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 +2Posted on Jan 23rd, 2013 | re: Win A Date With Marnie Stern (53 comments)

“But in my Fair Dating World View if *she* asks *you* out, I say you’re at least going dutch, if not getting wined and dined…”

What does this mean? What do you mean by “at least going dutch”? “At least”?

What’s so disingenuous about either party wanting to pay for dinner especially if the date was pleasant?

 +2Posted on May 3rd, 2012 | re: ASAP Rocky - "Goldie" Video (NSFW) (12 comments)

Niggas in Paris.

Or, as the French would say, “Niggas à Paris.”

 +3Posted on Mar 9th, 2012 | re: The Joshua Tree Turns 25 (32 comments)

If you are within a few hours’ drive, Joshua Tree is worth definitely a weekend trip. I’m not much of a deserty person, but the rocks and the plant life especially during spring are definitely photo worthy. Great place for bouldering, too, if you’re into that sort of thing.

 +1Posted on Mar 9th, 2012 | re: The 25 Bands We're Most Excited To See At SXSW 2012 (68 comments)

Wouldn’t that be long term memory?

 0Posted on Dec 21st, 2011 | re: Pitchfork's Top 50 Albums Of 2011 (200 comments)

I speak only for myself, of course, but I don’t really care all that much for the critical reviews or grades assessed, be it positive or negative or anywhere in between. I come on to these sites mainly to read for context and mainly to see what’s new and what’s happening and just to post crap from time to time.

The strength of Kaputt can be assessed on two levels: 1) against Destroyer’s own discography and 2) by itself. Majesty’s post below pretty much says what I would have said when comparing Kaputt to his back catalog. This is Bejar’s most accessible album yet, lyrically and especially musically, and yet lyrically it’s still seemingly unhinged and oblique enough to be a Bejar album. By itself, the album is still near perfect. The tight arrangement, the numerous hooks, the production quality and, most importantly to me, the repeat-listenability worthiness, it’s got it all. Not that it’s terribly complex music, but combined with Bejar’s lyrical whirlwind storytelling, it offers new things to be discovered upon repeat listens because you’re either caught up in its lyrical stew or in its beautiful sound, especially with that damn sexy sax’s timely appearance, disappearance and reappearance.

And majesty nailed it when he described the production as smooth but menacing. Yes, it’s jacking a late 70s/80s sound and refreshing it for this century, but Bejar perfectly infuses the music with a sinister undertone you’re unlikely ever to find on any other album to rock this kind of sound.

 +1Posted on Dec 20th, 2011 | re: Win A $200 JAMBOX Wireless Speaker (242 comments)

Destroyer – Suicide Demo for Kara Walker

 +8Posted on Dec 20th, 2011 | re: The Gummy Awards: Your Top 20 Indie Rock Crushes Of 2011 (145 comments)

Eleanor Friedberger is top 5 material. Female, of course. Her absence on this is a travesty to mankind.

 -1Posted on Dec 18th, 2011 | re: Pitchfork's Top 50 Albums Of 2011 (200 comments)

Who really gives a shit what era a music is from or sounds like it’s from? If it’s good, it’s good. Tell me one credible reason why that should even matter?

 0Posted on Dec 18th, 2011 | re: Pitchfork's Top 50 Albums Of 2011 (200 comments)

Agreed, Chris. Bon Iver’s alright top 50, but Kaputt is better.

 +1Posted on Dec 18th, 2011 | re: Pitchfork's Top 50 Albums Of 2011 (200 comments)

So you’re saying it’s pasty?