This reminds me a lot of The Wrens’ “Happy,” and I’m totally fine with that.
Ugh. This just solidifies what a bummer it is that “the Deal is off.” At this point, I think I’d prefer Black to just make another solo “rock” album. Svn Fngrs was incredible. But this feels so dated in a very contrived way, like they’re pretending the last 22 years didn’t happen and they’re picking up right where they left off. I enjoy it, but I just can’t help but feel underwhelmed.
I think I was sold based on the strength of the opening monologue. As far as the song itself, I went from being bored to appreciating their delivery. At least its better than the array of 99-cents-bin-used-cd-store-days “throw back” genre singles that are starting to pop up on here.
HAHA. Thanks. Love that song. And the video killed me.
She paints a very uplifting portrait of the value and diversity of goods and services, while delicately justifying emotional prostitution. “No one notices you? Give me a buck and I’ll notice you.” She’s no doubt sincere, but also delusional.
It’s all about marketing. When Radiohead and a handful of other artists began offering their albums with the “name your price” model, many scoffed saying, “yeah, sure you can still make money that way…if your Radiohead.” But that’s just not true. They effectively cut out the middle man. Distribution has always absorbed the majority of profits from album sales. So we must use the tools we have at our disposal to make the most of digital distribution.
The lesser known band summits to itunes distribution. It’s not for money. It’s for exposure that would not be had otherwise. Beyond that, promotion of albums to the direct audience can be done through avenues like bandcamp, where the profits are considerably higher per download. While distributors absorb profits to varying degrees, they also absorb the cost of exposure equally in the scope of their reach. This profitable percentage to exposure ratio has been relatively unchanged over the years. It’s a trade off that many independent artists welcome because you don’t have to trade off one for the other. They work together.
Besides, we all know the money is made in touring: playing shows and selling merch.
I’m shamefully obliged to be the one to point out that it’s “Pretty Woman,” not “Pretty Women.”
“Right now, there is a weird idea people are putting forth that, obviously, since it was a band that was formed rather than naturally occurred, it somehow must be illegitimate now, and the sophomore album is like, “OOH THE RUSE IS UP.””
There may be those select few who refuse to enjoy them based on the transparency of their shtick, but their sophomore album is more like, “OOH THIS KINDA SUCKS.” With complete disregard for the hype and circumstances surrounding the existence of Sleigh Bells, the bottom line remains that Reign of Terror is just a huge disappointment compared to their previous efforts. Treats was a distinctly riff heavy accomplishment on Miller’s part. But this time around, instead of upfront guitars complementing abrasive bass beats, generic metal chord progressions are just buried in the background.
Deftones self-titled. It’s the culmination of all their efforts. Refines their previous, while most successfully treading new ground.