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This is the eighth track off of Grimes' third studio album, Visions.

The Japanese title of this song refers to the concept of Wabi-Sabi, which represents a Japanese worldview that beauty is impermanent.

“I don’t have a phone,” Boucher said. “Everyone I know is always on their f—ing phone on the Internet all the time. I just wanted to write a song about being alive in the real world – ‘be a body.’ – Grimes in an interview for The Vancouver Sun (http://web.archive.org/web/20120509042813/http://www.vancouversun.com/entertainment/Grimes+spotlight+with+brilliant+Visions/6175085/story.html#ixzz3PmpHo8WX)

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The bouncy bass leads to “Genesis” open up an enthralling track detailing a darker perspective on falling in love, contrasting the rosy idealism observed in popular love songs with paranoia-ridden commentary on the modern love affair. The song is the second track on Grimes' third album Visions, and is widely regarded as the first notable track despite its continuation off of the previous “Infinite Love Without Fulfillment.”

Genesis was named the 25th best track of 2012 by Pitchfork, while another Visions single “Oblivion” took the number one spot. Its lyrical ambiguity is noted as one of the more intriguing aspects of the track.

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The third track off Grimes' third studio album, Visions. It was named by Pitchfork as the best track of the decade so far.

In an April interview, Boucher explained the song’s true meaning:

The song is about being violently assaulted and it made me crazy for a few years. I got really paranoid walking around at night and started feeling really unsafe. The song is more about empowering myself physically amongst a masculine power, and the hate of feeling powerless, making light of masculine physical power, making it jovial and non-threatening. I took a typically violent cultural situation and made it pop and happy.

Throughout, imagery depicting a ‘dark night’ evokes both the actual event of the assault and her process of coping with the trauma.

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This is the tenth track off of The Decemberists' fifth album, The Hazards of Love. We’re introduced to a most unpleasant character, the murderous and amoral Rake. In the early 18th century, “rake” or “rakehell” was a term for a reckless, roguish, wicked, and often sexually promiscuous young man. Meloy has borrowed the term to indicate his character’s chillingly carefree nature.

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This is the second track off of Chromatics' fourth studio album, Kill For Love.

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This is the seventh track off of Dum Dum Girls' second album, Only in Dreams.

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  1. The singer is the just the provider of the voice for the words of the song to be song, he is pointing out that it is the song itself from which the emotions are drawn from.

  2. Perhaps a hipster’s way of saying “don’t hater the player, hate the game”…It’s not the singer, it’s the song

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This is the third track off of The Walkmen’s seventh studio album, Heaven.

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This is Spanish for “Like a melting ice cream,” or “Like an ice cream, melting,” a possible metaphor to describe his current general feelings about life.

The line is frequently misheard as “Dame un helado derritiéndose,” meaning “give me a melting ice cream.”

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Her father looked to alcohol as an escape to the troubles of the home life, so you could most likely catch him at the local neighborhood bar.

This completes the quick panorama of a broken home offered by this stanza, with the implication that this was one of the reasons why the girl turned to prostitution.

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