Chipotle

Comments from Chipotle

Agreed. I think pop culture suffers from a lack of good pop/rock bands that make good middle of the road guitar-driven music. Early Maroon 5 songs hold up in a way their later work certainly will not. You could say the same thing about Coldplay.
+1 |
February 14, 2017 on Maroon 5 – “Cold” (Feat. Future)
Yup. Stooges/Stones/Faces/Led Zeppelin/Velvet Underground influence would be welcome and would sound super fresh.
+12 |
February 10, 2017 on Dirty Projectors, Fleet Foxes Frontmen Discuss The “Both Bad And Boujee” State Of Indie Rock Today
Also call me crazy, but I think 2017 will be a really good year for (indie) rock music. 2016 was dominated by great superstar R&B/hip-hop albums, so I think the time is more than ripe for a shift.
+10 |
February 10, 2017 on Dirty Projectors, Fleet Foxes Frontmen Discuss The “Both Bad And Boujee” State Of Indie Rock Today
It's ok. The verses and message are nice, but it mostly feels like Max Martin by the numbers.
0 |
February 10, 2017 on Katy Perry – “Chained To The Rhythm”
Indie rock has been criticized as refined and effete for as long as I can remember, but I think a narrow focus on a certain strand of American indie rock masks how bands like Tame Impala and Unknown Mortal Orchestra really are pushing music forward while influencing artists across genre lines. I think 2016 was an unusually weak year for indie rock, but 2015 and 2013 had lots of great stuff. But yes, you can't keep mining 90s lo-fi indie rock/Pavement forever and expect it to sound fresh.
+9 |
February 10, 2017 on Dirty Projectors, Fleet Foxes Frontmen Discuss The “Both Bad And Boujee” State Of Indie Rock Today
The performative hate for the Chainsmokers is just grating at this point. We get it, they are "bros" who don't fit the mold of the intersectional pop star. Their music is no more offensive or inoffensive than anyone else that This Week In Pop covers. Time to move on.
-4 |
January 30, 2017 on Chainsmokers’ Debut Album Is Coming
Really cool Radiohead is giving the South some attention. Always nice to see when they make moves to take care of their fans like that.
+6 |
January 17, 2017 on Radiohead Announce 2017 US Tour Dates
I realize that, but I think electric guitars are bound to re-enter the mainstream in the next few years, either with their imitators or through another vehicle (maybe even the follow up LP).
+2 |
January 5, 2017 on The 2017 State Of Pop Address
Agreed about a resurgence of rock in some form. Weird to read so many "rock is dead" thinkpieces this year when soft rock has already made a comeback and Twenty One Pilots seem bound to inspire imitators. Electric guitar is just to embedded in pop culture to disappear.
+4 |
January 5, 2017 on The 2017 State Of Pop Address
Agreed. Mumford and Sons (whether you like them or hate them) is the biggest rock band to emerge this decade, not the modern equivalent of The Squirrel Nut Zippers.
+3 |
December 29, 2016 on The Year The Mainstream Discovered Tame Impala
Maybe I'm getting soft, but I'm softening up on a lot of that stuff. I listened to a John Mayer album (Continuum) the other day and thought it was okay. I blame Ryan for that too.
+8 |
December 29, 2016 on The Year The Mainstream Discovered Tame Impala
That's a great point, but it's hard to know how much of this is a lasting change and how much of it is current trends. Joanne took a stab at moving pop back towards "real" instrumentation but the songs weren't good enough to spearhead a change away from synthpop and trap. That said, it's hard to believe more prominently mixed guitars won't come back at least moderately. There were just so many awful brick-walled guitars in the 2000s that people (rightly) burned out on them. I think about the 1980s: synths and huge drum machines were all over most pop productions, but by the 90s, Nirvana marked the definitive beginning of a switch back towards more guitar-driven pop songs, which had been foreshadowed in Tracy Chapman's "Fast Car" and George Michael's "Faith," among other late 80s songs. I'm not saying EDM and especially hip hop are going anywhere, but I think a lot of the vocal sampling and other production techniques in vogue now will sound really dated in a few years. Listening to a 2011 dubstep-era pop hit is already brutal, whereas something like "Pumped Up Kicks" or "Somebody That I Used To Know, exceptions to the trend at the time, sound just fine. I'm not a massive fan myself, but Adele's massive sales are an indication the public hasn't forgotten how to respond to that sort of thing.
