Find Me On:
I’m not saying they aren’t obviously satirical: she says as much blatantly in the song. She’s not promoting these things–only an idiot would think that. I’m just not sure if it’s successful satire if she can’t avoid using the same loaded signifiers that critique stereotypes black entertainment culture (rims, gold bars, a variety of black dancers gyrating and pouring champagne). The Blurred Lines joke is actually hilarious, but much of it feels kind of counter productive.
Glad we’re getting this kind of message, but isn’t it a bit bizarre that to criticize Miley/scum-pop at large she resorts to doing pretty much the same thing they do but she’s “sarcastic”? I’m supposed to cheer about the sexualized back-up dancers and jokey hip-hop signifiers because they’re “ironic”? Maybe I’m being uptight but I just dunno.
And by that I don’t mean that I don’t understand that the whole issue feels a little like a foregone conclusion: now that it has already happened, it’s probably a little late to try and stem the tide of unFair Usage/etc., but seriously: fuck Rap Genius
So are we psyched that Rap Genius is getting sued or nah? Cause fuck those guys.
Fishscale over Supreme Clientele, much less being included instead of Ironman? Both OB4CLs and no Return to the 36 Chambers or Tical? I understand that Ghost, Rae, and Liquid Swords comprise the hall-of-fame category for Wu solo releases, but any top five list gotta be less lopsided than this.
And Fishscale over Supreme Clientele???
Dude is clearly tired of being that character. His vine account is fading into just boring six-second clips of boring dogs, I haven’t heard him say “rap game ________” in months, and I’ve never seen an interview/video with Riff Raff where he seemed more completely unhappy being Riff Raff. I only wish the video had lasted ten minutes and ended with a classic chain-break/storm out: http://www.spin.com/articles/riff-raff-drunk-freestyle-basketball-101-barz/
Guys, it’s threads like this that make this site my primary music news joint. The articles are good, the lists are silly, and everyone here really loves the Crutchfield sisters, but the real selling point is that I am laughing out loud at internets comments right now. You guys…you’re the best.
As a serious fanboy for the better part of a decade, I have no ability to critically analyze this, but:
I saw them in Richmond last night. I grew up not only on the music but the mythology: the E6 collective in Athens, the 33 and 1/3 book (which is one of the best in the series–really solid oral history and excellent narrative of the creation of the album), the endless search for bootleg live recordings and uploaded cassette demos (anyone else remember the Shannon Monroe House demos and how insane that moment was when new NMH hit the internet?). That record wove itself into my adolescence, soundtracking long drives with nothing to think about, homework, ill-advised makeouts, family vacations, my first time smoking weed, and the moments when I truly bonded with my little brother and best friend.
I came to the show last night at a low point emotionally. I had been planning this for so long, and the intensity of what I felt leading up to it was so great, that I had no way of processing what I was supposed to be feeling. I felt like my lifetime of NMH enthusiasm couldn’t be consummated in a single night, and seeing them finally was almost too real, too tangible–the mystery and the mythology was evaporating in a regular ass show at the National, a venue I’ve been to a dozen times. I got my seven dollar cup of beer, chatted distractedly with my girlfriend, and waited to see a show that I knew would be enjoyable but would probably be just that.
It’s not that my greatest hopes were validated; it’s not that the years of passionate, obnoxious love for the band found an outlet in ecstatic dancing and screaming; it’s not that it was everything I’d hoped it would be. It was something else entirely. It was the only people that loved the songs more than I did coming back together after 15 years, taking the stage in a whirlwind of instrument switching and pogo-ing. The noisy moments were as raucous and ass-kicking as they sounded on the bootlegs of the Carrboro and San Fran ’98 shows, the quiet moments simultaneously gentle and triumphant. The horns were note-for-note perfect during these quiet parts, straining only during the frantic energy of the sped-up versions of Song Against Sex and Gardenhead, but all the more emotive and authentic for that. Snow Song pt. 1 has never, in any demo or bootleg I’ve heard, sounded more anthemic or more uplifting than last night. During the singing saw interlude in In the Areoplane Over the Sea, I saw my girlfriend wipe away tears.
