Find Me On:
The new album is SO HOT RIGHT NOW.
Which is to say that I like it a lot.
I loved their first two albums (and even, shockingly, a good portion of X&Y), so I’m forever holding out hope that they’ll bounce back, but like with The Strokes, Interpol and King of Leon, I am constantly being disappointed.
Or AIAFW! (in a few weeks)
It’s a great album, but not really out this week. So…
Still, AONW! (next week)
Yep. Other than the roof-clattering bass lines, I found Oxymoron to be overwhelmingly mediocre. In 10 months at AOTY time we’ll all be talking about Wild Beasts, Beck and St. Vincent; I doubt there will be much mention of Schoolboy Q, except for maybe the few ‘save face’ types who refuse to ever contradict themselves.
Ohh Suzanne, Suzanne, you’ve come to the wrong place.
Yes, thank you. Despite the ‘sound’ being a bit more progressive – and a big step forward from the garbage heap that was Mylo whatever-lo – the melody is incredibly simple and the song really goes nowhere. An interesting direction, but try harder on the actual songwriting is all I’m saying.
I’d say more Unmap era Volcano Choir, but yeah.
I can’t wait for the same people who thought the “Bound 2″ video was serious to come out in droves like “what!? They CAN’T be serious!” And then for the “well if it’s a well made, fun, enjoyable video, then ISN”T it serious?” thing to happen. And then the “no, they’re just having fun and riffing off of some 90′s music video tropes” response to that. And then the “but still, it’s a pop song with a professionally strategized and executed video, so by definition it’s ‘serious’ in the sense that it’s not just a total joke” response.
Modern popular culture confuses and frightens me. But this video is great.
I was thinking the same thing. “Game Theory” and “Undun” are two of the best hip hop albums of the last decade or more, despite not being “fashionable,” and I’ve always thought that The Roots would ultimately go down as one of the most important hip hop acts of all-time – post “Things Fall Apart” releases included. I found it odd that there did seem to be a movement away from their brand of music – jazzy, conscious hip hop with live instruments – even though they’ve never released anything less than very good and are frequently great.
I would add a bonus note: The Roots’ “Come Alive” is one of the best live albums ever.
On first listen, I was completely disappointed by Oxymoron. Granted, I was listening while cooking dinner, but it seemed so… simple. Like he went back to see what was popular in hip-hop in 2004 and did that. I could be wrong though – need to give it a real spin.
This week is STACKED. If this one, Beck and Wild Beasts don’t end up on top of a ton of lists this year, I’ll be surprised (and sad, because they’re all so good).
I don’t think the two are *necessarily* mutually exclusive, but I think that in a lot of ways they work against each other (emotions being generally instinctual and unreasonable, intellect basing itself entirely on reason). I’ve personally found that even Annie’s most intimate songs sound somewhat detached from the subject (herself) as a result of her willingness to intellectually dissect her feelings and pair them with some incredibly complex, calculating compositions. While this can make for some very interesting music, it can also dilute the emotional impact of the songs.
I’d never say no one can be moved by St. Vincent’s music, but I’ve never found it emotionally resonant as much as compellingly cerebral.
I’m glad that she’s finally embraced the colder, more mechanical aspects of her sound. I’ve always found her music to be very good but also detached in a “too smart and too technically proficient to truly display emotion” type of way, and so her attempts at emotional heft seemed insincere. This one pretty much jettisons any of those annoying ‘feelings’ and really digs into the noise and the calculating, intellectual proficiency she has. It seems much more appropriate and is way more fun to listen to.
Mostly agreed with this eval, though I get the sense that I like this one a bit more.
I usually don’t do this, but since I’m trying to get more words on “paper” (screen) I started writing whole reviews, so here are some thoughts: “The songs on Sea Change wallowed, but did so in such a beautiful way that it was hard not to get swept away in his sadness. Morning Phase is more hopeful, but as a result comes off a bit breezier…”
DON’T DO IT, STEREOGUM.
Oh, it’s already done? Well you’re wrong – THEY’RE ALL #1.
Seriously though, Figure 8 has always been my least favorite of his albums, but I can see why people like it so much.
I’m with you, man. This is a beautiful, awesome record, but was it ever going to top Sea Change? Was that even possible? My brain says “maybe,” but my heart says “oh, no.” Especially since it lacks the gut punches of “Paper Tiger” and “Lost Cause.”
Still though, so good. Unforgiven is the standout for me so far.
This is the best lineup I’ve seen so far this year, and it’s really not even close. Now, where can I find $1,500 for a ticket and flight? Does anyone have $1,500 they want to give me? I will be here, waiting patiently, for your generous gift of $1,500. Thanks a bunch.
I like this song and – Shyamalan twist – don’t think it sounds drastically different from a number of tracks on Stay Positive. Sure, there’s a bit of singing, but most of it is CF’s signature rant-storyteller-singing, which I dig.
So… you’ve heard the new album?
I like it?
I had to start listening to CR, CR 1/4 of the way through this, which just made it that much better. With that said, it’s not my favorite Pavement album. That would probably go to Wowee Zowee, though I’ve always considered Brighten the Corners to be severely underrated. The point is, IT’S ALL SO GOOD.
She’s so rad. Also, I’m not understanding the anti-Isbell sentiment? Wasn’t his solo album very well-received?
“Dig, Lazarus, Dig!!!” should be higher. That is all.