The 20 Most Important Twerks Of All Time

1. The McDonald’s Twerk:

A particularly important twerk, as some have argued that this is the twerk “that started it all.” With stomachs full of McChickens and booties eager to be popped, these brave young women stepped outside McDonalds and into the pantheon of legends.

2. The Hydraulic Twerk:

From there twerking began to grow in popularity, being used by many for more than a way to pop a booty. Here you can see a practical application of the twerk, helping to repair this busted car.

3. The Miley Cyrus Twerk:

A huge twerk. Massive twerk. This is what really brought the twerk into the mainstream, into our homes, our living rooms. Miley didn’t plan the seed, but damned if she didn’t nurture that seed like it was one of her three children.

4. The “This Twerk Was Filmed In Front Of A Live Studio Audience” Twerk:

After Miley, one of our nation’s best and brightest actresses, endorsed the twerk, studios in Los Angeles frantically added CGI twerking to their summer blockbusters.

5. The Mini Cooper Twerk:

The first twerk ad. Some twerk purists cried foul at exploitation of the art form, but others simply saw it for what it was: a smart, well-executed ad.

6. The JC Penny Twerk:

Department stores would follow the Coops lead, allowing folks to twerk up and down the aisles, in the dressing rooms, and about the store. The children’s section, however, would remain off limits. That was until…

7. The Barney and Dora Twerk Combo:

Perhaps the most controversial twerk in histwerky (I tried). This twerk brought the dance into the homes of children of all ages, leading to a boom in babies named “Twerk.”

8. The Squidward Twerk:

Again, see above.

9. The Surprised Patrick Twerk:

Again.

10. The “That’s So Raven” Twerk:

When the Disney Channel gets on board, you know shit is serious. That’s the reason the Iraq war started.

11. The Jurassic Park Twerk:

Twerks began to find themselves the main plot point of big budget blockbusters, too.

12. The Kid Pageant Twerk:

An example of what I talked about above. This is pretty much the norm in classrooms across America. Trust me, I’m 8 years old.

13. The Spiderman Twerk:

Last year’s most popular Halloween costume. Of course, only the rich kids could afford the gyrating ass. Poor kids had to settle for much less, their mother’s following them around and twerking them around.

14. The Harry Potter Twerk:

No one read before “Harry Potter.” It’s just a fact. Literally no one had ever picked up a book. That was until this young lady here twerked in front of a sign, and JK Rowling got the idea for the entire series.

15. The Marine Twerk:

Despite the best efforts of some particularly unrachet members of congress, United States soldiers abroad and at home are now allowed to twerk whenever and wherever they want. Another example of the immense popularity of the movement.

16. The Kitten Twerk:

“Like Humans Do.” That was the title of some David Byrne song that came pre-loaded on every Windows XP. I never listened to it, but I assume it has something to do with kittens twerking like humans?

17. The Ladybug Twerk:

Like humans do, you know?

18. The Sink Twerk:

Devastating for the world of twerk. This brought a lot of heat to the movement, and forced the whole thing to go underground.

19. The Library Twerk:

Which leads us to the library twerk. This is some real, indie, underground twerking.

20. The Panera Twerk:

And so that brings us to the Panera twerk. The most important twerk of all time. This is it. Faced with the pressure of somehow disguising themselves among a sea of twerks, and fighting the growing animosity towards the art form, this young lady nails it. NAILS IT. This is what twerking is all about.

Read more: http://buzzfeed.com/daves4/the-most-important-twerks-of-all-time

Top 15 One Hit Wonders

Based on various surveys around the net, I have come up with a list of top 15 one hit wonders – do you remember them all? While some of these artists may have had ongoing success in their musical careers – they each had only one really seriously big hit. As usual, add your own to the comments. NOTE: There is a US popularity bias in this list – due to the US population bias on this site – so please don’t bash me for including someone that was a major star in Hungary or similar!

15. Rock me Amadeus Falco, 1985

Rock me Amadeus was Falco’s only major hit in the United States, despite his popularity in Germany and his native Austria, and all over Europe. The song was featured in a 2007 Subaru commercial.

