Okay tune but those were some piss-poor lyrics
erm, not really. favorite album lists are personal, and Stereogum isn’t a person – this list is a collaborative effort which allows people to accept their own genre biases, critique their colleague’s lists, then come out with something approaching a “best of” article. a favorite albums list would not have the genre inclusiveness of a more collaborative, “objective” approach.
I’m perfectly willing to accept that Noah and the Whale’s “First Days of Spring”, which is my favorite album ever, would not be represented on many best album lists (and lots of things that might, like OK Computer, I don’t particularly enjoy).
I think some critics are suffering from the same Laura Marling fatigue that I am – I’m sure the new album is great, but after seeing her a couple times and listening to the first 3 records pretty frequently I just have no desire at all to check out the new one until I get some sign that it’s doing something (anything) new.
where again did I say I didn’t like it? I think “Shock to Your System”, “Closer”, and quite a few other songs on the album are great. My argument is not that it’s a bad album at all, but that it doesn’t do anything particularly interesting and won’t be remembered as one of 2013′s best works by anyone but poptimists who define staying power by things like “hooks per minute” and possible singles (which is fine, but seems a dreadfully narrow way of measuring music to me).
basically, it would fit more comfortably on a “favorite albums” list than a “best albums” one.
Oh I also think the new Everything Everything was excellent and deserves to be on every end of the year list but it doesn’t seem to have gained much traction (especially in the American music press) so I’m hardly surprised not to see it
No idea what makes Sky Ferreira’s perfectly pleasant but not particularly musically remarkable album one of the top ten of the year, but I’m much more confused about Heartthrob breaking into the top 20 – it’s an okay pop album but it’s also easily Tegan and Sara’s most disposable and no one will remember it a couple years from now. If you really wanted pop representation, Lorde would have been a much more interesting choice.
Big misses imo include These New Puritans and Foals (who didn’t get nearly enough love for Holy Fire)
I’d say it’s more of a Return of the King of an album – good as is but cutting it down a little would make the good parts so much better and eliminate some of the self-indulgence.
Also, I agree – NEEDS MORE REGINE.
sounds a little bit too much like arcade fire/james murphy remixing themselves occasionally (not every song has to end with 2+ minutes of the same phrase repeated ad nauseum) but I’m still very pleased about the whole thing
oh man, Ian Cohen has never been more right than when he said the new stuff sounds like someone doing a Sleigh Bell’s parody. I can’t even listen to more than a bar or two of Alexis Krause’s rapping in Bitter Rivals before I have to turn it off, and I loved the first album (and liked the second).
I’ll be the first to admit that I don’t know much about the New Pornographers, but even with my limited knowledge I can tell that you overrated “Sweet Talk, Sweet Talk” – you could pretty much draw randomly from Challengers and come up with something better than anything from Together
Holy hell, what is wrong with the people at Samsung? I’m all for more open spaces for athletics (and I do love football) but trying to sell expensive pieces of technology by showing a wealthy “developer” buying up residential spaces, rolling in with a wrecking crew, and destroying low cost homes to make room for his own designs is callous beyond belief.
I guess after that Radio City Music Hall Galaxy S4 debut I should know that most of Samsung’s marketing department is made of tone-deaf halfwits, but they still manage to surprise.
Born Gold’s new album is out this week and is really good if you like warped/left-field pop music
I don’t think you know what alas means
Ugh, Haim is so, so remarkably bland and rely too much on their “life story” to distract from the lack of anything interesting in their music. It’s the sort of thing that flows in one ear at the coffee shop and right out the other – not bad but entirely undeserving of all the attention and hype it has inexplicably garnered.
Something about the two new songs just isn’t hitting me the same way that Eyelid Movies and Nightlife did. The instrumentals seem too tense or something – the beat in this song feels like it should go somewhere but it just paces back and forth through the whole song and leaves me cold. Hopefully it’s just a reflection of the writing process for this EP and when they get around to putting out a sophomore LP they won’t seem quite so removed.
Still better than Chvrches though.
“flirty… fizzy, club-happy…. crazy fun”
I like Charli decently enough, but at this point what is the difference between her and Katy Perry (who is also fine but people seem ashamed to like)? The only thing I’m hearing is a slight English accent.
I think you’re doing a disservice to the second half of Oracular Spectacular – it didn’t have the same hits that the first half did, but everything on it was still excellent and worthwhile (“Of Moons, Birds & Monsters” is especially good) and if Congratulations (which I still liked decently enough) had kept that up it wouldn’t have been a disappointment at all (especially when I hoped it would be a detour, rather than the beginning of a sharp descent in MGMT’s trajectory). You’re right about this album though – it’s terrible. I thought “Your Life is a Lie” was mediocre the first time I heard it, but compared to the rest of the album it’s a godsend. I couldn’t believe that I’d listened to 4 different songs by the time it started, the way they all droned together, and nothing that came afterwards was any better. It really is indefensible shit.
Treats is great, and the second album grew on me, but wow after a few bright seconds that new Sleigh Bells song devolves into tuneless faux-rap mess
I’ll never know why Great Release never got the recognition it deserved
Everything makes sense but “You Wanted A Hit”, which seems totally out of left field. Among This is Happening tracks I would replace it with “Home” or “All You Want”, and there are plenty from the first two albums that are significantly more memorable as well.
Okay, I’ve given it a couple more listens and it may not be as bad as I initially thought, but it still doesn’t hold a candle to what the band was previously capable of.
I’m actually pretty surprised that people think this is particularly good – Julian’s slurring his speech so much that he sounds drunk, the vocals are super muddled (and not in a good Is This It or Room on Fire kind of way), and the instrumentals aren’t nearly as lean, limber, and interesting as the first two albums or the best songs (You Only Live Once, Machu Picchu) from the last two. I know people are aching for the Strokes to be “back”, and this may have their “classic sound”, but if you listen to it against anything from the first two albums you can tell how painfully forced and mediocre it really is.
I can’t help but believe that everyone who thinks Local Business is anything more than mediocre are deluding themselves. If TA’s previous album hadn’t been as good as it was, Local Business would been seen as the incredibly uneven and scattershot collection of ditties and occasional insights that it is, rather than fodder for album of the year lists.
No Franz Liszt? He would be a hell of a lot more entertaining than Mozart
I saw Tokyo Police Club and Two Door Cinema club do a fantastic live cover of Last Nite together. Would have loved to hear a studio version of that.