The thing is, Meredith Graves has spoken to not wanting her vocals to be loud and clear, as to overtake the track. She wants them to meld with the rest of the track. Those buried vocals are what allow the sudden burst of clarity at the song’s center with the line “since when do we say yes to love?” that much powerful. I think part of what makes Perfect Pussy so great is the capacity to detect the emotions contained within the songs, in spite of & thanks to the chaos that swarms around them. Plus, tell me how it is not awesome when the song explodes during the second half and the vocals are crashing into each other.
I thought for sure Perfect Pussy’s “Driver” would make this list. I wasn’t the only one in thinking it was amazing, was I?
There is nothing I nitpick in this article besides Breihan saying “The Suburbs” was better than “Funeral”. That just in no way could be true.
First person to say “This album is perfect/this album sucks” before the hour has passed gets a bonk on the head.
This is perfect in every possible way.
I would definitely say to give “Hello Sadness” another listen. I know what you mean by it being different, but speaking with the bias of a super fan, I would say it really grows on you, especially the likes of “Life is a Long Time” & “To Tundra” (see also the very excellent non-album “Tiptoe through the True Bits”). However, after hearing this & “What Death Leaves Behind”, I am beyond excited for this album. I feel like it’s going to have the spark that was in “Hold on Now, Youngster…” while balancing it with their new sound. I mean, this stuff is just spectacular.
I will never be able to listen to “Like a Friend” without thinking of the Venture Bros., and I am completely ok with that.
I know they got a honorable mention by Michael, but I can’t be the only one who thought Iceage’s “You’re Nothing” was one of the greatest albums of the year, right?
The thing is these people haven’t done anything to make up for what they’ve done, no desire to repay in a social form for the harm they’ve inflicted, not even a proper apology for their crime. They hurt people, in real, tangible, scaring ways, and simply because they make something we enjoy, it should be OK to support them and what they make? I’m sorry, but I have to disagree. Simple making something enjoyable or interesting or great should not excuse actions, and we should hold people like Chris Brown or John Paul Pitts to the same standard that we do anyone else who commit these actions. Maybe once they begin to repair what they’ve done, to remove themselves from their actions, we can go back to appreciating what they’re making. But to throw up your hands and say something along the lines of “These things happen, and we should allow for the split between art and artist to allow for it”, to me, seems wrong and akin to avoiding the issue.
For those who don’t know, Shawn Reed runs the awesome tape/vinyl label Night People, and toured the country as part of Raccoo-oo-oon, so he is a very viable source on understanding the dynamics of the indie underground, and the networks that keep it together.
See, as wonderful of a moment that “Slanted and Enchanted” captured, it really is the music that makes it so special. There is a reason that they are able to post the first half of the album on here, and it not seem unnecessary. While there is a sense captured listening to a song like “In the Mouth of the Desert or “Perfume-V” along of the lines of ‘Wow, I can’t believe no one ever did this before’, it’s second to the thought of “Holy fuck, these songs are incredible!”
As unlikely as it is, I want believe Pulp played “Like a Friend” because The Venture Bros. used it in their season finale.
But isn’t that sort of the point? I mean I love the album, and I get a very somber/serious vibe to all the songs. So shouldn’t the videos match as a visual representation to said vibe or sound?
Well, he actually did ask the crowd to call out requests. I don’t think they were trying to be bossy.
Anyone else getting Bjork vibe, at least in the vocal delivery?