14. Spirit in the Sky Doctor and the Medics, 1969

“Spirit in the Sky” is a song written by Norman Greenbaum and released in 1969. The single sold 2 million copies in 1969 and 1970 and got to number 3 in the U.S. Billboard chart, as well as number 1 on the UK charts in 1970.

13. It’s Raining Men The Weather Girls, 1982

The members were Martha Wash and Izora Armstead. They are best known for their 1982 #1 club and major pop hit, as well as subsequent dance anthem “It’s Raining Men”. Although the group is considered a one hit wonder by the mainstream pop market, they were previously known as Two Tons O’ Fun, under which name they recorded two number 2 ranking songs.

12. Kung Fu Fighting Carl Douglas, 1974

This song remains one of the most fondly remembered one-hit wonders in the UK (though some dispute that it is a true one hit wonder as Douglas had two further hits that did not reach the Top 20).

11. Groove is in the Heart Dee Lite, 1990

An immediate smash in nightclubs, the song crossed over to pop radio and after going to number one on the U.S. Hot Dance Club Play chart, it eventually hit number four on the Billboard Hot 100. It managed to peak at number-one for one week in Australia in November 1991.

10. Rico Suave Gerardo, 1990

His hit single “Rico Suave” appeared on his 1991 debut album, Mo’ Ritmo. This song, as well as some others of Gerardo’s, include verses with lines in both English and Spanish. The popularity of the song has made Gerardo known as a one-hit wonder.

9. 99 Luftballons Nena, 1984

“99 Luftballons” is a Cold War-era protest song by the German band Nena. Originally sung in German, it was later re-recorded in English as “99 Red Balloons”. It is one of the most successful pop songs by a German artist in the world. “99 Luftballons” reached #1 in West Germany in 1983. In 1984, the original German version also peaked at #2 on the American Billboard Hot 100 chart and the English language version topped the UK Singles Chart.

8. Take On Me A-ha, 1985

The single reached number-one in 36 countries and is one of the world’s best-selling singles of all time with 8-9 million copies sold, hit number one on the Billboard Hot 100 in the U.S. It also hit number two in the UK and number one in a-ha’s native Norway.

7. Ice Ice Baby Vanilla Ice, 1990

“Ice Ice Baby” is rapper Vanilla Ice’s most famous and popular song, released from his second album To The Extreme. The song samples Queen and David Bowie’s “Under Pressure”. “Ice Ice Baby” was the second rap single ever to hit number one on the Billboard Hot 100, after Blondie’s 1981 single “Rapture.”

6. Who Let the Dogs Out? Baha Men, 2000

This song (originally by Anslem Douglas) was re-recorded by The Baha Men, placed in the movie Rugrats in Paris: The Movie and then released as a single in 2000. It became the band’s first hit in the US and the UK, reaching #40 on the Billboard Hot 100 in the United States and #2 on the UK Singles Chart. In a poll conducted by the Rolling Stone to identify the 10 most annoying songs, this song was ranked third.

5. Mickey Toni Basil, 1982

This song was originally written and recorded as “Kitty” by UK group Racey. Toni Basil’s crush on actor and Monkee Micky Dolenz during her work as a choreographer/dancer on the set of the Monkees 1968 movie, “Head” prompted her to change the lyrics to “Mickey” to better suit her real-life experience, and the gender from female to male. The single reached number one on the U.S. Billboard Hot 100 and number two in the UK singles chart.

4. I’m Too Sexy Right Said Fred, 1991

“I’m Too Sexy” is a song by the British trio Right Said Fred. The single topped the American charts for three weeks in early 1992, after having peaked at No.2 for six weeks in the band’s home country the previous year.

3. Come on Eileen Dexy’s Midnight Runners, 1982

“Come On Eileen” by Dexys Midnight Runners was the biggest-selling British single of 1982. It originally appeared on the album Too-Rye-Ay. The song has had lasting appeal and is often heard in retro clubs and 80′s compilation CD’s.

