yeah. he fuckin nailed it.
i’m trying to figure out nicer ways of saying this:
WHY THE FUCK DID YOU LEAVE OUT JOLENE
obviously they’re going to play i need my girl
hear hear, shittyman
“He was writing Modern Guilt around that time, and the title track is actually comparable to “A Beautiful Mine” in terms of mood and texture, so… maybe that?”
this is a bit of a stretch to connect two points.
please please please give it up
this was a pretty awesome article. david comes to life was definitely my favorite album of 2011, but this made me realize how little i know i about fucked up.
also got me pretty psyched for the new record.
hey guys: it’s a little unfair to turn a review of an album whose obvious relative is sea change into a referendum on whether guero or modern guilt are any good.
that being said, anyone who thinks midnite vultures is superior to odelay is a fucking idiot.
i really hate this metaphor
“(pardon the pun) ASS-tro-nots!”
yeah man that’s hilarious
so – probably no new desaparecidos lp :(
this album is one of my favorites of 2014 so far, can’t stop playing it
big mistake not making this album of the week, BIG MISTAKE
st. vincent poised to conquer arcade fire’s title for “most articles in a single hour on stereogum”
it’d be nice if you guys made this album of the week, but i know you won’t
i think you could make that argument for a lot of other bands starting out, but even almost killed me sound pretty professionally produced. this, to me at least, is the sound of a band tinkering to the point of breaking something that worked in the first place. the sound mix of craig’s vocals vs. instruments they had for the first four albums was pretty definitive for this band.
dave’s drums reference at 3:11
it’s probably to grab a bigger audience, for which i can’t blame them. i’ve tried to get friends into ths in the past to no avail, and the number one complaint i’ve heard is that they can’t get past craig’s stilted storytelling rants. i personally think it’s the one attribute that set them apart and made them so wonderful in the first place. the rest of the crew, sans franz, always sounded like every other alt-rock band, but they definitely had better riffs and an insane penchant for melody.
frankly, i haven’t heard much since stay positive that had both that tight songwriting and craig’s signature vocals. i can deal with his newfound love of trying to sing, but there’s something sadly very off with the rest of the band, as if they’re struggling to craft anything catchy. so when i hear heaven is whenever, clear eyes full heart, and now this, i can’t help but wonder why craig insists on this new direction. you can’t pour a couple layers of gloss over an average song, and simulaneously make new fans and appease the old.
aside from the processed craig chorus (that’s a new hold steady thing, and i don’t like it), it’s not bad. definitely more ranty than singy, especially compared to most of the songs on heaven is whenever, but it’s not really making me excited for the new record. i’m not taking that as a good sign.
one of the things that bums me out the most about heaven is a severe lack of shout-along choruses that the hold steady KNOWS is one of their many strengths. i hope there’s at least a couple on the new record.
ISN’T THIS AWESOME
that’s not entirely a “hilarious” response, it’s kind of juvenile
also, a pretty amateur use of sarcasm
although this list isn’t horrible, there are a couple i would rearrange/leave out. i mean seriously, andy you’re a star? when you were young was a lousy first single and never made much traction with me. and putting all these things that i’ve done all the way in the back is debatably a troll move.
i’ve always loved dustland fairytale, and i hate seeing so much of hot fuss here. i would’ve liked to have seen one or two more from sawdust make the list, but under the gun is undoubtedly one of their best. so, nice.
i was just thinking the same thing, but you never know
“we had internal discussions at Stereogum as to whether we should post the story”
yet probably zero discussions concerning whether to post anything further about r kelly, apparently
as someone whose mother died of the same exact type of leukemia 6 years ago, i can attest to how debilitating and frustrating it is to watch someone you love slowly wither away before your eyes. and not to mention all 3 school of seven bells lps, which i dearly love, stand to reason that benjamin was insanely talented. a real loss.
i was one of the many who, after listening to local business, felt like ta might have peaked too early with the monitor as their second album. like this site said in local business’s premature evaluation, it’s a great record, but the monolith of the monitor overshadows it, even after two years. it’s an unfair comparison, but you can’t get away from that comparison. maybe we will in a couple more years.
that being said, i’m glad people out there DO know how incredible the monitor actually is, and that it’s an album that does more than merely exist, despite how stickles feels about it. it was my favorite record of the year in 2010. and not only is it endlessly playable, i wish he would take solace in the fact that ALL THREE ta albums are fantastic, and that run really showcases a great track record for a relatively new band with a young songwriter with his whole creative life ahead of him.
and to top it all off, knowing the fact he has something in his back pocket that might even eclipse the monitor (and undoubtedly draw needless comparisons), i personally have absolute faith in him to deliver with that next record. and while we’re at it, the one after it, and the next, despite whatever insecurities he has with songwriting and his band’s popularity. it’s nice having that confidence, in an indie rock landscape full of internet-buzz bands that come and go, that a musician like patrick stickles is out there plugging away and likely incapable of delivering anything mediocre or half-baked.