That’s the face of the killer in him (well, at least half of it).
This is great! If all the collaborations are on this level it will be another unmissable Lopatin release,
Wait a second. Oh, I see, you’re trying to say that this is not Fight Bite because this really is Natasha Khan! Right!?
This is great! Love the decadently dark eroticism of his music. Every time any of his Black City tracks played in a party one could feel things heating up (or maybe it was just me, or pure coincidence, I don’t know).
I agree with you so much on this. Since I started reading music related blogs and “criticism” of popular music i’ve been baffled at the level of indifference critics show:
a) towards music theory and the possibility of -kind of- objective elements to ground their judgments (which are -to the dismay of many- utterly subjective, hence the logical impossibility of “grading” records).
b) towards a real questioning of what criticism mean (or may mean) in the context of popular music. Certainly you wouldn’t want to judge it based on its complexity because, let’s be honest, what passes for avant-garde in popular music would make composers from 100 years ago laugh. What makes good popular music is a great question that a lot of people seems to take for granted.
, not everyone is as imaginative and cultured as to make a beautiful interpretation of the elements contained -and surrounding- a cultural document, so even if you can look at the album cover, read the lyrics and find the ethnicity of an artist in Wikipedia, that doesn’t mean that you will automatically come up with a strong interpretation (maybe you, commentateur extraordinaire djfreshié, can, but a lot of other people can’t or won’t). So, I don’t agree with you on that.
Please note that I absolutely dislike this “deconstruction” and, like the other ones, I think it forces the inclusion of typical cultural criticism concepts in contexts that didn’t require it. The Grimes article and the reference to gender theory (which, in my opinion, is by itself kind of bland and naive, but that’s another story) was based on the factor that Grimes is a woman and tried to justify its inclusion by mentioning some *very* contingent factors to build its case. It’s like if I watched a Skrillex interview and then, since Skrillex speaks, I were to use Wittgenstein and Lacan (#whythefucknot) to interpret the jouissance in his discourse and the language games he is playing [?].
In the 90s, there was such a trend of ultra-theoretical, banal essays coming out of american universities that a “post-modern essay generator” was created in 1996 by a linguist at Monash University. Post-modern essays fresh from the oven. It is a true beauty! Check it out at: http://www.elsewhere.org/pomo/
Obviously there are still great cultural criticism essays being written but -as it happens with actually worthwhile contemporary art- its reputation gets diluted with all the happily hyped shit that’s floating around.
Good for her, although I’m sorry for the backlash it will create in her “good-thinking” audience. She was smart enough to not pick a side, however, almost anything that could be interpreted to be an attack to Israel is easily labeled as anti-semitism. Yeah, eff religion and all that, but this is really -and it always has been- a political problem.
The things you can accomplish with a prudent and precise Rhodes arrangement and an adequate voice… great.
Well, at least he liked it. Is he usually that supportive of the guest artists?
Also, ouch @ 4:05.
How I enjoyed that first EP. This guy and Holy Other are awesome. Hell, anything Tri Angle puts out is solid gold.
In all fairness, she also got Dennis Hopper with that [and he is dead!]