2. Tainted Love Soft Cell, 1982

Soft Cell elected to release “Tainted Love” as their third single in July 1981. Buoyed by the then dominant synthpop sound of the time and a memorable performance on Top of the Pops it rapidly reached number one on the UK singles chart, eventually repeating the feat in 17 territories. The following year it charted in the US eventually reaching number 8 in a record breaking 43 week chart run.

1. The Macarena Los Del Rio, 1996

“Macarena” is a song by Los del Río about a woman of the same name, or any woman from the La Macarena neighbourhood of Seville. It was very successful between 1995 and 1997. The song became the second longest running #1 and best selling debut single of all time in the US.

Read more: http://listverse.com/2007/11/02/top-15-one-hit-wonders/

Kanye’s Mid-’00s Def Poetry Jam Performances Are A Trip

Before the “I Am A God” imagery, the cliques, the music video paintings, the 808 drums, and the shuttershades, there was a hungry young producer-turned-rapper performing spoken word at the Def Poetry Jam.

With each new Kanye album, wherein he pushes the boundaries of music and art that much more, it’s helpful to revisit this video of Kanye West’s appearance on HBO’s Def Poetry in 2004, to remind ourselves of just how far he’s come.

Mos Def introduces a then-largely unknown Kanye to the audience, “From Chicago, Illinois, please give it up for the future of hip hop, Kanye West!” Ok, so, first thing: can you even imagine introducing Kanye as a hometown rapper now? In 2004, he needed that context; now, he’s beyond a household name. Second, given what I know now, I get serious goosebumps watching Mos Def call him the “future of hip hop” to a crowd who barely recognizes him.

“This morning I spent a lot of time, like, trying to like pick out my outfit because I’m really into clothes,” he fake-stutters into the mic. “I’mma be the best dressed rapper out in the game, so, I got my…uh, ” he says, showing off the tags on his Adidas superstars.

Wearing loose, light denim jeans, Adidas with the tags on them, and a t-shirt layered over a graphic tee, he sets up his spoken word piece called “Self Conscious,” taken from his song “All Falls Down.”

4. “I’m so self conscious, that’s why you always see me with at least one of my watches / Rollies and Pashas done drove me crazy / I can’t even pronounce nothin’, ‘Pass that Ver-say-see!’”

5. “Then I spent four hundred bucks on this / Just to be like, ‘n—-a you ain’t up on this.’”

Look at the face, look at that belt (everything about that belt), look at that deadpan. Yes.

6. “It seem we living the American Dream / but the people highest up got the lowest self-esteem.”

7. “Now, tell me that ain’t insecurre / The concept of school seems so securre / Sophomore, three yurrs, ain’t picked a carreerrr”

8. Watch the full performance:

9. “Self-Conscious”

10. And here he is the next year, in 2005, with more recognition this time, and clearly, more elevated tastes.

11. “I had to make my own ambiance for me to feel comfortable, it really had nothing to do with the poem, whatsoever. I just thought it’d look good on TV.”

12. “Bitter Sweet”

13. There’s the trademark Kanye swagger….

“I’m leaving you haters like when Shaq left the Lakers just to Heat it up.”

14. …and confidence…

“I state the stats to stunt / I don’t need to front / make black history every day / I don’t need a month.”

15. …and charm.

“Ralph Lauren was boring before I wore him.”

16. As well as the passion with which he speaks his truths, something we’ve seen him express tremendously more and more over the years.

“‘You don’t see how your lies is affecting me? / You don’t see how our life was supposed to be?’”

17. Here’s his final Def Poetry appearance, in 2006, where he performed a piece called “18 Years,” from his song “Gold Digger.”

He also tells an incredibly funny story about some advice his mama gave him (RIP).

Looking back on these makes appreciating where he is now that much more powerful, and sweet.

