Comments

Wait a minute. Three albums of the same? I have to be misreading that. Antidotes sounds like TLF which sounds like Holy Fire? Meaning you could interchange the tracks from one to another and not notice a difference? Come on. That's obviously not right. Feel free not to like Foals but that doesn't make sense. The four biggest Foals songs: Electric Bloom, Two Steps Twice, Spanish Sahara and My Number don't sound anything like each other. Yeesh.
The only American band that can play in an arena today is Imagine Dragons. Strange comment. This track is better suited for a knife fight. It's awesome.
Beau Biden's death is ridiculously sad. No one really cares for the AG of Delaware but it was hard to hear myself. It must be cool to have a chance to respond to that death in a meaningful way. Beautiful performance. If you're looking for a moment to do a career analysis of Chris Martin, be assured you'll have hundreds of chances in the future. Not sure why this has to be another time. His music was written for moments like this, not a better Metacritic score and I'm sure the Bidens are grateful.
It's funny how the pro-streaming crowd says, "Music is changing." But once something new comes along (Tidal) they crave for its failure, having embraced the new status quo (Spotify). Everything doesn't have to be so all-in or all-out. I like Spotify. I'm comfortable with that choice. Tidal's existence doesn't compromise that.
You're right, there's a lot of places to take this record. So it's too early to say if it's "good" or "bad". But my first real thought was how rap music for non-black audiences has to sound bleak. Which sucks. When artists simply can be ambassadors for their neighborhoods or cities or their own aesthetic, they get to be more technical or humorous or with more swagger. Which is great. But when artists have to represent and articulate systematic injustice through art because the critical response will be determined by the outside, it's heavy. And I feel for him. And while he did so in a way I'm proud of and admire, it does make me sad. Because Kendrick can showcase a lot musically beyond what he did with To Pimp a Butterfly. And it's almost not his fault why he can't. This message is too urgent to approach in a way that doesn't reflect that urgency. The tradeoff is sacrificing some of the ways rap music is compelling.
The Viet Cong and Compton have very little in common themselves except in this way: Tompkins Square Park and Compton are places people live. Like the Viet Cong, they've histories that supersede our watermark. I'm from Queens. The last time I was in TSP was to eat free Two Boots pizza and watch random free movie in the park. It's a nice memory but my affinity for that place is a casual one. That doesn't mean I can't honor its history or the people for whom that place matters. Because it does to a lot of people for a lot of really beautiful and sinister reasons. It's a part of the City I'm accountable. So for me, or a band, or any creative, to claim the history of Tompkins Square Park as some sort of musical trope for reinvention is actually offensive. Mumford and Sons disgust me. Here's a great article from the Village Voice exploring why it matters TSP isn't used to sell advertising for Target or Comcast Cable, which is what Mumford and Sons will do with their music: http://blogs.villagevoice.com/music/2014/12/a7-nyhc-tony-rettman.php If Iggy Azalea named an album Compton, this wouldn't be debated as "identity politics". It'd be easy to explain why that's really lame. You'd not be defending her. This isn't at all different. Stereogummers like hiphop. Others support hardcore music. That we don't the Vietnamese is totally fine. But that doesn't make the principle any different. Compton is real. Hardcore is real. The Vietnamese are real. We can't pick and choose which parts get to be bastardized.
Cute quote. ("We should change our name to Old Man Fashioning a Kayak. No one will get offended by that!") This obviously isn't the audience but, I'll say: this is DEFCON1 Whiteness. Which might be difficult to explain but I'll try. Defending Viet Cong, the band, would mean you'd have defend Iggy Azalea naming a band "Compton". You'd have to defend Mumford and Sons writing songs called "Tompkins Square Park." Which, okay... none are intrinsically "offensive". All can be defended! But the Viet Cong, Compton and Tompkins Square Park aren't conceptual things to pleasure yourselves to from the cocoon of your own obliviousness.
Love Pulp. Definitely enjoyed Stereogum's Britpop Week.
I didn't use the word "offensive". So we're agreed. Even accepting your premise that "all" bands do it, let's just say that not all artists need the extra credibility. If you're middle class from the suburbs, yeah, maybe you do need the extra help. And call yourself Savages. Or Cults. Or Viet Cong. Those don't offend me. Hypothetically, they don't have to offend anyone. But when encountered with their music, I listen to Common People by Pulp and drink a rum and coca cola.
Uh, not quite. You're right... but again, using a reference you might appreciate more: if a band called themselves the Chris Kyles, it'd be lame. Regardless of whether you view him as a hero or villian. Chris Kyle got his kills. He pulled the trigger. They just learned C, G and D chords. It's a cheap association. It's lame.
