{"id":1104,"date":"2013-12-23T15:46:27","date_gmt":"2013-12-23T20:46:27","guid":{"rendered":"http:\/\/pages.vassar.edu\/musicalurbanism\/?p=1104"},"modified":"2013-12-23T20:26:56","modified_gmt":"2013-12-24T01:26:56","slug":"favorite-music-of-2013","status":"publish","type":"post","link":"https:\/\/pages.vassar.edu\/musicalurbanism\/2013\/12\/23\/favorite-music-of-2013\/","title":{"rendered":"favorite music of 2013"},"content":{"rendered":"<p><a id=\"juliaholter\" name=\"juliaholter\"><\/a><strong>Julia Holter, <i>Loud City Song<\/i><\/strong><\/p>\n<p>Holter&#8217;s 3rd record has to be the Musical Urbanism album of the year \u2014 the title is almost an alternate title for this blog, right?\u00a0 In the four months since it came out, I&#8217;ve been puzzled and intrigued by how an album this composed, in both senses of the word, conveys its recurring theme of frantic urban soundscapes.\u00a0 While I try to figure that out, the music stands out here.\u00a0 Recorded with a studio ensemble (please don&#8217;t call it &#8220;chamber pop&#8221;), she&#8217;s an enchanting performer, and <i>Loud City Song<\/i> dazzles with her trademark spaces of rhythmless passages, random noise, and other John Cage tricks.<\/p>\n<p style=\"text-align: center\"><iframe loading=\"lazy\" title=\"Julia Holter - Maxim&#039;s I (Official Audio)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/7paoM2cghjI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><a id=\"parquetcourts\" name=\"parquetcourts\"><\/a><strong>Parquet Courts, <i>Light Up Gold<\/i><\/strong><\/p>\n<p>This Texas-via-Brooklyn quartet mixed the sounds of trebly 70s punk (Buzzcocks, Voidoids, Wire&#8217;s <i>Pink Flag<\/i>) and lo-fi 90s indie-rock (Pavement, Grifters, the Ponys) into a winning concoction, if a style of music that&#8217;s no longer &#8216;new&#8217; by any stretch of the imagination.\u00a0 More distinctive is their lyrical perspective: the brainy, disillusioned voice of the Williamsburg hipster (&#8220;SOCRATES DIED IN THE FUCKING GUTTER!&#8221;).\u00a0 If a music career doesn&#8217;t pan out for them, I predict at least one of them will wind up a high school teacher somewhere in north Texas, hiding their tats underneath long-sleeve cuffs.<\/p>\n<p style=\"text-align: center\"><iframe loading=\"lazy\" title=\"Parquet Courts: &quot;Master Of My Craft&quot; \/ &quot;Borrowed Time&quot;, Live On Soundcheck\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/DUPj56eeFsU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><a id=\"cokeweed\" name=\"cokeweed\"><\/a><strong>Coke Weed, <i>Back To Soft<\/i><\/strong><\/p>\n<p>Did someone call this &#8220;psych rock&#8221;?\u00a0 I call bullshit: this quintet from Bar Harbor, Maine, is groping their way toward the kind of straight-ahead rock I associate with mid-80s L.A., when the country-rock tide pulled out to leave behind grizzled bar bands exploring the spectrum between the Stones and the Stooges.\u00a0 Singer Nina D. is great, and when songwriter Milan McAlevey adds his voice the results suggest a &#8216;luded John Doe &amp; Exene Cervenka.<\/p>\n<p style=\"text-align: center\"><iframe loading=\"lazy\" title=\"Coke Weed - Anklet - Official Music Video\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/4KzLtbUP4ig?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><a id=\"kurtvile\" name=\"kurtvile\"><\/a><strong>Kurt Vile, <i>Wakin On A Pretty Daze<\/i><\/strong><\/p>\n<p>File under easy listening.\u00a0 Dude&#8217;s sad-stoner-leaving-town-a-little-bit-wiser vibe keeps getting better.\u00a0 Wheedle-deedle-deedle go the endless guitar solos, and we all grow a little less embarassed by them with each listen.\u00a0 Also, the Bruce Hornsby-sounding drum track on &#8220;Was All Talk&#8221; tickles me to no end.<\/p>\n<p style=\"text-align: center\"><a href=\"http:\/\/www.youtube.com\/watch?v=bSNF&#8211;bo818\">http:\/\/www.youtube.com\/watch?v=bSNF&#8211;bo818<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><a id=\"goldfrapp\" name=\"goldfrapp\"><\/a><strong>Goldfrapp, <i>Tales Of Us<\/i><\/strong><\/p>\n<p>Another album that&#8217;s incredibly easy on the ears, this time purposefully so.\u00a0 A Nick Drake album for the ProTools era: pastoral, meditative, &#8220;acoustic.&#8221;<\/p>\n<p style=\"text-align: center\"><iframe loading=\"lazy\" title=\"Goldfrapp - Drew (Official Video)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/wCzoTQqEoFg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><a id=\"murraylightburn\" name=\"murraylightburn\"><\/a><strong>Murray A. Lightburn, <i>Mass:Light<\/i><\/strong><\/p>\n<p>The Dears, Montreal&#8217;s tour guides to the dark night of the soul, are on hiatus, but frontman Murray Lightburn had a busy year, becoming a father again and releasing a solo album, <i>Mass:Light<\/i>.