Is she ever going to write something interesting enough to justify her hype?
I understand why people root for her. She has managed at a very young age to become both a conspicuously non-image-processed pop star and an in-demand songwriter-for-hire, and she seems to have done so with a minimum of ego or pretension.
But then you hear the songs. And they’re just… so… generic!
It’s as if she’s beaten the 45-year-old ghostwriters at their cynical broad-appeal game, then squandered the opportunity to personalize the results in any way. When someone like Grimes seems to reinvent the sonic properties of “pop” every time she touches a recording device, the flatness of Charli’s emotional timbre and the dullness of her sound just seem even more stark.
Is there something I’m just not hearing here?
5 Point owner Dave Meinert really is a world-class dick who, as it happens, heavily inserted himself in the Seattle 15 Now debate with any number of specious assertions that every small business in this thriving city would go under if he weren’t allowed to short-change tipped employees.
So the real question is: What the hell was Morello doing try to eat at Meinert’s establishment in the first place? (Did I mention that it’s also a shithole?)
I’ll be the first to admit Our Love to Admire lacks the immediacy that gave the band its initial power, and that none of its songs reach the dizzying heights of “Length of Love”, but I still think it gets a bum rap.
“Pioneer to the Falls” is a great — and structurally interesting — opener. “Mammoth” is a certified rager. And “Mind Over Time” has is one of the band’s best applications of texture, and easily its best b-side since “Specialist” (without any of the latter’s stiltedness). And while the songs in between range in quality and impact, each of them has interesting moments and more varied use of guitar and drums than the prior albums, and none of them is a total disaster like the worst tracks on Antics.
That said, I found the Julian Plenti album infinitely more refreshing.
Remind me never to take you places.
Yeah, maybe to the beach?
(God, it’s just AWFUL!)
Can I really be the only one who thinks Antics is Interpol’s worst album?
“Next Exit” and “Not Even Jail” are tedium incarnate. “Evil” is so laughably clumsy that I hope never to hear it again as long as I live. “A Time to Be So Small” is basically unchanged from its demo version, released four years earlier by a band not yet fully formed.
Don’t get me wrong: “Narc”, “Slow Hands”, “Public Pervert”, and especially “Length of Love” are stunners, and the bass breakdowns in “Take You on a Cruise” justify Carlos D’s entire time in the band. But my god, are the bad songs ever bad!
No Interpol record since has operated at such contradictory extremes. And none has contained a song remotely as terrible as “Evil”.
You are correct. What is “I got my squeaky voices mixed up”?
It’s Trebek’s terrible botching of the cadence that creates a mental block and makes the question much harder than it should be.
One must block Trebek out completely, and read the words to oneself (imagining Mike D’s voice), at which point the answer just pops to the frontal lobe. But try doing that in front of cameras, and with Trebek staring dumbfounded at your failure to appreciate his ill flow.
Johnny Rotten would like to take this opportunity to remind you that he doesn’t give a fuck.
It’s a pretty darned well-made song, to be honest.