That video of him playing that at the VH1 fashion awards (which, by the way: LOLWUT) is absolutely sublime. For the record, Midnite Vultures remains one of my favorite Beck albums.
Some ordering disagreements aside (I'm personally a huge fan of "Priest Driven Ambulance", it'd take my number three spot below "Soft Bulletin"), I'm really REALLY psyched that "Clouds" ranked number one. That's always been my favorite. And "Hit to Death" is pretty criminally under-appreciated, so I'm glad you guys gave that some play as well. I'm actually sure I'm contrarian to what will be the predominant Stereogummer reaction to this, but I'm with you guys. Mid-period Lips has always been my favorite Lips.
Everywhere I turn, people are ragging on this track. I dunno why. It gets me moving, it's catchy enough, Jay's verse isn't great but all in all I'm really digging this thing.
One could also make the case that this was a great year for indie dudes and dudettes plugging guitars back in (see: Japandroids, the Men, METZ, Cloud Nothings, Screaming Females, et al).
Oh oh, not to comment in rapid succesion, but this has kinda been bugging me: I'm not sure I totally get the consensus-dismissal of T. Swift's new record. While I understand that the "indier" blogs' embrace of the album is a shock for some readers, it doesn't (to me at least) seem too surprising. It's actually a pretty great record, and at the very least a big risk for someone who has just put out, y'know, country-poppy records. She (or her producers) jump genres more than a damn Ween record. I'd say that takes some proverbial balls, and I'd also say she pulls it off with aplomb. And it doesn't (no really: DOES NOT) sound like most top 40 acts.
So yeah, just wanted to jump in and defend the girl. Just give it a chance guys, open your collective hearts.
In reference to the fifth-most disliked comment: aren't we in a post-Pitchfork-as-an-insult era? It's like the whole hipsterism thing, it doesn't mean anything anymore. My two cents.
Exactly, she may be popular, but everything else on Top 40 stations is one big four-on-the-floor synth jam dance fest.
Small anecdote: I drove home for Thanksgiving and the only radio stations my friend's car would pick up were Top 40 which: fine all right okay that's cool, but they kept playing this one song that had every line end with "on the flooooor". It was the most grating thing I've ever heard in my life.
Anyway, I'm sold on that T. Swift record. Up there with METZ and Lotus Plaza.
I'd definitely give a listen to his first four solo albums as well (Scott, Scott 2, etc.); Michael sells them pretty short by comparing them to Barry Manilow. All four of them are paramount (seriously, hard to top 'em) pop records, and not as carefree as they sound at first glance (lyrically, at least). Also opens up a path to Jacques Brel, which is never a bad thing.
Aside from that kinda sorta quibble, great write-up! My personal AOTW as well.
Yeah "Memory Machine" and "Ellen & Ben" are sorely missing, but seriously every D. Plan track could be on here. "Dismemberment Plan Gets Rich" for sure.
I love love loved the new Twin Shadow record. It's great. Hook after hook, lyrics that perfectly fit his vibe and the tunes, wonderful production. It's a top three record for me this so far this year...
...but this sounds fucking AWFUL.
This record absolutely kills, no doubt about that. I will say, however, I was a little taken aback by Dave Longstreth's Kermit-esque harmonies at the beginning of "Offspring Are Blank", then everything kicks in and the my ears exploded. Or something.
I'm going with this Tim Curtain fella. DMB's first three albums are solid verging on good at some points. The frat boy fanbase is annoying, but it's no more annoying than any other band's fan base (especially if you're an outsider).
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