Chris

Comments from Chris

All I hear are distorted, clipped waveforms. You damn kids today with your music! It all sounds like noise!
+9 |
November 2, 2015 on Sleigh Bells Accuse Demi Lovato Of Ripping Off Two Songs
I bought the With The Lights Out box set years back, and there was a bunch of similarly unlistenable Kurt solo demos on there. Unfortunately, this is a guy who didn't put much effort into demoing material, leaving us a lot of listenable material to pour over years later. I'm hoping somewhere out there, there's some interesting Nirvana in studio out-takes that were actually well recorded and worth a listen.
0 |
October 6, 2015 on Kurt Cobain – “Sappy”
Could just be (a combination of all or any of the following): 1. The songwriting is solid (i.e. starting from a good base) 2. Some folks don't like hyper-produced modern pop music 3. Some folks, particularly on an "indie blog," are going to prefer the more stripped-down, rock style arrangements of these songs (particularly music that's somewhere between the Replacements, Springsteen and the Smiths) 4. Some folks might just like Ryan Adams in general 5. In some cases, the changes made to the arrangements and presentation of these songs might actually add to their emotional impact But if you think the only thing that makes Taylor Swift's music interesting in the first place is the production, then yeah, I can see why you wouldn't like an alternate presentation of the album which strips that away. I also didn't realize there were rules that only classic albums could be covered. In my day, people might cover a song, or do an album of various covers, but covering a whole album wasn't even a thing.
+1 |
September 21, 2015 on Stream Ryan Adams 1989
On first listen, this is great. Ryan Adams is one of those artists that I always want to like more than I actually do. Every time I listen to a Ryan Adams album, I'll enjoy a few songs, but end up leaving disappointed. This on the other hand is fantastic, the songwriting is fantastic, but beyond that, the arrangements fit the songs perfectly. I hear a huge Replacements influence, along with some Smiths and Springsteen. I can see this being one of my favorite albums of the year.
+3 |
September 21, 2015 on Stream Ryan Adams 1989
Sorry, the order is quite clearly Parkife > 13 > Great Escape > Modern Life > Blur > Magic Whip > Leisure.
-2 |
September 11, 2015 on The Great Escape Turns 20
One more reason I think so many of us think "Yoshimi" with this album is Dave Fridmann, who produced/mixed Yoshimi and mixed Currents. While Kevin Parker produces the Tame Impala albums, Dave Fridmann is a huge part of the actual sonics.
+1 |
July 13, 2015 on Stream Tame Impala Currents
I was in the (apparent) minority that felt that Innerspeaker was a better album than Lonerism. I always felt the latter was just too inconsistent, especially in relation to the amount of praise it received. Lonerism starts out weak, then hits a great stride in the middle of the album, with some of the band's best songs, then fizzles out in the end. Innerspeaker on the other hand doesn't quite have the highs of Lonerism, but is a much more enjoyable listen throughout. That said, Currents is awesome. Cause I'm a Man, Let it Happen, and Eventually had all been on heavy rotation here, and I was looking forward to finally hearing the whole album and this did not disappoint. I don't hear this as being quite the radical departure or quite the move into pop/R&B territory that this is made out to be. Just sounds like Kevin Parker is using his synths and drum machines more, and pushing them up in the mix. Synths have been a big part of Tame Impala since Innerspeaker, and were featured even more prominently on Lonerism, so this just seems like a natural progression to me. If anything, this is more Yoshimi than Kid A. This still very much sounds like Tame Impala, and it's very much a psychedelic record, but what's perhaps most surprising is how accessible the songwriting is. I get the impression that dropping the guitars really forced Kevin Parker to focus on really finding the right vocal melodies, which are totally complimented by the insane musical arrangements. Great album...
+6 |
July 13, 2015 on Stream Tame Impala Currents
If you can't trust Scott Weiland with your money then who can you trust?
+18 |
July 2, 2015 on Scott Weiland Is Really Pissing Off The Few Fans He Has Left
I'm pretty sure those are the aforementioned meatbeal sliders. Look good to me.
-2 |
June 29, 2015 on MSG Served Meat In Corporate Suites At Meat-Free Morrissey Show
She may go for the most obvious rhyme in her lyrics, but she's an incredibly gifted songwriter. I hold her melodies, progressions, and arrangements in high regard, and frankly, the lyrics fit well with the genre and content. I'd kill to have half of her songwriting abilities. So let ye amongst us who can consistently turn out better music cast the first stone.