Ignoring the history of the Viet Cong or the right of a band to take that name, I'm so unimpressed by artists who copy/paste/hijack any (for better or worse) ;egacy from actual people or movements who actually did the dirty work for themselves . The Viet Cong weren't "badasses" in movies, they were "badasses" in real life, with real consequences. The U.S. military earned whatever connotation you want to give them. Hamas, the Viet Cong, the Gestapo, whomever. Building their names cost them something. History and we can judge them accordingly. To appropriate that legacy for some sort of sinister credibility you did nothing to earn and you can't even adequately articulate what credibility you thought you were stealing for some sort of artistic vision is pathetic.
Great question/comment, Stereogum, about the physical presence in Purity Ring's lyrics. Which, not to belabor the point, is what elevates their music from the new CRJ and similar sterile music. Music elicits physical reactions. Whether gospel music makes people raise hands or the b-52s making people want to find their own Love Shack, music has to acknowledge the body's response to it. He's a super talented man but Sam Smith's whole image is the abandonment of the one-night stand. Which is fine. But it's not really necessary and avoids a tension that ought not be avoided. The mix between the physical reactions to really beautiful, almost surreal, situations is potent and an essential part of what makes Purity Ring an awesome band. Wishing them a lot of success.
I'm sure we both can name songs on the continuum of sexualized to prude, so I agree, there's no need to go back and forth. But let's stick with Katy Perry. Birthday wasn't a massive song. That doesn't define where she is now. For example: she played the biggest televised event of the year, Super Bowl half-time show. She came out with a fun house of colorful left sharks. And then come out like a nun in white. It was safe Katy Perry. Which is fine. It's the world we live in. Naturally, she had to bring in a black performer 15 years past her time to provide any aggression, any sex appeal, anything remotely not approved for corporate consumption. That's not unintentional. Remember, not five years ago, Madonna and MIA performed at the Super Bowl. I repeat....radical lefty M.I.A. played the Super Bowl. We're not even CLOSE to that kind of world anymore. Now we've glorified youth pastors Imagine Dragons topping the Billboard 200. I refuse to get excited about this music.
Mumford and Sons wrote a song called Tompkins Square Park. Please don't make me use words to describe how that feels.
I don't hate pop music. Carly Rae Jepsen's first album was really enjoyable. Max Martin is a true professional. They made a professional sounded pop song that's effective. What I really react against isn't the genre. I react to how virginal pop music is. From Passion Pit's 1985. Or everything by Sam Smith. Nate Ruess's new song. CRJ is 29. Not 15. This is Radio Disney music adults are pleasuring themselves to, by what...holding hands? Updating our away messages on AIM? Let's graduate to 3rd base, please. Fiona Apple could write a song like the First Taste, which is genuinely alluring, musically interesting, well sung, at 17...while today's adults give us tracks like "I Really Like You" doesn't make sense. We're celebrating intentionally tame music. Can't do it. Listen to Can't Fight the Moonlight.
I just don't think there's a reason to frame Bloc Party's Silent Alarm as a musical failure or success generationally. Because the album makes personal moments feel meditative and massive. I've never considered my appreciation of that record in the context of other bands or a particular scene. This Modern Love means the world to me because it elevates my thoughts on the people and things and ways I care about them. That's enough. That said, SA slays. It rocks better. Does anthems better. Does UK pop better. "It's so cold in this house..." is a call to arms few releases have summoned me with more power. I love it.
Definitely don't want to take anything away from Annie Clark. Her work and her show speak for itself. My point about Logic is moreso to say that these festival lineups feel copy-pasted to the point it's hard to tell one from the other. Which isn't necessary. There are plenty of artists with (relatively) solid sales to prove they've a right to perform. No festival would ever consider booking Wale, let alone a headlining spot? His sales are massive. Lecrae, acknowledging that he isn't in the demo, probably has outsold all but four acts at Governor's Ball. Tinashe had just as big of a year as Sharon Van Etten. Mayer Hawthorne gets booked for shows when KRIT is MIA. I'm not trying to emphasize black or "urban" artists but I'll say there're plenty of performers critics and the public agree are fine that aren't reflected in how festivals are curated. I'm a fan of UK music like Friendly Fires, Frightened Rabbit, Bombay Bicycle Club. I've really no expectation to see them at a festival this summer. Don't get it.
