake. Even if his work on Love What Happened Here, Enough Thunder and CMYK EPs hinted at his ability to push past the abstractions he presented on James Blake, there was still an element of convention that I wasn’t really interested in at the time.

With the power of influence by critics and peers, I decided to give the album another chance after the Mercury Prize win. I will admit; I felt sheepish when I couldn’t point out the queues or tracks that I had noted as low points. Blake’s melodic efforts soar on this album, as well as his piano work in DLM sounding particularly soulful and  I particularly like Digital Lion and Take a Fall For Me as examples of Blake’s ability to collaborate with prestege artists. Perhaps just having RZA on an album like this displays Blakes brand of perfect adaptability.

(Source: Spotify)


I’ll always have a soft spot for Baths (AKA Will Wiesenfeld) because we have a shared history of being on the same nerdy videogame/link dump forum. When he emerged with Cerulean there was a real hype and buzz about it, even if it was simply for the fact that we had someone famous amongst us. It got rave reviews by the big critics and from what I recall he managed to get involved in the festival/tour circuit in the US. Since then any real news you heard about Wiesenfeld was about his health condition. Back around October of 2011, just as he was about to head on a tour and play at Miss Libertines on Franklin St he cancelled the tour and announced he was struck down with a bad bout of E. Coli. He went MIA for months as he was struggling with his illness.

Flash forward to early 2013 and he announces he’s releasing a new LP titled Obsidian - this time with a much darker tone to reflect the vacuum it was created within. I can’t speak for others, but I found these claims somewhat hard to believe or take seriously. Cerulean was pure dream pop; Songs like Maximalist which are bursting with shrill euphoria, to the cutesy clips of dialogue in Animals and the pure cuteness of ‘You’re my excuse to travel' radiate with sunshine and warmth. 

If I had to use a word to summarise the entire listening experience of Obsidian, it’s Perverted. Both lyrically and thematically it feels like i’ve walked into a person’s private space. If Wiesenfeld’s eccentric and playful tweets on his Twitter paint a picture of a quirky videogame geek who happens to be a savant with music, then this album is the bleak contrast. And it’s just so utterly different to any song on Ceruelan. Miasma Sky is immediately attentive with it’s loungey beat, missing the glitchy chips and glitches that Cerulean was near-entirely composed of. There’s a certain industrial, almost Nine Inch Nails-esque overbearing gloom in Earth Death, as it marchest forward with that huge percussive sound, which is mixed so loudly it’s almost like it bends the sound under it’s weight.

As it stands, the biggest achievement of this album is displaying Wisenfeld’s technical musicianship and his ability to channel struggle and vices into creativity.

(Source: Spotify)


An album from The Strokes that has a lead single that sounds lawsuit-close to Take On Me, released to almost no fanfare with absolutely no promotion and will almost certainly appear on absolutely no-ones 2013 lists.

Say what you want, it’s not a bad album. Between Casablancas and Hammond Jnr there is enough earworm pop sensibility on this album to be stuck in your head for weeks. 

(Source: Spotify)


The fact is, my love affair with Husker Du is almost entirely Grant Hart. He’s fucking amazing. Never talking to you again, Sorry somehow and Don’t wanna know if you are lonely still give me goosebumps every single time I hear them. He didn’t use aggression to convey his feelings, he was perfectly capable of letting the lyrics do the talking. I honestly can’t comprehend how my reaction would’ve been in 1984 when Zen Arcade was released and Never talking to you again starts as track 3, just Grant Hart repeating it over and over, accompanied only by some acoustic guitar tracks and Bob Mould’s backing vocals.

So while Mould (the other half of the second-most successful partnership in music history) is writing tell-all books of how things went down in Husker Du and channeling Dave Grohl’s guitar and ‘Angry Tom Hank’s’ voice, Grant Hart has uncharacteristically been busy himself and i’ve been paying attention every step of the way. Before releasing the mostly overlooked but appreciated Hot Wax back in 2009, he hadn’t done a thing for ten years. Post-Hot Wax, not only has he managed to release a double album but he’s also visited the ol’ Northcote Social Club for a gig (which I attended - it was brilliant) and had Gorman Bechard produce a successfully crowd funded documentary about his life and career.

I should clarify that I don’t particularly care for double albums, though I will confess there’s still another one in this top 20. I must have a subconscious blockade in my mind when I recognise that I’m about to listen to a double album. If I can’t commit to listening to an album in it’s entirety, then I generally will skim past it and move to something more easily consumed. I can’t think of any outside of Zen Arcade and maybe Double Nickels On The Dime that can keep my attention from start to finish, and that is mostly because those albums are linked in my mind with speed.

With that, when Hart announced a double album based on the biblical epic poem Paradise Lost, with slight references to the works of his old buddy William Burroughs, as if alarm bells weren’t going to start ringing about how indulgent The Argument would be. 

Thankfully it’s more ‘theatrical’ than indulgent, though even those moments are fairly few and far between. The album is more or less business as usual for Hart post-Nova Mob, however from the synopsis of Paradise Lost that I read it appears that the album follows the story and themes quite accurately. Perhaps this is where the Burroughs influence comes in - I can’t imagine how difficult it would be to write within the constraints of a narrative without losing pacing or sounding tacky.

Hart manages to sound more like a cross between Daniel Johnston and 60’s outsider pop than ever. Thematically it sounds very similar to Johnston’s broken and jangled musics about ‘the devil and god’, but musically it has elements of Cash, glam-era Bowie, Nick Cave and Soul Asylum. Hell (pun), sometimes it even sounds like he’s channeling the low-fi sound of The Shaggs.

Not the album version (which is arguably better), but check out the chilling rendition of Is The Sky The Limit above.


How do I explain what Dillinger Escape Plan invokes in me… Listening to One Of Us Is The Killer is an event, it’s something that I prepare myself for. Until it becomes familiar, I am constantly left guessing what the next sound will be - an effect that requires my absolute attention. By the time I’ve made it through the album, like reflex, I go back and listen to something as far on the opposite end of the spectrum as possible. It induces schizophrenia.

This is all pre-meditated, i’m certain. DEP have always been a bit weird, but now they bring it to new levels; one particular moment is the second half of Paranoia Shields, where some bizarre shrills and falsetto vocals are lead by (of all things) a horn arrangement. The first moments of reprise after the fury of opening tracks Prancer and the mildly jazzy When I lost my Bet is the albums title track, where the listener is spared from brutality for about 40% of the song. This leads to the fact that the spectre of Mike Patton still haunts DEP, possibly moreso on One of us is the Killer than their previous records. His particular brand of quirk and unhinged fury, combined with his minor dabbles with avant jazz on his John Zorn collaborations are all referenced in some capacity.

Reblogged from fuckyeah1990s, Posted by fuckyeah1990s.


this is my favorite video of the year so far

(Source: youtube.com)

possible contender for AOTY already

(Source: Spotify)