Elvis vs. Shark
I think it’s because he dissed Pitchfork in one of his songs: “But Pitchfork only likes rappers who crazy or hood, man”
I’m sorry it didn’t work out Pixies but look on the bright side I’m sure there are other bass-playing Kims in the sea.
Total Bader-Meinhof phenomenon happening for me here. I just heard about this whole thing last week and now I’m seeing it everywhere.
Sigh, I came here to say “Who wanna bet next week the countdowns will start?!?!!”
I’m guessing they will all more or less look like this in varying order:
Death Grips, Disclosure, Kanye West, Drake, Savages, Haim, Sky Ferreira, The National, Chance the Rapper, Daft Punk, Vampire Weekend, Darkside, Arcade Fire, Danny Brown, Chvrches, Janelle Monae, Earl Sweatshirt, Arctic Monkeys, Speedy Ortiz, Deafheaven, Boards of Canada, Run the Jewels, Charli XCX, Kurt Vile, Mikal Cronin, The Knife, My Bloody Valentine, Waxahatchee, Justin Timberlake, Rhye, Iceage, Foxygen, A$AP Rocky, Oneohtrix Point Never.
Mix and match and you’ll get the lists for Spin, NME, P4K, Rolling Stone, and of course the S-Gum.
I’m not trying to throw shade here! Though I’m not a fan of a lot of these acts, I appreciate that everyone has different musical taste. Just saying that these charts are mostly predictable and it would be nice to see a little variety.
One Love. Namaste. Use the Force.
It’s great, but a little long; the coda kind of takes away from the momentum. Ideally it would start fading out at 4:27.
Except the current musical climate is not kind to emotionally resonant music. Cults might be a little off with their statements but Pitchfork is not blameless. Have you heard the stuff they’ve been posting all year? It’s all the same smooth-electro junk that sounds like stock music for “Night Club Scene in Movie”. Canned beats, cheesy keyboard, vocal samples tossed in haphazardly- nothing worth listening to.
In the span of two weeks this summer, they posted tracks by these artists: Daniel Avery, House of Black Lanterns, Lil Silva, Javeon McCarthy, Tirzah, Ryan Hemsworth, Color War, Addison Groove/Sam Binga, George FitzGerald, James Holden, Unknown, Arnold, The Cyclist, Torn Hawk, Real Connoisseur, Jack Dixon, Ikonika, Sophie, Redinho, AlunaGeorge Fort Romeau, Ossie, Black Orange Juice, and Visionist.
Not a single one of these is memorable in any way, and there came a point where I’d laugh because every write-up to one of these tracks started with the words “UK producer…” OR, *gasp* “UK producer DUO”.
For some reason though, hipsters have aligned themselves with the mainstream crowd on this issue. “Life is like, totally about getting wasted and dancing and clubs! YOLO! Nobody listens to sad rock anymore!”
And so that’s why we need to savor albums by the National, the Antlers, and Bon Iver. They are the rarest of gems in this coal mine of a musical landscape.
The link says “Fall Ouy Boy”, I was expecting some totally ironic NY smoothwave band. But then it was actually Fall Out Boy??
Well as a Safeway muzak tune it’s palatable, but I kinda expected something a little more grandiose from this pairing. The fact that two of my favorite artists together created what amounts to a Steve Winwood cover is not really inspiring.
Great review and spot-on about everything. This is an awful indulgent album that goes absolutely nowhere and I can’t believe that the majority of the comments here are defending it. What’s there to defend? There’s no melody, no purpose, no drive to any of this.
If MGMT hadn’t wanted to become electro-pop figureheads, then they shouldn’t have thrown out those three big electro-pop singles in the first place. Nobody forced them to. They just wanted to reap the benefits, then do a 180 and goof off for the rest of their career. Why are people surprised when listeners get upset that the band isn’t making music that made them popular? MGMT could have easily compromised and gone for the psychedelic stuff while still, you know, making listenable tunes? Instead they’re just trolling.
We need more comments on this story, stat! Clean sweep imminent:
Way true. This is super boring and doesn’t even fit with the movie’s theme. This sounds like Take That or Robbie Williams or something. It was supposed to be epic, big! But instead they went and pulled a Coldplay. My heart is heavy with disappointment.
“canyon-spanning music, soaring-eagle music, music for deserts and mountain ranges and skyscraper rooftops”- this. Everybody’s been raving about how great 2013 has been but for me it’s absolutely sucked because there’s been a dearth of this kind of music. It’s all been stripped-down, analog, back-to-basics stuff that really does nothing for me. I love big, sweeping, bombastic tunes and this is one of the very, very few albums that has delivered that this year.
A lot of people seem to forget that Coldplay could have made $$$$$ just as easily if they’d devolved into 4-chord lite rock titans like Train/Maroon 5/Lifehouse. Viva la Vida reaffirmed that Chris Martin actually puts thought into the music and lyrics he writes. Definitely deserves the #1 spot.