Random thoughts on your random thoughts: - Drake and Kanye both have enough hits in the cultural consciousness, but seeing Kanye Post-Yeezus at Made in America made me appreciate being a fan after his divisive work. Everyone there really gets him and is ready to blow. Drake is a massive success for people who haven't been challenged yet to consider the artist he is/can be. Which should keep the urgency low. - Logic probably doubled St. Vincent's album sales. - Porter Robinson tweeted he's bringing his live show to Coachella. That's the best thing happening. Take my word for it. - This is the lineup that finally folds Governor's attempt at being New York's festival. All Points West failed, but at least it failed after delivering massive bands. JayZ. Coldplay. Radiohead. Artic Monkeys. The National. MGMT when they were the hottest act. This looks like a CMJ lineup plus Drake. And your rap comment was right. Randall's Island is South of the Bronx and west of Queensbridge. It's embarrassing.
"Nice try." - Kanye West to 2014
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.
Very good. Worden makes more highbrow music than St. Vincent but showcases much more humanity in her records. More humor. More sex. More fight. She's awesome. Makes "artpop" compelling.
Great writeup. Great weekend. I give organizers a bit of post-racial credit. J Cole easily could have performed before Kanye on the main stage. Watching the National with the rabid Kanye fans was super fun. I tried preaching the gospel of the National to those around me who were skeptical but the band delivered. For more committed EDM fans, Tiesto is entry-level music. But given the rain and closure, getting a chance to come back and rage with his shutupandplaythehits style really worked. Twitter reported fans crowdsurfing an uprooted tree. I love that. And it was the first weekend I've not had a drink in awhile. Thanks Budweiser.
Sorry. Andre has to dig deep here. I just saw the Clientele play at the Black Cat in DC. Super small room. No cooling fans on. The singer couldn't help but complain about how we were all in this suffering together. At the shouters from the crowd, in his sly UK way "Ah, yes, the charm of small venues." I doubt his mates imagined playing their debut for nostalgic fans at Coachella, in front of thousands, for Paul McCartney. Not losers like me on a random Tuesday. But it was a special show. It was a great night of music. Sure, Outkast is a legacy act performing for people who heard Hey Ya once on Z100 and want to Instagram filter their shit. Who cares? Take the chance to redefine the narrative of what your band represents. Otherwise, pull a Chappelle and show your integrity by delivering a product for people you can't be proud to share it with.
Considering the song's various instrumentation, use of a female vocalist and overall energy at the backend of their set, Lover's Day by TV on the Radio would be incredible. They could bring a lot to it.
This line stood out to me: "We’ve all wished we could go back to a certain time and place; the main difference was that in a certain sense many of the times and places Robinson was longing for never existed." I agree. I have little exposure to Robinson's video game or fantasy influences but have connected with him since the first time I heard language. Which makes sense now.There's a spiritual quality to his songs that I can relate with heavily (Sea of Voices should be played on repeat in some New Agey congregations.) I'm a comfortably secular person now but it truly taps into an aesthetic I was raised and gravitated toward in church or camps or whatever. Like you said, truly, "all worlds that never existed". Which weirdly is a depressing thought. Except that, as Worlds shows, music is a much more positive outlet at expressing our clamoring for realities outside of this one on Earth than religion ever does. What Robinson has done is special. Great write-up.
This song left me speechless. I thought through my history with Curtis' music today. Thinking through discovering School of Seven Bells at my college radio station, where I first really got into more "alternative" music, summers seeing them at free shows in NY (the xx opened for them when they were a four-piece at South Street Seaport), meeting them awkwardly on the street. Watching someone(more than someone I'd assume) die on Grey's Anatomy. This band is awesome. Listening over and over and feeling totally grateful for what Deheza and Curtis were able to accomplish together. A lot of people don't get a chance to craft their final goodbye. To do so through music, with your professional partner and friend, in homage to an icon.... Perfection.
Seasons is more of a song for the end of summer. Unless you're beginning your summer as a Mets fan. The trimmings of fun with a filling of melancholy.
Good video. The drummer deserves a shout-out too. overeager drummers hit the cymbal whenever they get a chance. Not this dude. Just stuck to the beat. Good work.
Interesting article. Miley Cyrus and Iggy Azalea are so far off my radar. The people and institutions they work for sell a product I hope delivers for their fans. But Sam Smith's emergence is offensive. That R&B has become a dead-end for black performers but acts like Smith are heralded as artistic revelations deserve some pushback. The argument isn't that blacks have exclusive rights to certain genres. It's that these genres have been powerful tools to communicate dynamic parts of black culture in the US and internationally. Now these genres are explored through very flat performers like Thicke and Smith. That is disgusting.