Read more: http://buzzfeed.com/azafar/kanyes-mid-00s-def-poetry-jam-performances-are-a-trip

Taylor Swift And Ellie Goulding Perform “Anything Could Happen”

2. Strangely enough the two seemed to be a match made in heaven.

3. Together— in their high-waisted black shorts— they got 15,000 fans jumping out of their seats.


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4. After the show Ellie tweeted our her new-found love for Taylor.

5. It seems like these two may have found their new best friends.

6. All in a day’s work. Right, ladies?

 

7. Watch the performance here:

Read more: http://buzzfeed.com/ashleyperez/taylor-swift-and-ellie-goulding-perform-anything-could-happe

Trent Reznor Vs. Trent Reznor

Greetsia Tent / WireImage / Getty Images

By all appearances, Trent Reznor’s life is pretty good right now. He’s a married man with two young children, he’s been sober for over a decade, he’s won both creative independence and an Oscar for scoring The Social Network, and he’s working with Beats By Dre and Jimmy Iovine to build a subscription service that could make Spotify the Friendster of streaming music. The Reznor of today — mature, muscular, stable, clean, and working closely with a major label boss he once clashed with regularly — is a million miles away from the one who became a household name as one of the most disturbed, debauched, and depressive rock stars of the mid-’90s.

Hesitation Marks, Reznor’s eighth major work under the name Nine Inch Nails and the first to be released since 2008, is his way of reconciling the differences between the man he was, and the man he has become. It’s basically an entire album about the nagging fear that you will ruin everything good in your life by falling back into old habits, or worrying that the new people in your life will discover the horrible parts of yourself that you’ve tried to bury.

Reznor isn’t nearly as good as a lyricist as he is a composer, but the blunt, direct approach works well here. He sings about being literally haunted by his old self on two consecutive songs, and even when he proclaims, “I’ve survived everything!” on the uncharacteristically upbeat track “Everything,” he goes right back to feeling paranoid that “this thing that lives inside of me will surely rise and wake.” The album’s climax is a song called “In Two” in which he imagines splitting his old and present selves into two separate beings, but then realizes with horror that “it’s getting harder to tell the two of you apart.”

If you’re familiar with Reznor’s back catalog, you’re well acquainted with exactly what he’s staring down. The version of himself that he fears most is the one that created his two greatest works — 1994’s The Downward Spiral, and his 1999 double album, The Fragile. The former starts off manic and furious, but concludes with a trio of songs that may be the most chilling musical expression of suicidal ideation ever recorded. The latter, written and recorded in the midst of severe addiction and extreme grief, basically vacillates between powerless rage and clinical depression for two hours straight.

Like a lot of artists, Reznor has made some of the best and most enduring work of his career out of the absolute lowest moments of his life. This must be a strange thing to live with, particularly as a musician who is obliged to perform these incredibly painful songs again and again, even if the circumstances of his life have changed a lot. With this in mind, it’s easy to understand why he walked away from Nine Inch Nails around the time he started his family, or why he’d need to make an album like Hesitation Marks — which deliberately stares down this dark past — before coming back to it.

Hesitation Marks comes full circle with Reznor’s past in other ways. The album art is by Russell Mills, the artist who created all of the paintings made for The Downward Spiral and its related singles and VHS releases. The sound of the record, particularly tracks like “Copy of a” and “Satellite,” call back to the synth tones and programming of Reznor’s debut, Pretty Hate Machine. But as much as he nods to his past, the music is not a rehash of the old hits, and mostly avoids a lot of classic NIN moves. He substitutes aggression for tension, and evades cathartic song structures in favor of lingering on a vague sense of dread. Some of the songs, most notably “Disappointed,” sound a bit like what Thom Yorke has been up to with Radiohead and Atoms for Peace in recent years — clattering beats, droning melodies, and cold electronic tones evoking a sort of existential discomfort and everlasting anxiety. The sentiment of the lyrics bleed through every aspect of the music, and the result is essentially an inverted version of a Nine Inch Nails album: Whereas Reznor once raged against betrayers and oppressors in the outside world, Hesitation Marks is the sound of him stuck inside his own mind, and lashing out entirely against himself.