+4 |
June 24, 2015 on Best Coast’s Bethany Cosentino Shares Note To Fans About Why She Seems So “Serious” Onstage These Days
Lift? Get to work on Big Boots (Man O War) you slackers!
0 |
June 19, 2015 on Jonny Greenwood Confirms Radiohead Are Recording A Version Of ’90s Rarity “Lift”
Sweet! Was just able to save a hundred bucks on a turntable upgrade I was holding off on making.
+3 |
June 18, 2015 on Insound’s Having A Gigantic Sale Before Shutting Down
Who are the "old people" in your post? Steve Albini is the younger of the two, but he's in his early 50's and only 9 years younger than Ribot.
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June 12, 2015 on Read Marc Ribot’s Angry Open Letter To Steve Albini
That's the point that seems shockingly obvious to me that artists like Taylor Swift and the Tidal camp come across as oblivious to. If Spotify says Taylor Switft was paid $2m for streams last year, and Swift's camp is saying they got a quarter of that, either someone is either misrepresenting the numbers (a quick audit can get to the bottom of that) or the labels and publishers are pocketing the difference. Taylor Swift can afford to pull a Radiohead and go indie for a much bigger chunk of the pie, but she's operating in a world where there are a lot of hands reaching into her pockets. I'd actually be a little surprised if she understood the economics of all her different revenue streams, and where the money goes. Not to say Spotify doesn't pay garbage, but my understanding is that major labels get sweetheart deals compared to indies, because that's what Spotify needs to do to survive in the short term. There's a promise of, "stick with us and things will improve" that the indie acts/labels hear, but I have very little sympathy for the majors when it comes to this stuff.
+1 |
June 12, 2015 on Read Marc Ribot’s Angry Open Letter To Steve Albini
I'm digging the production on everything I've heard so far. It has that unmistakable Dave Fridmann crunchy/distorted drum sound and the reverb drenched vocals we've come to expect, but some nice new sounds getting added to the mix along with cool stuff like unexpected stop/starts. This track, and I'm a Man have a really nice upfront sound where the bass, drums, and vocals are really up in the mix, then all of a sudden you'll get these wide accents. This will be a fun record to really sit down in a quiet room and really listen to. I think stoners in particular are going to appreciate this album perhaps even more than the prior Tame Impala albums because of these awesome production flourishes.
+2 |
May 8, 2015 on Tame Impala – “Eventually”
How long before someone edits the on screen text to mock Tidal?
+1 |
April 27, 2015 on Watch Daft Punk’s Tribute Video To Nile Rodgers
Sandinista definitely meets some of those criteria, but falls flat where it counts most: the songwriting. It has it's share of great songs, but the ratio of good songs to bad skews way to high to the latter on Sandinsta. London Calling got it right.
+3 |
April 10, 2015 on Wowee Zowee Turns 20
I love albums that are "like the White Album," and when I hear that phrase there are three records that come to mind: 1. The White Album (ok, it actually is "The White Album") 2. London Calling 3. Wowee Zowee What makes an album "like the White Album?" It's usually: 1. The die-hard fans favorite album 2. All over the place stylistically (Martha My Dear, Revolution 9, Glass Onion) 3. Has incredible songwriting throughout 4. Includes several WTF moments/songs 5. Runs over an hour in length Each of those three records feel like the works of bands subconsciously trying to balance their creative peaks with the malaise and pressure of their own success and ultimately just saying "screw it" and doing whatever they damn well pleased.
+4 |
April 10, 2015 on Wowee Zowee Turns 20
I'm still underwhelmed by everything I've heard thus far. The drum loop reminds of the "baggy" days, pre Modern Life is Rubbish. What they appear to be going for is interesting in terms of the sound/vibe, but the underlying songs aren't there. None of these tracks would hold up to classic Blur if performed with just solo piano or acoustic guitar. Considering as recently as a few years ago we got Under the Westway, and shortly before that Damon wrote Melancholy Hill, I feel like he may have been holding back better songs for other projects. The guy clearly still has it in him to write a great song, but from the various stop/starts, news, and interviews around recording this album, sounds like Damon just wasn't into it.
+1 |
March 23, 2015 on Blur – “Lonesome Street”
When they put out Under the Westway a few years back, I was completely excited by the prospects of a new Blur album. It's probably one of my favorite Blur songs (though that would be a very long list). Listening to the two songs released so far however leaves me completely underwhelmed. My hope is that these are more "album tracks" than proper singles, and that there's going to be some gems on this album that we are yet to hear. If this is the strong material, then this album will be horribly disappointing.
0 |
March 21, 2015 on Blur – “There Are Too Many of Us”