Max the King of All Wild Things
Matthew McConaughey continues his streak of taking on surprising, challenging roles.
Honestly, I feel like the big thing that bummed me out with them started with Our Love to Admire: prioritizing the guitar. The first two albums have great guitar work, but it felt like the incredibly tight rhythm section was what was leading the ship. Songs could turn on a dime, in part because Carlos D’s basslines on those first two were just so damn flexible and smart. Once they started downplaying that some on OLtA, it felt like a lot of the “thrust”–for lack of a better word–started to fall away from the band, and it continued into the self-titled for me.
Again, I like this song quite a bit, but a more dynamic bass line would absolutely have been welcome. Oh well.
I ended up liking this way more than I anticipated. Has a sense of urgency after the first minute that I don’t typically associate with Interpol. Feels like Interpol, but still a little different in context of their “sound.” Though, it seems they trade this off for the slinky rhythms that characterized a lot of their prior songs.
No kidding. I read “Ambulance LTD” and had a real Keanu-”Whoa” moment over here.
Watching everyone go from being super psyched during that Centipede Hz radio stream to turning on the album a week or two later was certainly one of the more odd developments I’ve seen on Stereogum. Even if it’s probably the post Sung Tong’s album I return to the least, I think there’s still some really good stuff on there.
Feels is my favorite, but I still love this album so much. When I saw them post Merriweather Post Pavilion, they played a few songs off of it, and it was really interesting to see how they adapted the sound.
Also, though I have no way to prove it, I’ve long suspected that Avey Tare and Panda Bear must have really liked Goblin’s soundtrack to SUSPIRIA. When I finally got around to watching that movie a few years ago, I was struck with how much the main theme made me think of AC in horror mode. Well, up until the theme transitions into its psycho-rock thing.
I know it’s radio–and it’s just how it happens–but it’s funny to hear them talk about how one can use an ambient intro and the coming together of various strains in a song to build an anticipation for the first lyric all while talking over said “astounding” intro.
I see a lot of slagging on it around, but I’m glad to see “Bittersweet Symphony” place at the top for precisely the reasons given. That arc of loving it, rejecting it, and coming back around to is exactly my relationship with it.
Not to mention just really out of place next to a Daft Punk goof. Doesn’t make sense to slam on people not using “actual instruments” by using a band that just released a meticulously crafted album that was supposed to be using “actual instruments” to push back against contemporary EDM.