Stereogum, you’ve a great team. Great write-ups.
My, seemingly heavy UK, top ten favorites:
10. Damien Rice – My Favourite Faded Fantasy
9. Swans – A Little God In My Hands
8. Imogen Heap – Entanglement
7. Friendly Fires – Before Your Eyes
6. Thom Yorke – The Mother Lode
5. TV on the Radio – Test Pilot
4. Elbow – My Sad Captains
3. Coldplay – Always in My Head
2. School of Seven Bells – I Get Knocked Down (But I Get Up)
1. Porter Robinson – Sea of Voices
Great song. Good assessment. The “breakup album” label definitely blanketed everything discussed about Ghost Stories. But it made some intriguing musical and production choices that definitely have been applied here. What made Ghost Stories interesting have been superimposed here on a straightforward, for the rafters, song. I love it. Coldplay fans deserved a familiar Coldplay song. Cool to hear how each musical direction influences the next.
We live in a musical reality where HBO gives Dave Grohl a pulpit to describe and define the history of American music, we’re told to “respect the motherfucking craft” as demonstrated by Taylor Swift. But Billy Corgan is marginalized and dismissed because we don’t like his tone. Newsflash: We suck.
Positive: You understood the words of my sentence.
Negative: Forests somethingsomething trees.
I just refuse to believe the Stereogum commentariat is this dense. I refuse.
Stereogum turned me on to a lot of these albums (SVE, Swans, Taylor Swift). Good year in coverage. Alcest’s album is really great. For rap, Logic’s worked. I’ll never get why St. Vincent is Important while My Brightest Diamond is just a undertheradar, consistent delight.
HM: Chris Deville giving Porter Robinson the love he deserved. Worlds, as a record, felt dated by electropop albums circa 2009. On stage, it was transcendent. Robinson contributed a lot to electronic music and pop music as a whole. I appreciated this site giving him a few conversations.
I love this record. It feels less compelled to make an artistic impression and more about making an emotional impact. One that’s easy to embrace. An easy comparison could be Elbow. Both really mature bands with accomplished musicians that still make euphoric music.
Nice try. “Not many people are going to pony up 14 dollars for something they have no idea how good it would be”. This sentiment kills the music industry as much as Napster. When patron of music becomes consumers and not fans, they’ll seek ways to never pay. People buy tickets to baseball games when they don’t know the winning score. They don’t mind. It’s the price of investing in a team.
Her brand is big because she has fans that care. The modern guitar rock band has listeners committed just enough to make a best-of-list. That’s not a climate where artists can stay financially sustainable.
The hive mind is cyclical and I respect Breihan for sticking to his guns on Swift. While we all pledged allegiance to Fearless or Red, it’s time to move on. Swift’s talent is evident in her music. Of course. But musically, we can’t live in a world where all people need to experience “craft” is watch a Target commercial during Dancing with the Stars. When we advocate and cosign Teenage Dream or Taylor Swift or whomever the indiesphere latches onto as popbliss, we make it easy for people who give few f!cks to feel comfortable living with little artistic intention or curiosity. What music can be demands more than that.
What happened after Weird Fishes ends. So good.