Better [Unreleased] Song: Stache vs. Partynauseous

[Pigatha 730]

PARTYNAUSEOUS in it's current form is wayyy overrated. Stache is better. 

[Blackout19 14,211]

[vanna shintuyu 11,533]

7 hours ago, killme89 said:

Stache was on replay in my circle for years 

Dancin in circles, feels good to be lonely

[xxxdreams 77]

11 hours ago, JgHaus78 said:

this version is superior 

FrankenWayne also has a reloaded Partynauseous in their telegram, and yes, I agree!

[xxxdreams 77]

It seems like Partynauseous has a slight lead in the polls but it can change at any time.. 

[Head Empty 25,925]

I've stopped listening to LQ / fanmade versions of Partynauseous only because I get so angry knowing that it will never have a proper release. It would be a top 10 track for me if the (early) ArtRAVE version ever got to streaming.

[Donatellah 2,265]

Partynauseous (artRave) version

Stache

Partynauseous ft. Kendrick Lamar

[DESTROY UR DISEASE 15,663]

14 hours ago, xxxdreams said:

I’m actually planning to make more polls on this, and I’m going to include songs that are not available for streaming or purchase just to spice it up 

so you logged onto this website and decide to choose violence?

 

I like it

[gagzus 18,206]

Stache SHOULD be compared more to Cake Like Lady Gaga because they were just fun between era songs they did. Stache is a pre-existing Zedd song from his first album she just sang over and CLLG was just a random beat Paul made when they were bored and she decided to “rap” (terribly) over the beat when they were in Brazil

[bxr 1,096]

“There’s No Exit we’re in Jean Paul Sartre … there’s no particular drug that I love … psychotic music head,” the ‘stache/beard / stache/stash / love/drug/music triptychs baked in with Stache’s production alone … felt low-key proper old symbolism concrete poetry underground pop civilization levels of layered pop songwriting that felt so impeccably “I guess sir, if you say so, some of us just like to read” foreshadow finesse

“Hi I want to, come and make peace with you; but they won’t let me, no, they won’t let me through / I don’t mind if they, a-arrest me, ‘cos I’m wearing, my Versace … whether it’s at first, or after a few, drinks, we’re going to, unite—don’t they” … set the groundwork for some solid hidden-in-plain-subversion as well 

[Ilia Malinin 2,049]

WHERE'S MY STAAAAAAAAAAAAAAAAAACHE  

[huttont 5,815]

I have been equally obsessed with each of these at one point. I picked Stache bc it’s actually a finished song and feels complete and high quality. 
 

but I just listened to both again and I might need to change my answer to partynauseous….

[Ladle Ghoulash 37,987]

1 hour ago, bxr said:

“There’s No Exit we’re in Jean Paul Sartre … there’s no particular drug that I love … psychotic music head,” the ‘stache/beard / stache/stash / love/drug/music triptychs baked in with Stache’s production alone … felt low-key proper old symbolism concrete poetry underground pop civilization levels of layered pop songwriting that felt so impeccably “I guess sir, if you say so, some of us just like to read” foreshadow finesse

“Hi I want to, come and make peace with you; but they won’t let me, no, they won’t let me through / I don’t mind if they, a-arrest me, ‘cos I’m wearing, my Versace … whether it’s at first, or after a few, drinks, we’re going to, unite—don’t they” … set the groundwork for some solid hidden-in-plain-subversion as well 

The line you quoted from Stache and the comparison to Applause’s lyrics actually illustrates what I dislike about both: they don the pretense of poeticism with very little to say. The “No Exit” reference goes precisely nowhere and has nothing to say about the text it’s referencing, much in the way that Applause’s lyrics are basically just a braggadocio track knocking down strawmen left and right in Scary Monsters era Bowie drag.

Edited 2 hours ago by Ladle Ghoulash

[bxr 1,096]

44 minutes ago, Ladle Ghoulash said:

The line you quoted from Stache and the comparison to Applause’s lyrics actually illustrates what I dislike about both: they don the pretense of poeticism with very little to say. The “No Exit” reference goes precisely nowhere and has nothing to say about the text it’s referencing, much in the way that Applause’s lyrics are basically just a braggadocio track knocking down strawmen left and right in Scary Monsters era Bowie drag.

That‘s what I love about Pop music, interpretations are that much more predicated upon the lived experiences of the listener, or I guess that peculiar balance between each listener’s own personal experiences and cultural/universal contexts … all of that is to say, sometimes, with music, it’s just building narrative association from those needle drop “blink” first impressions …

So, with Stache, for instance, the JPS No Exit (to abbreviate a larger discourse into a comparative synopsis), immediately just presented the ill-fated love triangle plot structure, then the rest of the song felt like it operated within that aspect, so everything unfolded from the dragon-chasing triptych … at that point in the ARTPOP era, especially with Aura and Venus (although tbh I was in and out during the ARTPOP rollout … I was out of the loop during the whole development cataclysm, checked back in during the iTunes festival through the VMA and Applause, then fell out for awhile, and sort of just caught up to speed around SxSwine, G.U.Y., and artRAVE, so I’m not too positive on the prominent thematics during development) it felt like she was exploring some divine feminine / next wave/post-wave feminist motifs, so that echoed the sense of the “stache“ as a beard-adjacent or alt-beard (tying back into the character profiles in Sartre’s No Exit) … where‘s her stache … then the shift to the drug motif—the “stash” stache— continuing that there is no (conventional) drug that she wants or loves, but it does not negate her potential indulgence in narcotics to temporarily satiate or substitute for the primary human object of affection (which, again, to the stache/beard/no exit plot, could be taboo, or unrequited, or just patently unattainable in practical physical reality … hell is other people) … then to the climax of “psychotic music head” … to her point (paraphrasing) “Music f—ks me up like no other” … music is the ultimate love, drug, elixir … and to be honest, the suitors and substances, at that point of obsessive music psychosis, are all just manifestations of her cardinal fidelity to music, the ultimate love supreme 

But … neither here nor there … just observations in the rationale of, even if that’s not how it was written, that’s how it reads within a capacity … I’ll digress here … and leave Applause discourse for another play

 

[xxxdreams 77]

2 hours ago, Ladle Ghoulash said:

The line you quoted from Stache and the comparison to Applause’s lyrics actually illustrates what I dislike about both: they don the pretense of poeticism with very little to say. The “No Exit” reference goes precisely nowhere and has nothing to say about the text it’s referencing, much in the way that Applause’s lyrics are basically just a braggadocio track knocking down strawmen left and right in Scary Monsters era Bowie drag.

Damn y'all are out here having Shakespearean debates about Lady Gaga lyrics and I cannot understand anything 

..that tracks I guess considering that I love Sour Candy