OoO highlights great but under-appreciated music albums, mostly from the 21st century, as selected by host DJ Poseur and a rotating brigade of fellow obsessives. Each co-host chooses an album pick to discuss at length, including consideration of why we think it’s awesome but woefully unknown to the listening public. All picks meet stringent criteria for obscurity (Under 50 user reviews in All Music Guide, Under 100k streams on YouTube).
Features include games for the listener to play along with, like “The Obscurity Quiz” (in which albums are ranked by a contestant from most obscure to most famous), “Score the List” (in which cohosts compare their knowledge and music collections to online “Top 10” lists), “Stump the DJ” (in which the cohosts challenge one another’s knowledge of obscure bands), and the occasional “Scheduled Digression” (in which we tackle a specific topic in music or the music industry).
Who should listen to OoO? Anyone dissatisfied by contemporary pop music. Anyone unfamiliar with but interested in independent music of the 21st century. Fellow obsessives who want reviews of beloved but obscure albums and find existing online resources limited. People who want something totally out of left field to spice up their music listening experience. Anyone who enjoys a contentious dialog about art. Rather than being the kind of podcast whose any given episode will be of general interest, it is hoped that with time, with an accumulated body of work, we will hit upon an album or at least a very specific style of music that is beloved by potential listeners as much as by us.
Welcome to the wild, weird, and wondrous world of OoO!
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OoO highlights great but under-appreciated music albums, mostly from the 21st century, as selected by host DJ Poseur and a rotating brigade of fellow obsessives. Each co-host chooses an album pick to discuss at length, including consideration of why we think it’s awesome but woefully unknown to the listening public. All picks meet stringent criteria for obscurity (Under 50 user reviews in All Music Guide, Under 100k streams on YouTube).
Features include games for the listener to play along with, like “The Obscurity Quiz” (in which albums are ranked by a contestant from most obscure to most famous), “Score the List” (in which cohosts compare their knowledge and music collections to online “Top 10” lists), “Stump the DJ” (in which the cohosts challenge one another’s knowledge of obscure bands), and the occasional “Scheduled Digression” (in which we tackle a specific topic in music or the music industry).
Who should listen to OoO? Anyone dissatisfied by contemporary pop music. Anyone unfamiliar with but interested in independent music of the 21st century. Fellow obsessives who want reviews of beloved but obscure albums and find existing online resources limited. People who want something totally out of left field to spice up their music listening experience. Anyone who enjoys a contentious dialog about art. Rather than being the kind of podcast whose any given episode will be of general interest, it is hoped that with time, with an accumulated body of work, we will hit upon an album or at least a very specific style of music that is beloved by potential listeners as much as by us.
Welcome to the wild, weird, and wondrous world of OoO!
This episode features two “unpopular pop” albums. One from a group who apparently survive on viral word of mouth in Eastern Europe, and the 2nd a 2019 album translated as “The Plague” that in a just world would have spread more than Covid-19 or at least should be one of those globally prescient coincidences for future music historians to unearth someday.