Read more: http://buzzfeed.com/perpetua/trent-reznor-vs-trent-reznor

Bleachers’ Jack Antonoff Refuses To Be Apologetic About His Music

Carter McElroy

Jack Antonoff is famous now for his work as the guitarist of the platinum-selling, Grammy-winning band fun. and his high-profile relationship with Girls creator Lena Dunham, but he’s been working on the margins of the record industry since he was a teenager as the frontman of the New Jersey band Steel Train. He’s about to step back into the spotlight this year as the frontman of Bleachers, a new band that takes the big emotions and classic songwriting style of fun. into a more electronic direction.

Bleachers’ first single, “I Wanna Get Better,” is out now, and their debut album is set to come out sometime later this spring. BuzzFeed caught up with Antonoff to chat about the origin of this new project, his collaboration with synth-pop pioneer Vince Clarke, his suburban roots, and why he works hard to avoid the restrained, uptight sound of contemporary indie rock.

The common thread between Bleachers and fun. is that you’re really going all the way, and it’s very bombastic and not holding much back. Why do you think other bands back away from that?

I think a lot of people now are inherently apologetic because of the things we grew up with in the ’90s, and we saw rock music go from the most beautiful, amazing, culture-changing thing to, like, rap metal. The world of indie and rock music became very apologetic, and no one’s trying to be too good and they’re always trying to hold it back either with the songs or the production. No one wants to be quote-unquote “obvious.” But, like, everyone references Paul Simon, and Fleetwood Mac has become a huge indie reference nowadays, but that’s all bullshit because the most important part of that reference is not the dry snare drum, it’s the unbelievably classic songs and production.

After rap metal in the late ’90s, there was this split of mainstream and indie and rock, like they couldn’t coexist. But I grew up when The Smashing Pumpkins and Pearl Jam and Nirvana were all mainstream, but they were also really good. I’d much rather be a part of mainstream culture than be a part of my own culture and have it be not…all the way.

I grew up never really being embraced by any scene; I was never in a hip band growing up, though I was touring and touring, and I was always just on the outside. That’s how all the guys in fun. were. I’m not tied to anything, I’m just trying to make the best shit, and I don’t have to worry about some community of people saying, “You used to be so restrained and cool.” But what I think is cool is next-level stuff, not easy listening. God, just shoot me the day I start making music you can just put on in the car and have a conversation over it. That’s not what I want to listen to. I want to listen to the stuff that makes me want to cry or have some kind of huge emotion.

Do you think that’s part of why fun. really connected with people, that lack of apologizing for being big and emotional?

I think that whole unapologetic energy — everyone claims to have it, but I think it was the combination of having that and also backing it up with the music and production and songs. I care so much about the audience, I care so much about the work. We weren’t going to be like, “We’re different and unapologetic,” and then release whatever shit. I think that’s what happens with a lot of music. The fun. record and this Bleachers record, we worked on them and worked on them.

There’s a very suburban vibe in your Bleachers music. How did coming from the suburbs influence your music?

The suburbs are so important. I grew up right outside New York City in New Jersey, and there’s something very real about that, this feeling of looking in the window of this party but you’re not invited. That’s how I grew up, both in the way I was treated and how it was geographically. You’re not in the center of it, you have to make your own fun, you have to try to be better. I went to high school in New York City for the last two years, and all the kids in my school grew up in New York and they didn’t give a shit because they’d seen all the bands, done all the drugs, seen all the films, and done everything by the time they were 12 and we so over it. By the time I got there, my mind was blown by the city and I desperately wanted to live up to it and be interesting. I felt like this outcast in Jersey, and it’s this feeling that’s never gone away. I feel connected to that, and connected to the suburbs, and this connection to people who grew up in that environment. It’s good for epic, inspirational music.

Ethan Miller / Getty Images for Clear Channel

Before you were in fun., you were the frontman of the band Steel Train for many years. Why did you decide to start Bleachers rather than return to Steel Train?