+10 |
December 29, 2016 on The Year The Mainstream Discovered Tame Impala
Ryan, thanks for writing about what I agree is a special band. Currents is a great one-album rebuttal to the tired "rock is dead" canard. I do have to disagree with a few points though. 1) It's just not true that there are no big rock bands in the mainstream anymore or even on pop radio. The majority of the Stereogum audience may be indifferent to hostile towards them, but X Ambassadors, Imagine Dragons, The Lumineers, Coldplay, Twenty One Pilots, The 1975, Panic at the Disco, Walk the Moon, and 5 Seconds of Summer all sell out stadiums or at least large amphitheaters. They aren't my idea of great artists, but they are commercially successful. 2) What makes Tame Impala exciting is not that they show a rock band can be popular, but that a *good* (read: cool and critically acclaimed, from the indie/alternative rock world) rock band can be popular. They also seem to reconcile the (also tired) rockism vs. poptimism debate. Kevin Parker can quote Cream and Can even as Rihanna covers him. 3) That said, the other trend this year a lot of critics have missed out on is that this is also a false dichotomy. The biggest pop albums of the year (Anti, Made in the AM, Starboy, Suicide Squad Soundtrack, especially Joanne and Blonde) are awash in "rockist" gestures, including featuring Mr. Rockism himself, Jack White, on Lemonade. Even Ariana Grande released a single driven by electric guitars. The critical establishment (not you, Ryan, you get this stuff) may have written off rock as a tired genre, but artists themselves (including the biggest pop stars) have not. 3) As much as I love Tame Impala, they aren't quite as big as they feel like they should be, and that may take one more album or huge collaboration. I think this stems from the red vs. blue state bubble (not to mention the class bubble) that has gotten a lot of attention lately. Spotify says Imagine Dragons are the 35th most streamed artist in the world right now,(whereas Tame Impala is only the 500th), but I don't know anyone who listens to them. Something to keep in mind. Cheers for great writing as always.
+11 |
December 29, 2016 on The Year The Mainstream Discovered Tame Impala
Somebody's been listening to Flume's "Never Be Like You" and the new Bon Iver. Pretty bland and not what I was hoping for after 1989.
+5 |
December 9, 2016 on ZAYN & Taylor Swift – “I Don’t Wanna Live Forever (Fifty Shades Darker)”
It makes sense I guess if you listen to the folk rock original version, which I imagine the Grammys liked. https://www.youtube.com/watch?v=41GZVVcxQps
+1 |
December 6, 2016 on Here Are The 2017 Grammys Nominations
The singles were pretty good, but yeah, that was definitely a post-ironic poptimist high tide.
0 |
December 6, 2016 on Here Are The 2017 Grammys Nominations
I hear a lot of Tame Impala and Cream/Jimi Hendrix style psych rock. I really dig it.
0 |
December 2, 2016 on Stream Childish Gambino Awaken, My Love!
Glad someone remembered King Gizzard. Poptimists aren't into psych rock these days, but damn it's well done on that album.
+15 |
December 1, 2016 on The 50 Best Albums Of 2016
It would be hard to persuade me that Blonde isn't the best album of the year — I've legitimately never heard anything like it, whereas Lemonade is a masterful fusion of different existing styles in a cohesive form. A Moon Shaped Pool also deserves to be in the top 5 — I think it's their best thing since Kid A some days. Also, they didn't get a ton of discussion and aren't the most critically "on trend" (read: not bedroom R&B, emo-revival, or big pop albums), but I thought the Twin Peaks, Future, Last Shadow Puppets, Miranda Lambert, Iggy Pop, and Diana albums were very underrated and worthy of inclusion on anyone's top 50. Also final thought: 2016 definitely had bigger blockbuster albums than any year in a while, but overall, I like 2015 in music a lot more.
