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The two biggest constants throughout Xiu Xiu's catalog are honesty and evolution. This remains true with Dear God, I Hate Myself as it delivers a look at responsibility, fear, healing, and societal roles wrapped in rich gothic pop music.
Struck for circulation after 63 years in hock within the Lou-Mood Pictures vault, this previously unissued soundtrack traffics in the high-tone timbre and highball-sipping swoon of pop's post-war years.
This Singaporean five-piece explored the tolls of human indulgence through raw tonality and zippy jangle pop, poignantly celebrating the spirits of a natural world fast disappearing.
Where GaGa excels, and why she crossed over, is how she doesn’t leave all this as a collection of hooks and rhythms, she shapes them into full-blown pop songs, taking the time to let the album breathe with chillout ballads and percolating new wave.