I like the idea of a new beginning, and with a band, everything is in the context of what the band has done and past records, etc. I was making this whole new body of work and didn’t want to carry any baggage from the past. The easy answer to your question is that it just felt like a different thing and connecting it to something else would’ve felt unnecessary or unfair.

What was the starting point for this new music?

It’s hard to pinpoint that because it was always evolving and changing. Really, this was just me working in hotels, studios, whatever, and it all happened slowly from when I was just working to work, and then it turning into real songs. I was in the studio with producers, and then back in hotels, and then putting together a live band. I look back on this stuff and I don’t know how it all happened, which might be a sorta obnoxious and stupid answer, but I don’t think too far into the future. There was no master plan, just me working on music when I felt compelled to, and now there’s this album.

How did Vince Clarke from Erasure get involved with this?

Someone I work with gave me Vince’s email two years ago, but I was too scared to email him. I don’t even know what the email would’ve been about, just “heeeyyy, I’m your biggest fan!” There’s nothing to say. John Hill and I were working on the Bleachers album and were pretty far into it, and we were using Vince as a huge reference point. Like, modern pop music should just write Vince a check for like a billion dollars for ripping him off all day long. Every synth sound, all the low end, that’s all stuff Vince created with Yaz, Depeche Mode, and Erasure. It all sounded so much better when he did it. There were those references we wanted to touch on, and I thought, I’ve never met or talked to Vince, but I have his email and maybe I should reach out to him to work on it, and he said yes. It’s very rare to work with the people who inspire you to make music in the first place.

How do you balance out the desire to draw on the past with wanting to make something that feels fresh and current?

It’s all in the songwriting. To me, songwriting should always be classic. Great songs are great songs, and there’s no difference between the greatest Kanye songs and the greatest Beatles songs, whoever. But the production, the way you present it, that’s where you can push things forward. It was very literal when I was working in the studio, like the song would have an ’80s John Hughes movie feel, but we didn’t want it to seem nostalgic and retro so I’d program the beat on it, or throw in some weird samples, or put sounds through filters that didn’t exist then. It comes out sounding like nothing you’ve ever heard. We made a concentrated effort to push things so nothing else sounded like it.

Read more: http://buzzfeed.com/perpetua/bleachers-jack-antonoff-interview

27 Canadian Albums Everyone Should Know

1. Arcade Fire, Funeral (2004)

Win and Will Butler may have grown up in the United States, but their band is proudly Canadian, and their debut went a long way toward proving to the rest of the world that Montreal had become a major city for music.

2. Joni Mitchell, Blue (1971)

Joni Mitchell is one of the best singer-songwriters and folk guitarists of all time and has recorded several classic albums, but her 1971 breakthrough Blue is her most raw and emotional work.

3. The New Pornographers, Twin Cinema (2005)

The New Pornographers are the greatest power pop band of the 2000s, Canadian or otherwise, and this is their magnum opus. The album just overflows with hooks, from upbeat rockers like “Sing Me Spanish Techno” and “Jackie Dressed In Cobras” to the glorious ballads like “These Are the Fables” and “The Bleeding Heart Show.”

4. Sarah McLachlan, Fumbling Towards Ecstasy (1993)

Long before she became better known for launching the Lilith Fair and in being in those incredibly depressing ads about helping abused animals, Sarah McLachlan was one of the best singer-songwriters of the early ’90s. Fumbling Towards Ecstasy is a lot darker than her later work, and features some of her best songs, like “Hold On” and “Possession.”

5. Feist, Let It Die (2004)

Leslie Feist is blessed with one of the loveliest and most expressive voices of her generation. She’s best known for “1234” and The Reminder, but her most powerful record is Let It Die, which includes some of her most intimate and emotionally intense music.

6. Neil Young and Crazy Horse, Rust Never Sleeps (1979)

Neil Young has written at least a dozen classic records, but Rust Never Sleeps is the one that best captures his signature style – a distinctive blend of incredibly loud guitars and plaintive, vulnerable vocals.

