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christianinnyc
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Since you make a big deal about Murphy’s pronunciation of Ibiza, here’s a correction: he’s pronouncing NOT in a “Catalan” style. Maybe you meant “castellano”, which is what Spaniards frequently call “Spanish”. The “American” pronunciation you’re talking about is actually how “z” and “c + [vowel]” are pronounced in the south of Spain, in Andalucia. That pronunciation is prevalent here and throughout Central/South America because the vast majority of conquistadores were “southerners” from the south of Spain, so they brought their accent here. Catalan is not a dialect of Spanish but a separate language, kind of a cross between Pronvencal French and Spanish. That whole lisping z-thing is not a Catalan pronunciation.
It’s not that I’m from Spain. But, as Murphy would say, I was there. . . Also, you’re just wrong and it’s fun to point that out like some 12-year-old know it all. So I felt, since you’re writing about a know-it-all song, that a know-it-all reply was in order. So. . . now you know.
Vomit.
Wishing that “Kerosene” by Big Black would be on this would be hoping for too much.
Glad to see the pretentious Freshmen Lit style is kept alive and well here — though the gibberish is less than last week.
Seriously, Julianne, you’re way overwriting. When you write stuff like “concept of self-obscurance as a tactic of self-preservation and of power”, what I think you’re trying to say — and say in a way that beats me with a hammer marked “I’m Really Smart” — is something about “hiding” and “mystery”. See? Two words. Two short words.
All this blah-blah-blah-concept crap you’re shoveling doesn’t really impress.
Here’s the deal: SVIIB were way more Cocteau-Twins-esquely mystical and ethereal with their first album, when there were two sisters in the band, and the songs (I strongly feel) were more interesting because of the harmonies. They grown increasingly less CT-ish and more like bands from the 1990s that essentially built upon/stole from CT.
The better analogy (certainly for this new album) that you touch is Curve — not Cocteau Twins (who, like Bjork, were sui generis [look it up] and totally unlike anyone else), not Lush, not the Sundays. Toni Halliday and Dean Garcia were doing in 1991-1992 essentially what SVIIB is doing today, only both slicker and noisier. For Exhibit A, I submit Curve’s “Horror Head” as essentially Liz Frazier with a dance sensibility. Curve was a band that was neither fish nor fowl — too slick to be a guitar band, too guitarsy to be truly electronic.
I realize your column doesn’t have to be necessarily “about” anything or make a point. It can be just a series of high-flown, academese-sounding statements which toss around nonsensical phrases like ” the concept of distortion and plush effects as an emotional stand-in remains”. It can be essentially an embarrassing PR release-sounding thing, fine.
But your column could be — and can be — about something interesting. It could have more of a point. And it could do all this without needing to try to impress with me with your AP English/SAT score.
This is a long post because you seem to want to be taken seriously with all your serious-y College Essay language and high-falutin terms. So you want the seriously? Learn to edit your work better, have a point, quit with the “concept” silliness. Or be a PR writer for Matador, fine.
Pretentious masturbatory gibberish. Dot gif.
I realize this is NME we’re talking about and so reality is not a factor to consider but. . .
NME, by virtue of showing that they care about who’s cool, and especially that they care to precisely order and number such preferences, shows they are manifestly uncool.
Do they not understand how being cool works? Like, did they not learn this in 10th grade?
People who are truly cool don’t think about this sort of thing, or care, or try [to be cool, to impress anyone, or anything else], or talk about it, or frankly give a flying leap what some professionally sychophantic magazine full of 20-something would-be scribblers about music, scribblers who can’t play instruments well enough to be in their own bands, think.
And not like she gives a rip, nor should she, but Erica M. Anderson is cool both in person and on record.
SVIIB had a unique sound when Alpinism came out — and what made them more interesting than any other band was, primarily, the harmonies between sisters Alejandra and Claudia. For example, try to imagine “Half Asleep” with just Alley singing. . . it’s like half the song is missing. Or, at least the most interesting part. It’s what makes listening to “Disconnect from Desire” so disconcerting — it’s like there’s some vocal tracks missing, like a phantom limb.
So, while I am curious to see where SVIIB goes from “Disconnect…”, I wish SVIIB would just change their name. I’ve heard them live with Claudia and without and they’re not the same bands.
SVIIB had a unique sound when Alpinism came out — and what made them more interesting than any other band was, primarily, the harmonies between sisters Alejandra and Claudia. For example, try to imagine “Half Asleep” with just Alley singing. . . it’s like half the song is missing. Or, at least the most interesting part. It’s what makes listening to “Disconnect from Desire” so disconcerting — it’s like there’s some vocal tracks missing, like a phantom limb.
So, while I am curious to see where SVIIB goes from “Disconnect…”, I wish SVIIB would just change their name. I’ve heard them live with Claudia and without and they’re not the same bands.
Sorry, Misters Beastie Boys. That should have been, “I can’t STAND it, etc.”
Now back to the trainwreck.
Haven’t I seen this before? Oh, I remember:
AAHHHHHHHHHHH I can’t it
I know you planned it
I’m set it straight
This Axel-Gate
[blah blah blah blah blah ]
SABOTAGE!
“You Just Haven’t Earned it Yet, Baby. . . You must suffer and cry for a longer time. . . ”
Now THAT would be a true Smiths Christmas, not this sentimental child-greed shite of an ad.
Lame Wave
Yeah, with genes she got from both her not-exactly-mentally-stable parents, she should probably just pre-emptively start going to therapy and AA meetings right now. Get it over with.
Ah, got it. That whole link thing.
I wasn’t willing to actually go to SPIN’s website and give them ad revenue just to determine that they are slightly less lame than I initially gave them credit for.
Complaining about Rolling Stone is essentially the same as yelling at your grandmother who has Alzheimer’s.
There are many, many good reasons Interpol is nowhere near this list. Including the bonus track, there are 11 reasons in all on that album.
because surfer blood sucks live and is slightly better recorded?
There’s room here for a lot of “WTF”-ing. . . but here’s just one. They include MIA’s sad little abortion of an album on here but not the far, far better album that she sampled from (and poorly, at that), “Treats” by Sleigh Bells, who arguably actually did something innovative this year? Lame, SPIN, lame.
On the plus side, it’s good to see Janelle Monae get some representation on a year-end list.
Obviously now we need the xx to cover Hot Chip and the circle of lame will be complete.
The best thing about Surfer Blood was their Unknown Pleasures t-shirt knockoff — before Disney did it, anyway:
But their live show sucked, their albums are shruggable and their lead singer is a jerk. I guess that’s a wrap!