\u00a0 Alternately pompous and humble, ambitious and funny, this is a DIY electronic <i>Ziggy Stardust<\/i> for the 40-year-old dad set.\u00a0 &#8220;Peace out, punk bitches.&#8221;<\/p>\n<p style=\"text-align: center\"><iframe loading=\"lazy\" title=\"&quot;*************&quot; by Murray A. Lightburn\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/iMPYzMOzJwQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><a id=\"johnnymarr\" name=\"johnnymarr\"><\/a><strong>Johnny Marr, <i>The Messenger<\/i><\/strong><\/p>\n<p>The Smiths were in the pop-culture ether again in 2013 \u2014 yeeeah, they never really left \u2014 but who would have expected that 26 years after their break-up, the guitarist&#8217;s <i>debut<\/i> solo album would be this great?\u00a0 The big surprise is that Marr proves to be a decent singer and capable frontman.\u00a0 Still, <i>The Messenger<\/i> is all about his distinctive guitar playing, mixed front and center before a muscular alt-rock rhythm section.\u00a0 If you feel guilty flirting with 80s nostalgia, just remember that Johnny Marr <i>owns<\/i> that sound you keep clicking back to in your iTunes.<\/p>\n<p style=\"text-align: center\"><iframe loading=\"lazy\" title=\"Johnny Marr - New Town Velocity [Official Music Video]\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/SXEc9WZ1bkY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><a id=\"daftpunk\" name=\"daftpunk\"><\/a><strong>Daft Punk, <i>Random Access Memories<\/i><\/strong><\/p>\n<p>Not album of the year, but maybe something more valuable: a really eccentric album by studio geniuses with money to burn and some issues with EDM today.\u00a0 That the resolution of said issues resulted in a lot of tracks sounding like circa-80s Quincy Jones musicians just laying back and vibing was unexpected but not unwelcome.\u00a0 Plus, the sonics on this record were so amazing, even the worst track (linked below, minus the weakest-link vocalist) could leap off the crappiest speakers.<\/p>\n<p style=\"text-align: center\"><a href=\"http:\/\/www.youtube.com\/watch?v=vaygrI2qoy0\">http:\/\/www.youtube.com\/watch?v=vaygrI2qoy0<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><a id=\"savages\" name=\"savages\"><\/a><strong>Savages, <i>Silence Yourself<\/i><\/strong><\/p>\n<p>I hear more <i>Scream<\/i>-era Banshees than Joy Division, but whatever: the post-punk revival just keeps on giving.\u00a0 At least it did on this band&#8217;s debut \u2014 quite likely they&#8217;ll move past this sound on their next album. We&#8217;ll still have Jehnny Beth&#8217;s voice, though, an element I discounted for too long: thin, French-accented, a reedy vibrato more suited to Piaf or Fr\u00e9hel than Siouxsie or Ari Up, a non-rock instrument essential to Savages&#8217; unembellished rage.<\/p>\n<p style=\"text-align: center\"><iframe loading=\"lazy\" title=\"Savages - Husbands\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/rmJ_mcvRQsI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><a id=\"paramore\" name=\"paramore\"><\/a><strong>Paramore, <i>Paramore<\/i><\/strong><\/p>\n<p>I don&#8217;t know much about Paramore except that they&#8217;re usually labelled pop-punk (a genre I have almost no tolerance for), and that awhile back they wrote a decent ballad that possibly became more poignant when <a href=\"http:\/\/www.youtube.com\/watch?v=zdDRz4Z7MM0\" target=\"_blank\">Kidz Bop covered it<\/a>.\u00a0 However, what I do know is that this self-titled record scratches an itch for classic alt-rock that I didn&#8217;t know I had.\u00a0 Smashing Pumpkins, Blondie, the Cure, Yeah Yeah Yeahs, a bunch of wristband-wearing 90s bands: <i>Paramore<\/i> effortlessly blends such influences into a catchy album that runs the gamut from the R&amp;B swing of &#8220;Ain&#8217;t It Fun&#8221; to the post-metal coda of &#8220;Future.&#8221;<\/p>\n<p style=\"text-align: center\"><iframe loading=\"lazy\" title=\"Paramore: Now [OFFICIAL VIDEO]\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/G133kjKy91U?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><a id=\"haim\" name=\"haim\"><\/a><strong>Haim, <i>Days Are Gone<\/i><\/strong><\/p>\n<p>So these girls <a href=\"http:\/\/www.grantland.com\/story\/_\/id\/9750765\/haim-days-gone-indie-rock-death-rattle\" target=\"_blank\">killed off indie rock<\/a>?