+15 |
December 1, 2016 on The 50 Best Albums Of 2016
I don't blame The Weeknd for being afraid to risk the massive pop stardom he's won, but it doesn't necessarily make for good art.
0 |
November 28, 2016 on Premature Evaluation: The Weeknd Starboy
It sounds like a vaporwave Michael Jackson tribute with trap influences. Drive Soundtrack meets Leave Me Alone. None of those Talking Heads, Smiths, or Bad Brains influences he mentioned. Pretty solid but not mind-blowing, got that Views feeling all over again - 7/10.
+4 |
November 25, 2016 on Stream The Weeknd Starboy
I don't know what else they'd be, guitar pop I guess? They're a band of dudes who write their own songs and play guitar. The definition of rock is pretty broad these days (look at Tame Impala's last album) — I think they fit.
+1 |
November 18, 2016 on Vampire Weekend Reportedly Sign To Columbia For LP4
Nice to know major labels are still interested in (indie) rock bands.
+3 |
November 18, 2016 on Vampire Weekend Reportedly Sign To Columbia For LP4
His response on the "new school" is hilarious. I like Future and Thug a lot and think they're great artists — this new crew is mostly trash. First time I've not liked a stage of hip-hop's sonic evolution.
+6 |
October 12, 2016 on Lil Wayne Might Not Know Who Donald Trump Is
This write up reads like a parody of poptimism. Stereogum trying to have it both ways — snarking that obviously our tastes are better than the people who like Maroon 5 and then posting their tour dates. Cheering Taylor Swift for making a promo deal with AT&T and then mocking Maroon 5's Ellen promo show. This song is no better or worse than most of what's held up as good in "This Week in Pop," but it just goes to show that disliking pop made by white guys will remain an important signifier of "good taste" while embracing the latest Demi Lovato single.
+2 |
October 12, 2016 on Maroon 5 – “Don’t Wanna Know” (Feat. Kendrick Lamar)
The album will probably be just OK (top ten on Rolling Stone's albums of the year for sure), but it's sad to me that this will probably be the last one they ever make. Hard not to think of them in the context of classic rock stars who have died this year.
+1 |
October 6, 2016 on The Rolling Stones Announce New Album Blue & Lonesome; Hear “Just Your Fool”
I think you could say the same thing today. Why shouldn't Frank Ocean's Blonde be considered a rock album?
+2 |
September 29, 2016 on Could Rap Music Be Whitewashed The Way Rock ‘N’ Roll Was?
"The nature of conservatism, after all, is to avoid risk at all cost, and the polarized state of American politics should tell you that for every pop listener in search of the cutting edge, there’s another fan out there seeking comfortable old archetypes." I really do like a lot of Chris's writing but projecting a neat left-right spectrum onto music is one of the things that bothers me about music writing today. So much of criticism now seems to be just a vehicle to write about identity before anything else. The Pitchfork review of the Led Zeppelin reissues had do a solid paragraph of throat clearing about how they were #problematic before getting to anything else. I also like Beyoncé, but Drake does many times the sales with exponentially fewer think pieces.
-1 |
September 22, 2016 on Who’s Shawn Mendes? You’re About To Find Out, Whether You Like It Or Not
Yup. As long as the act's politics are OK, they're tolerated. If they represent an unstylish demographic (21 Pilots or Chainsmokers), they become passé. Hard to see how the Chainsmokers make music any worse than Selena Gomez.
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September 19, 2016 on Chainsmokers Singer Explains Why They Sounded Like Shit At The VMAs: “I Was Set Up To Fail”
Way too many guitars for radio right now.
+2 |
September 9, 2016 on Kings Of Leon – “Waste A Moment”