Don’t know why I was expecting to not like this, but this is actually great. The abrupt ending makes it sound like it’ll be setting up something massive on the album, so excited for that too.
Honestly can’t remember the last time a new album clicked so completely for me on first listen as this album. Maybe The Terror back in 2013. Having Lupe, Joey, B&S, S-K, Decemberists, Wu-Block all in queue is just icing . And now Bjork’s new one is out and agh… today is just too much.
I’ll still defend Folie a Deux to the death, but nowadays… I just don’t know, man.
Not gonna pretend like Age of Adz isn’t my favorite Sufjan album or that I wasn’t half-hoping for another album in that vein, but still, yeaaaaaaaaaaaaaaah
Haven’t listened to the Dan Mangan record yet, but I’d love to see him getting some love.
I get what you’re saying about it being monotonous, but you also claim that you’re not a fan of dance/instrumental tracks, so I get why you wouldn’t be into it. What I think makes Can’t Do Without You special is
1) that the catchiest possible sample he could have chosen is married to probably the catchiest possible chord progression, and the way those chords sound keep developing as the song itself progresses,
2) by the end, it’s got the endorphin-rush appeal of, like, Wake Me Up or A Sky Full of Stars while sounding way more modestly constructed (e.g., it’s a huge song that only actually *sounds* huge for maybe 20 seconds near the end)
3) the contrast between the soulfulness of Marvin Gaye’s voice (especially pitched down like it is here) and the… I don’t know, androgyny? wavering-ness? of Snaith’s voice is beguiling in and of itself
4) even though it stands great on its own, it’s absolutely brilliant as an intro to Our Love, since by itself it sounds all euphoric and lovey-dovey, but on the album it immediately kicks into Silver, which is about a breakup, and then the rest of the album kind of goes further down that lyrical rabbit hole, and suddenly CDWY’s repetition stops sounding euphoric and starts sounding kind of desperate and pathetic, which is probably my favorite thing about it.
5) it’s just catchy as all hell.
I really hate this song, can’t you tell?
That oddly timed shift from the verses to the chorus makes the song. Tickles the same part of my brain as the chorus to Weezer’s “Cleopatra”.
Also, we all realize that Megan James is one of the best lyricists in indie pop right now, right?
Tracklisting of the year 2015?
Well, this confirms my suspicion that this whole thing is just indie rock’s answer to the one-sided Lil B/Kevin Durant beef.
Which is to say, this is pretty funny, but it’s no “Fuck KD”.
This sounds like it’s going to be in about the same vein as Paralytic Stalks.
God, I can’t wait for another record in the vein of Paralytic Stalks.