\u00a0 Is that, like, a real issue in 2013?\u00a0 Maybe I&#8217;m a little disappointed that I couldn&#8217;t get my kids into this album as much as I was, but the power of the singles from <i>Days Are Gone<\/i> was massive and undeniable.<\/p>\n<p style=\"text-align: center\"><iframe loading=\"lazy\" title=\"HAIM - Forever\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/sEwM6ERq0gc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><a id=\"suede\" name=\"suede\"><\/a><strong>Suede, <i>Bloodsports<\/i><\/strong><\/p>\n<p>Sure, I enjoyed David Bowie&#8217;s return on <i>The Next Day<\/i>, but maybe it wasn&#8217;t the return to form that everyone hoped it was. (One reason: Bowie&#8217;s 2002 <i>Heathen<\/i> was never anything to sneeze at).\u00a0 For me, the unexpected return of the year was <i>Bloodsports<\/i>, the first album in 10 years by Britpop legends Suede.\u00a0 Occasionally they betray what I might call the &#8220;Coldplay lean&#8221; \u2014 ringing guitars atop glossy keyboard swells and a lazy 4-on-the-floor beat (I heard snatches of this at a Simple Minds concert this year as well) \u2014 but the songs are as moving and exquisitely arranged as before, and Brett Anderson&#8217;s voice remains agelessly deft.<\/p>\n<p style=\"text-align: center\"><iframe loading=\"lazy\" title=\"Suede - Sometimes I Feel I&#039;ll Float Away (Audio Only)\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/VMiZjF4HIno?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><a id=\"annacalvi\" name=\"annacalvi\"><\/a><strong>Anna Calvi, <i>One Breath<\/i><\/strong><\/p>\n<p>Calvi didn&#8217;t make it easy on herself, as <i>One Breath<\/i> plays to few of the strengths of her 2011 debut (the scorching guitar, the rock anthems).\u00a0 Instead she delivered a more subdued, more obsessive album.\u00a0 The blunted distortion on &#8220;Piece By Piece&#8221; (which, unfortunately, is not a Slayer cover) reminds me of PJ Harvey&#8217;s <i>Is This Desire?<\/i> \u2014 a similarly diffuse, complex album that added nuance to the artist&#8217;s oeuvre.\u00a0 Still, no one creates those windswept Technicolor panoramas like Anna Calvi.<\/p>\n<p style=\"text-align: center\"><iframe loading=\"lazy\" title=\"Anna Calvi - Sing To Me (Official Video)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/_Y18RiqIFjA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><a id=\"qotsa\" name=\"qotsa\"><\/a><strong>Queens of the Stone Age, <i>&#8230;Like Clockwork<\/i><\/strong><\/p>\n<p>At first I was immune to QOTSA&#8217;s 6th album: there&#8217;s none of the evil glee from the best recordings, these songs never break past a midtempo trod, etc.\u00a0 Then my 4-year-old son kept slipping this onto the family CD player.\u00a0 (Such household randomness, BTW, underscores something we&#8217;re all losing with the on-going dematerialization of popular music.)\u00a0 My son has since moved on to <i>Songs of the Deaf<\/i> (don&#8217;t we all?), but not before I realized that <i>&#8230;Like Clockwork<\/i> is QOTSA&#8217;s goth album \u2014 probably their best album, certainly their deepest, in the last 10 years.<\/p>\n<p style=\"text-align: center\"><iframe loading=\"lazy\" title=\"Queens of the Stone Age ...Like Clockwork\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/f49yRhJ0NjI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><a id=\"pharmakon\" name=\"pharmakon\"><\/a><strong>Pharmakon, <i>Abandon<\/i><\/strong><\/p>\n<p>File under uneasy listening. I spend almost zero time listening to industrial\/power electronics music, but this performer was my favorite discovery at Basilica Soundscape this year.\u00a0 Four songs, under thirty minutes: turn this up for your next breakdown, or your next commute.<\/p>\n<p style=\"text-align: center\"><iframe loading=\"lazy\" title=\"Varmakon - &quot;Hair Like Feathers&quot; &amp; &quot;Crawling On Bruised Knees&quot;\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/WkgwPG1QhbY?start=246&feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><a id=\"howlinghex\" name=\"howlinghex\"><\/a><strong>The Howling Hex, &#8220;Primetime Clown&#8221;<\/strong><\/p>\n<p>Haven&#8217;t seen anyone include <i>The Best of the Howling Hex <\/i>(in fact not a best-of, but all-new material) on their end-of-the-year list, and I guess I understand why. Former Royal Trux frontman Neil Hagerty&#8217;s weird songs and oddly mixed recordings are rewarding but never the easiest things to digest under normal circumstances.