7. Destroyer, Destroyer’s Rubies (2006)

Dan Bejar of Destroyer is like Vancouver’s answer to Bob Dylan – a poetic trickster with a funny voice and a talent for penning songs that are as puzzling as they are profound. Most every Destroyer record is a gem, but the ragged and sprawling Rubies is the best place to start.

8. Drake, Take Care (2011)

It wasn’t so long ago that the idea of a major hip-hop star from Canada seemed impossible, but ex-Degrassi star Drake managed to pull it off. Drake didn’t just break into rap – he and his production partner Noah “40” Shebib established a moody, sensitive style that has become central to contemporary hip-hop.

9. Leonard Cohen, Songs of Leonard Cohen (1967)

Leonard Cohen is second only to Bob Dylan in setting the foundation for most male singer-songwriter music we know today. His debut, like the rest of his catalog, had a dour, melancholy sound, but if you listen to his words, you’ll notice that it’s also wise, witty, and sexy.

10. Broken Social Scene, You Forgot It In People (2002)

Sometimes it seems like half the musicians in Canada have at some point been a member of the Broken Social Scene collective. You Forgot It In People is the band’s breakthrough, and was crucial in building the country’s reputation as a major force in indie music in the early 2000s.

11. Tegan & Sara, The Con (2007)

Identical twin singer-songwriters Tegan & Sara have built a remarkable body of work, but The Con is the record where they perfected their style – direct, ultra-emotional lyrics with simple, insanely catchy hooks.

12. Godspeed You! Black Emperor, F♯ A♯ ∞ (1997)

Godspeed You! Black Emperor’s breakthrough album set the tone for the rest of their body of work – gorgeous instrumental rock that’s like a film score for the bleakest, most epic movie you’ve never seen.

13. Rush, 2112 (1976)

Rush are the almighty gods of prog rock, and 2112 is the record that established them as one of the most inventive and technically impressive rock bands of the ’70s.

14. Sloan, Twice Removed (1994)

Sloan is a rarity – a rock band in which each member is a hugely talented singer and songwriter. They’re beloved in Canada, but somewhat obscure everywhere else, which is a shame, since they’ve recorded several great albums. Twice Removed, their second record, is where they first hit their stride as a band.

15. Grimes, Visions (2012)

Claire Boucher, the electronic musician known as Grimes, is one of the most promising new artists from Canada. Visions, her second album, is one of those rare, special records that is as catchy as it is weird and formally inventive.

16. Alanis Morrissette, Jagged Little Pill (1995)

Alanis Morrissette’s first proper album is one of the biggest blockbusters of the ’90s, which is really saying something given how many massively popular records came out in that decade. It still holds up today; if anything, cuts like “You Oughta Know” and “All I Really Want” sound more aggressive and dramatic now than they did back in the day.

17. Peaches, The Teaches of Peaches (2000)

Peaches’ debut is gloriously trashy and sexually explicit, with the singer gleefully burning through punky dance numbers like “Fuck the Pain Away” and “AA XXX.” She basically defined the brief “electroclash” moment of the early ’00s, and opened the door for an entire decade of raunchy dance music. (Ke$ha should sent her a thank you note every week.)

18. Shania Twain, Come On Over (1997)

Shania Twain is Canada’s greatest country music star, and her staggeringly popular album Come On Over essentially set the template for most country pop you hear today, from Taylor Swift on through The Band Perry.

19. Metric, Live It Out (2005)

Emily Haines and her band Metric have cornered the market on tight, anthemic, socially conscious dance pop. Live It Out, their second record, is packed with songs that approach big ideas without losing touch with raw, human emotion.

20. K.D. Lang, Ingénue (1992)

K.D. Lang is not an obvious pop star – her music is hard to classify, but generally falls somewhere between country and cabaret – but Ingénue and its smash hit “Constant Craving” was powerful enough for her to break into the mainstream anyway.

21. Chromeo, Fancy Footwork (2007)

The dance duo Chromeo is like Canada’s answer to Daft Punk – funky, groovy, joyful club music, but with warm, human voices instead of cold, robotic kitsch.

