“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?
Niggas in Paris.
Or, as the French would say, “Niggas à Paris.”
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.
Wouldn’t that be long term memory?
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.
Destroyer – Suicide Demo for Kara Walker
Eleanor Friedberger is top 5 material. Female, of course. Her absence on this is a travesty to mankind.
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?
Agreed, Chris. Bon Iver’s alright top 50, but Kaputt is better.
So you’re saying it’s pasty?
As president of Destroyer’s Kaputt Is Too Damn Low coalition, I half-heartedly agree with you.
Holy shit, do people not read what they write? Your post is the definitive example of unintelligible. Dylan is totally correct. To suggest that your post is self-contradictory barely begins to scratch the surface of everything nonsensical about it, such as “…brilliant…but not great” and “just good (almost sucks)”? WTF? How do you even divine any logic in those two examples?
Hi. I’m still president of the Destroyer’s Kaputt Is [Still] Too Damn Low Party. Can I count on your vote this November?
As president of the Destroyer’s Kaputt Is Too Damn Low [On Uncut's Top 50 List] Party, I am appalled by the absence of this fine album. WTF sauce? Paste’s list is unacceptable. It’s downright un-American. Even if Bejar is a Canuck.
Hi, I’m incognikto, and I’m president of the Destroyer’s Kaputt Is Too Damn Low Party. Please join me in denouncing this list for this very reason. Thanks.
Yeah, that is pretty fucked up to overlook such a good album. Not even in the top 50??
Talk about a douche, man. Just because you’re an indifferent and short-sighted, that hardly gives you the excuse to project your own case of stupid and calling these protesters trust fund babies. You don’t know them, just as I don’t know your situation other than to call you out on your indifference and short-sightedness so apparent in your post.
Quit projecting, join in, or get the fuck out of the way. Have a good day.
I’ll bleeping throw it away right after bleeping I break it, well long after I’ve bleeping annoyed everyone within ten bleeping yards of me.
Dear Good Winter,
Thou doth protest too much.
Has this dude been in the woods churning out music almost nobody has heard until his latest album? (See what I did there?) Way late to MTV hate party, Bon.
As an aside, I find that Bon Iver’s music is much like James Blake’s. I get it, but I don’t get the hype. Some of the songs I like, but most of the songs are “meh” to “really?” More power to him (and JB) and his fans. Everybody needs some loving.
Excellent post. Yes, to everything you just pointed out, especially regarding the strange disdain among a large swath of writers/critics/influencers and plebs alike (many who doubtlessly are influenced by such aforementioned people) for apparently any and all forms and quality of guitar solos. Just as there are good cheese and bad cheese and everything in between, there are good, there are “eh”, and there are bad guitar solos. Pearl Jam’s usually fell on the side of good, as I am trying to replay them in my head. I may be rightly accused of being an indie fag and occasionally hipster-lite these days, but I don’t give a fuck. I am critically eclectic and I like whatever is good to these ears and whatever can resonate within.
I was seventeen when Ten and Nevermind dropped in my laps, almost a year after they were released. For an emigrant kid who grew up feeding on almost wholly non-critically safe adult contemporary radio to the tunes of mainstream 80s such as Phil Collins, Air Supply and Kenny G, these two albums were a one two revelation punch to the cranium. Ten was the first to hit, and it fired up neurons that had apparently been dormant for seventeen years. Not long after, Nevermind hit even harder, and all tethers to that safe adult contemporary radio world were completely severed. Thanks to these two albums, music became an activity rather than a passivity. I actively sought out other music and bands in LP and CD bins of Tower Records and all the other record stores that have fallen by the wayside, and I attended my first concert not long thereafter (Smashing Pumpkins, I think).
So, although I no longer follow PJ connect with Ten (or to a lesser extent, Nevermind) the same way that seventeen year old me did, a track from it occasionally pops into play from within the five-star playlist, and I smile a bit and ready myself to sing along with Eddie Vedder – unintelligibly, of course.