You think he read that critique of his albums on Friday and decided to bring this out as an “In your face”?
If yes, hi Peter Gabriel! Sorry for bashing your covers album!
THANK YOU for acknowledging the disaster that was Scratch My Back. It’s like the Titanic if it sunk in thick, syrupy molasses. He sings every song as if he’s hiding from someone in a little box and it’s just sooo boring.
And then that whole situation was super awkward too. It was kind of like a nerd making a mangled homemade valentine for all the cheerleaders in high school, and the cheerleaders were just like “Oh…that’s so sweet, Peter Gabriel….but I don’t want to date you….but thank you for the…thoughtful…card.”
I feel kinda bad that most of them didn’t reciprocate (mostly because an Arcade Fire cover of Games Without Frontiers would have been so great), but maybe if he hadn’t completely ruined the other artists’ songs something would have come of it.
The Friends theme.
“So no one told you life was gonna be this way/ uh/ got 99 problems and they ain’t goin’ away”
The dividing line doesn’t come between pop music vs. everyone else, it comes between good music vs. bad music. And yeah there is a difference and it’s not subjective.
Good music comes from anywhere and anyone, but it has something to say and it has it’s own way of saying it. Whether it’s manufactured in a big box hollywood factory or written in a dirty basement. The reason certain pop acts get “hipster” attention is because they’re unique. Ke$ha is trashy glitter pop, Gaga is weirdo costume pop, Timberlake is hip soul pop, Swift is teen angst country pop. If pop acts don’t have an image, they’ll be a one-hit wonder and fade away or become B-grade radio filler.
Which is no different from the indie scene. Pop has it’s worthless remoras and so does hipsterville. The stuff that nobody “actually” cares about, just filler lying at the bottom of the barrel.
Bottom of the Barrel Pop: Demi Lovato, Jason DeRulo, Karl Wolf, Jessie J, The Wanted, The Script, etc.
Bottom of the Barrel Indie: Local Natives, Hard-Fi, Matt & Kim, Rogue Wave, Mates of State, Test Icicles, etc.
Apologies to anyone who is a fan of any of these artists but guess what? To date none of them have either A) created a unique sound or B) had a catchy hit worth remembering. They are all faceless, replaceable, and bland.
Where I End and You Begin is minor league?! NO. STRIKE ONE, YOU’RE OUT.
One of my favorite songs of all time. As in, ever, of all of the bands.
Also I’ll always remember getting this album because I raced my friend to the record shop to get it. I was on my bike and he had a car, and I won. But really we both won because it is a fantastic record.
‘Everything’s Fine’ is really great, I was worried they’d launch into a major key chorus and totally blow the song but thankfully they’re good songwriters.
I love The People’s Key, and hate how Pitchfork (and by association, most hipsters) threw it under the bus. One of the best albums of 2011, and one of the few albums I own that’s a front-to-back listen. Not even going to bother naming the best songs from it because they’re all amazing (but ok, Shell Games is the best and should be on this list). Also great are the B-sides, especially Singularity.
As for Stereogum’s list, it’s alright I guess. As some people have said, it’s hard to pick just 10 great songs from Oberst’s discography. The one song that I feel should definitely be on there is Easy/Lucky/Free. Flippin’ masterpiece.
Sad news. Out of all the alienated black-clad despair addicts of that era, Deftones are the only band that I still love. Awkward pre-teen nu-metalhead me would be horrified to know that all the Disturbeds and Papa Roaches on my playlist are long gone.
I’m guessing you haven’t heard the Alternate Version from the deluxe edition of High Violet, it’s the one they played on Fallon and is miles beyond the first version. And should be on this list, along with Guest Room.
well yeah it was a british attempt at being part of the arms race in the cold war, they did these technological experiments to create a human-like robot and the Thatcher prototype came closest to working properly, malfunctioned though.
Plans is actually my favorite album of all time. As in, all artists and time periods, ever. To see it ranked lower than their early work is just no no no no no. As opossum says below, their first few albums just sound like any of the Northwest Pacific indie scenesters of that era. Plans was when it All Came Together (when an indie band perfects their element for a mainstream breakthrough).
Of course every list is subjective, but even barring my personal bias Plans should be in the top three. It’s listenable from beginning to end, which can’t be said about the generic, occasionally bland early albums.
Yes, this x 1000. I think that this film is a great cultural touchstone- it acknowledges the realities of youth/party culture without being preachy or overly indulgent itself. It will be terribly dated in 10, maybe even 5 years, but I think it’s important that it exists as a time capsule that more thoroughly exposes the zeitgeist of the 2010′s.
All the party movies nowadays (21 and Over, Project X, The Hangover) and even ones that feature these sort of parties (Chronicle, 21 Jump Street) fail to address the fact that there is a flip side to insane bashes and “Whatevah, I do what I want!”