All this to say: I went to the best show of my life. Not because it was Neutral Milk Hotel, but because I saw a group of people take 19 songs that they held dear and put everything they had into them. The band was having fun. Jeff was having fun. When he said thank you, which he did often, you could tell he meant it. And to Jeff I say, in return: thank you.
Yo not to rub it in but I went to the Richmond show and it was completely totally unreal.
Strongly agree. This isn’t mediocre D-Plan, this is happy D-Plan. Of course it sounds different than it used to, less wired and tense and just-sniffed-three-lines, but the lack of sharp turns and dissonance doesn’t mean that they softened or weakened their sound, just that they have different goals. And did they succeed with those goals? Pretty much my dude, yeah. It’s not Change as far as like skull-fucking heart-rending POWER goes, but it’s sets out to do something and succeeds and it’s pretty damn good so let’s dance about it.
Word. YRN is fun as hell but Gucci put out at least three tapes that I’ve enjoyed as much, and Young Scooter has an album with similar mixing problems that was as ignorant and delightful as anything this year. Migos had their moment, and a well-deserved moment, but let’s hesitate before enshrining YRN in the Parthenon
Yooo how is there only one comment on here and it’s hate? The tape is really good, and “Lil Nigga Snupe”: good God. I played that track five times in a row when I heard it.
I want “I lost a queen once” to be Drake’s default adlib from here on out.
As an unapologetic fan of this whole movement, I’m thrilled to see these bands getting some well-deserved coverage. However, I feel like some obvious front-runners were neglected (Glocca Morra, Modern Baseball, Owen, Pity Sex, Joyce Manor) if we’re going to lump all these diverse-sounding bands together. Also, the RIYL sections don’t really make sense to me…I saw very few bands that actually represented the sound of their attached band. Maybe there’s no need to provide people with unrelated reasons to listen to these bands: this is a sound that was obviously formed from mid-90s midwest emo, but it exists in its own right. It’s sometimes nostalgic and nasal but, hell, this is some good shit.
Also: saw The World Is with Pity Sex and Dads this summer and I can tell you very few of the other shows I saw around the same time could compare. There’s a vitality to the live show with these bands that gives me the energy and enthusiasm of being at a hardcore show when I was 16, but doesn’t feel like it’s trying to recapture anything. It’s a hell of a party, like any show should be.
comment of the week. in my heart, if not by votes.
Replace Fast Blood with Backwards Walk and you’ve got it pretty damn right.
If my favorite part of this album is 2 Chainz’s verse on All Me, am I bad rap fan?
Sometimes I worry that I’m bored by Pusha’s coke-brag-only thing but then a new song comes out and I remember that I am wrong and Pusha T is awesome.
I also regret posting that gif because she is actually v. frightening and scary to me in that video.
I agree, this is bullshit. A Sheryl Crow retrospective that excludes “If It Makes You Happy”? R.I.P. MUSIC JOURNALISM.
This continues the trend we saw establishing itself on Trap House III (and continuing in part through World War 3, despite the presence of so many previously recorded tracks) of a fascinatingly low-key Gucci. The beats still bang (Zaytoven’s credits in particular), but everything feels more…restrained than we came to expect from Mr. Zone 6. Gucci has developed a hushed, murmuring delivery that isn’t as sing-song as Atlanta in general has been leaning, just…quiet. He sounds more gentle and even fragile than ever, particularly on “Me” and “Cali”: the essential loneliness of “she wasn’t for you and she wasn’t for me”; “I am not a rapper,” which is usually the set-up for a brag but here is just a flat statement of statement. Even at his most ig’nant, Gucci sounds wounded and more subdued than ever for it.
I don’t think a description of how an album was made so perfectly parallels the experience of listening to said album. This album has been a central part of most of my emotional experiences from high school into adulthood. Can’t think of anything that can hold the exact place in my heart that this album does.
Anybody else feel like releasing the demo for each song isn’t much of a “bonus”? Like it’ll be cool to hear these songs but…you guys really had no b-sides or unreleased stuff to dust off?