22. Japandroids, Celebration Rock (2012)

Japandroids’ second album is loud, catchy, and inspirational – it’s only eight songs long, but each track is an ecstatic, fist-pumping anthem built for drunken sing alongs.

23. Avril Lavigne, Let Go (2002)

Go ahead and scoff, but Lavigne’s debut is highly influential, and a crucial record in the world of early ’00s mall rock. Also, you just can’t deny the greatness of a pop song like “Complicated.”

24. Rufus Wainwright, Want One (2003)

Rufus Wainwright belongs to a family of great Canadian musicians, but his success as a songwriter has nothing to do with nepotism. Want One, the first half of a two-part record, is where he best balances his refined, theatrical style with the sound of modern pop music.

25. Buffy Sainte-Marie, Little Wheel Spin and Spin (1966)

Buffy Sainte-Marie was a key artist in Canada’s folk scene in the ’60s, and though she never achieved the massive popularity of either Neil Young or Joni Mitchell, she has a very impressive body of work. Little Wheel Spin and Spin is one of her best and most commercially successful records.

26. Sum 41, All Killer No Filler

Again, you can go ahead and mock Sum 41, but All Killer No Filler stands as one of the defining albums of the pop-punk genre.

27. Owen Pallett, Heartland (2010)

Owen Pallett’s first album under his own name is a masterpiece of refined, conceptual pop. Musically, its orchestration is both minimal and bombastic, and lyrically, it’s a strange, highly meta story about a futuristic farmer who slowly realizes he’s at the center of a concept album by a musician named Owen Pallett.

Read more: http://buzzfeed.com/perpetua/canadian-albums-everyone-should-know

11 Hellbeast Hybrids Made By Animals And Album Sleeves

1. This cat/hellhound comes courtesy of Iron and Wine and a ginger boy.

Imagine waking up to this cuddling you and licking you awake while it stares at you lovingly with its horrible yellow eyes. Shudder.

2. And this sensual Phil Collins dog is just dark.

Look at it. It knows you hate it and it doesn’t care and it is going to follow you wherever you go for the rest of your life. There is no running away from Collinsdog.

3. But actually? This friendly pigcat isn’t THAT bad.

Not that that means I want to be its friend, but I bet someone might if they were lonely enough.

4. Same goes for this gross lil guy.

Aw, actually, I would almost pet this one… maybe.

5. Sadedog, however, is pretty much the stuff of nightmares.

WHY DOES SUCH A BEAUTIFUL HUMAN FACE HAVE THAT BODY?! AHHHH

6. And this one makes ME into a hybrid of hatred and fear.

If you don’t think it’s that bad, just think about what it would look like when it tried to walk around. AHH

7. help

please help me

8. Diana Ross should NEVER be a dog centaur!

Especially not one with an extra-long arm like that. Eek.

9. And this is just rude.

What are you implying is about to happen to that sweet baby deer? This photo is begging for some kind of intervention.

10. Try not to be unnerved by the sensual gaze of the Sheryl Crow spaniel.

The black and white is a nice (read: horrible) touch here. Unfocus your eyes a little bit for extra shuddering!

11. Finally, gaze on the puffy weirdness of Survivor cat.

This is so weirdly ambitious and misguided. That is not even a tiger at all! Not even close. I like this one.

Read more: http://buzzfeed.com/verymuchso/11-hellbeast-hybrids-made-by-animals-and-album-sleeves

What Is The Deal With Muse?

1. Are They The Dumb Version Of Radiohead?

2. Or The Fun Version Of Tool?

3. Are They 30 Seconds To Mars With More Cred?

4. Is This A Remix Of A Lost Jeff Buckley Song?

5. Are They The Straight Version Of Queen?

6. Or The British Version Of Rush?

7. Is This Just Franz Ferdinand Dressed Up In Leather?

8. Are They A Sequel To “The Matrix”?

Read more: http://buzzfeed.com/perpetua/what-is-the-deal-with-muse