\u00a0 Lay those over a rhythmic foundation consisting<i> entirely of Mexican norte\u00f1o rhythms<\/i>, and you&#8217;re gonna lose some folks.\u00a0 The lead single &#8220;Primetime Clown&#8221; showcased these elements in their best light, with monkey grinder melody set cheek to jowl alongside Hagerty&#8217;s distinctive guitar shred.<\/p>\n<p style=\"text-align: center\"><iframe loading=\"lazy\" title=\"The Howling Hex &quot;Primetime Clown&quot;\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/3XebJRjFJe4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>A final note:<\/p>\n<p>In 2013 I may have listened to as much music as ever, but I probably listened to fewer musicians. Mostly this is because I stopped listening to streaming music services and focused on deeper listening; thus, I bought most of the albums mentioned in this essay on vinyl.\u00a0 I think I was persuaded by many musicians&#8217; protests of the redistribution of wealth away from their livelihoods that streaming services have presided over.\u00a0 (Call it bourgeois oblig\u00e9: if a tenured full professor can&#8217;t fork over for the premium vinyl, who will?)\u00a0 But also I got tired of the aimless, anomic listening that streaming invites, just as the temptation of peer-to-peer filesharing does.\u00a0 (I think I may have dowloaded <i>nothing<\/i> illegally this year.)\u00a0 Also, I&#8217;m still an album-kind of listener; I still rate musicians (as opposed to pop-culture moments) based on the standard of the full-length album.<\/p>\n<p>If this isn&#8217;t how most people listen to music today, so be it.\u00a0 For this reason, and for critical modesty, I make no pretense that this is the &#8220;best&#8221; music of the year.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Julia Holter, Loud City Song Holter&#8217;s 3rd record has to be the Musical Urbanism album of the year \u2014 the title is almost an alternate title for this blog, right?\u00a0 In the four months since it came out, I&#8217;ve been puzzled and intrigued by how an album this composed, in both senses of the word, conveys its recurring theme of frantic urban soundscapes.\u00a0 While I try to figure that out, the music stands out here.\u00a0 Recorded with a studio ensemble (please don&#8217;t call it &#8220;chamber pop&#8221;), she&#8217;s an enchanting performer, and Loud City Song dazzles with her trademark spaces of rhythmless passages, random noise, and other John Cage tricks. &nbsp; Parquet Courts, Light Up Gold This Texas-via-Brooklyn quartet mixed the sounds of trebly 70s punk (Buzzcocks, Voidoids, Wire&#8217;s Pink Flag) and lo-fi 90s indie-rock (Pavement, Grifters, the Ponys) into a winning concoction, if a style of music that&#8217;s no longer &#8216;new&#8217; by any stretch of the imagination.\u00a0 More distinctive is their lyrical perspective: the brainy, disillusioned voice of the Williamsburg hipster (&#8220;SOCRATES DIED IN THE FUCKING GUTTER!&#8221;).\u00a0 If a music career doesn&#8217;t pan out for them, I predict at least one of them will wind up a high school teacher [&hellip;]<\/p>\n","protected":false},"author":308,"featured_media":1109,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[43659],"class_list":["post-1104","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","tag-music-criticism"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/musicalurbanism\/wp-json\/wp\/v2\/posts\/1104","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pages.vassar.edu\/musicalurbanism\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pages.vassar.edu\/musicalurbanism\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/musicalurbanism\/wp-json\/wp\/v2\/users\/308"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/musicalurbanism\/wp-json\/wp\/v2\/comments?post=1104"}],"version-history":[{"count":13,"href":"https:\/\/pages.vassar.edu\/musicalurbanism\/wp-json\/wp\/v2\/posts\/1104\/revisions"}],"predecessor-version":[{"id":1122,"href":"https:\/\/pages.vassar.edu\/musicalurbanism\/wp-json\/wp\/v2\/posts\/1104\/revisions\/1122"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/musicalurbanism\/wp-json\/wp\/v2\/media\/1109"}],"wp:attachment":[{"href":"https:\/\/pages.vassar.edu\/musicalurbanism\/wp-json\/wp\/v2\/media?parent=1104"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pages.vassar.edu\/musicalurbanism\/wp-json\/wp\/v2\/categories?post=1104"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pages.vassar.edu\/musicalurbanism\/wp-json\/wp\/v2\/tags?post=1104"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}