Purchase our album picks on Bandcamp https://mireiavilar.bandcamp.com/
or eMusic https://www.emusic.com/album/150248559/ONUKA/MOZAKA
https://www.emusic.com/album/201770325/Mireia-Vilar/La-Plaga
Official sites: http://www.onuka.ua/en/
http://www.mireiavilar.com/music/
YouTube channels (please use them only for the music videos and buy the albums): https://www.youtube.com/user/onukaofficial https://www.youtube.com/channel/UCdLwWPkbw7jpwwGPNMvkGgw
Structure: Basic specs for “Mozäika” & Robert explains Eurovision (up to 9:08) Live and studio versions, Onuka’s views on Russia as a Ukrainian, the insular American pop music market & its imperviousness to Eurovision, contrast w/ U.S. music/singing pageantry, Robert on the “love fest” of Eurovision (9:08-15:50) Is competition good for music? Does it make the music better or just more conformative? Robert on pop voices and yet more Eurovision details, “winning” versus “losing” the contests, telegenic appearances, must a pop diva be able to belt out and hold a single note? (15:50-24:20) The joys of liner notes & other merits of “Mozaïka”, variety and popularity of the album (24:20-27:28) Onuka’s “Strum” music video & a detailed description of a very short song/interlude via Chernobyl architecture, pop music & militarism, “Golos” & “Guns Don’t Shoot”, human sincerity with electronics, Ukraine’s geopolitics (27:28-34:08) Robert praises individual songs & gives RIYLs (34:08-38:56) Reviews on eMusic, DJ Poseur’s album summary, Onuka’s music videos, lack of professional reviews, comparison to the self-entitled album (38:56-43:31) Ratings (43:31-45:48) Transition between album picks, YouTube views disparity, Synth/dream/space pop?, (45:48-49:30) Pop music, popular music, chart music, yacht rock, production convergence & conformity, nostalgia for certain time periods (49:30-56:01) Robert starts to opine on MV & gets steered back to obscure, “unpopular pop” & regional versus global popularity & whether there’s a single global (Western) style of pop music today. How globally popular must a song be to pierce the USA? Other media introduce new music and popularize it. Being a fan w/out hope of seeing someone perform. Foreign languages, time versus place influences in pop styles. (56:01-1:05:44) Mireia Vilar’s “La Plaga” & very literary lyrics in “Estado de Flow” & other lyrical interpretations of individual songs on the album (1:05:44-1:11:56) Robert’s favorite song of the year & his RIYLS for MV. Lyrical poetry listening versus general pop listening. One person can make a difference w/ a review if no one else has? Music videos and performance videos, simplicity of composition. Demographics & music markets. (1:11:56-1:21:10) Other songs on the album. MV’s evolution from previous album and her future, would this work w/ a live audience? (1:21:11-1:26:33) RIYLs, mostly other obscure artists for fans of MV (1:26:33-1:27:52) Ratings (1:27:52)
Onuka is RIYL… Shuma, Bjork, Boomclap Bachelors, Jorane, La Roux, Линда (Linda from Kazakhstan)
Mireia Vilar is RIYL… SingerSen, Orbital, Goldfrapp, Beach House, other Spanish synth-pop?, Mow, Jeanette, Suzanne Vega, Enya
The RIYL Spanish band Mow is impossible to find w/out more of a lead, so try their music video for “Grasiah” here: https://www.youtube.com/watch?v=92YtTynOyAM
Onuka interview 2016 https://www.youtube.com/watch?v=rsrjjQmC364
George Gittoes’ “Soundtrack to War” https://www.imdb.com/title/tt0470161/?ref_=nv_sr_srsg_0
MV has a special treat for psychologists… Flow: The Psychology of Optimal Experience (Harper Perennial Modern Classics) by Mihaly C
Out of Obscurity
OoO highlights great but under-appreciated music albums, mostly from the 21st century, as selected by host DJ Poseur and a rotating brigade of fellow obsessives. Each co-host chooses an album pick to discuss at length, including consideration of why we think it’s awesome but woefully unknown to the listening public. All picks meet stringent criteria for obscurity (Under 50 user reviews in All Music Guide, Under 100k streams on YouTube).
Features include games for the listener to play along with, like “The Obscurity Quiz” (in which albums are ranked by a contestant from most obscure to most famous), “Score the List” (in which cohosts compare their knowledge and music collections to online “Top 10” lists), “Stump the DJ” (in which the cohosts challenge one another’s knowledge of obscure bands), and the occasional “Scheduled Digression” (in which we tackle a specific topic in music or the music industry).
Who should listen to OoO? Anyone dissatisfied by contemporary pop music. Anyone unfamiliar with but interested in independent music of the 21st century. Fellow obsessives who want reviews of beloved but obscure albums and find existing online resources limited. People who want something totally out of left field to spice up their music listening experience. Anyone who enjoys a contentious dialog about art. Rather than being the kind of podcast whose any given episode will be of general interest, it is hoped that with time, with an accumulated body of work, we will hit upon an album or at least a very specific style of music that is beloved by potential listeners as much as by us.
Welcome to the wild, weird, and wondrous world of OoO!
