Can we get some love for Gang Starr? On the same level as OutKast in my opinion.
I don’t see a problem with it. If you bought a ticket and don’t dress up, they should definitely not turn you away. But I also think that if you choose to buy a ticket to an event where they expect you to dress up, and then you choose to not dress up, you should feel awkward about not dressing up. It’s not even that difficult of a request. The option, which a lot of people seem to be ignoring, is either formal wear or a costume. So if you don’t have formal wear, just put on some bunny ears or some shit, pick a costume that isn’t too extravagant. Who cares. By buying the ticket in which they explicitly state that you should come in a costume, you are signing up to go to an event where you are expected to dress up or come in costume.
Yes. You make a lot of the points I tried to make in my comment, but yours is articulated better. Saying unlicensed lyric sites take money away from the artists is one thing, naming Rap Genius as the number one offender is a bunch of bullshit that implies Lowery is either unaware of or refusing to acknowledge the differences in the issues here.
Nah, fuck this guy. Dude’s got a serious stick up his ass, and he seems rather out of touch with the reality of the world we live in. Music piracy is never going to go away, and the best course of action is to somehow adapt it into a structure that benefits the artist. The question of how to do this has not yet been effectively answered. But his bullshit whining about one thing or another related to music piracy and attempts to shut sites down is definitely not going to solve anything or help to answer that question. As soon as these sites get shut down, 50 more will pop up to replace them soon enough (with the exception of RapGenius, which I will get to in a minute). It reminds me of the War on Drugs. Clearly not a plan that is working! It isn’t wrong to want to keep drugs off the street, but the brute force methods of prohibiting their distribution/use has been wholly ineffective, so to continue in that vein won’t solve anything. The guy might not be wrong, but I don’t think he is completely right on this either. This is duct taping a hole in a sinking ship.
And as trivial as it is to try and stop unlicensed lyric websites from existing, I might agree with the principle if it weren’t for one major exception, that also happens to be at the top of the list, and it being there kind of defines my whole opinion that Lowery is just a giant asshole. That exception is RapGenius, and to shut that site down would be the equivalent of shutting down Wikipedia for the same reasons. RapGenius is a valuable site that often times has submissions from the artists themselves, and is a very helpful tool in terms of informing the listener of the context and background of many more subtle or not easily understood lyrics. Lowery is shitting on something that I would argue makes a net positive contribution in terms of music appreciation even though they are probably unlicensed. And for that I think he crosses the line from being a Wet Blanket Who Might Have a Point to just being an Asshole.
Personally, after the shaming of the NPR intern incident, I refuse to respect what this guy has to say on any of these issues, as he seems like he’s just an bitter jerkoff from a completely forgettable, second rate 90′s rock band and is trying to make a name for himself or get paid more or whatever.
I am not sure if he contributed to any songwriting (my guess would be no) but Mitch Mitchell, the drummer for the Jimi Hendrix Experience, was a damn good drummer and definitely an important part of that band. Obviously Jimi was the most important part of the band by a comically wide margin, so it makes sense he gets overlooked, but he needed a talented drummer to keep up with him and Mitchell definitely fit the bill.
….on the other end of the spectrum, can I just say how much I fucking hate “Touched,” Colm Ó Cíosóig’s track on Loveless? It’s sandwiched in between two of the best tracks on the album (Loomer and To Here Knows When), and if you skip it entirely the end of Loomer actually transitions pretty well into To Here Knows When. It’s the only track on that album I am not a huge fan of, and I kind of hate it for that, and also because it sounds like whales farting.
It has gotten to the point where if I go on Pitchfork and see Ian Cohen has reviewed an album, I automatically disregard that album’s review/score entirely.
Yes, I am with you and Raptor Jesus on the love for Cupid’s Head. That album is one of my favorites to come out this year, and definitely his best since his debut, though From Here We Go Sublime still has it beat. I always wish The Field was more popular than he is, and agree with Raptor Jesus’s statement that The Field’s albums are all amazing and will outlast any of the niche musical trends of the last 6 years.
Hey, can you let me know if it’s going to rain? I’m sure you will find out first, since you are so high up on that pedestal.
Also this is a good cover. I think he pulls it off pretty well. Can’t wait for the album.
So….”The best songs can all be stripped down to an annoying cover by some white dude in a coffee shop.” Got it.
YEAH seriously fuck Ian Cohen. I have zero familiarity with Crash of Rhinos so I can’t really comment on that, but you are right on with his overall calculated style, where his reviews seem less about the actual music and more about hype surrounding a band or him jerking off to his own influence as a music critic. I remember reading his review of Youth Lagoon’s second album while listening to it, and he gave it something ridiculously high like an 8.7 and yet…..two paragraphs into the review I still hadn’t found one part that actually talked about the actual music of the album aside from a few pseudo intellectual sentences that used big words but said absolutely nothing when you actually broke them down. During all of this I am listening to the album that he is claiming puts fucking Youth Lagoon in the ranks of Modest Mouse (LOL) and I’m like, the album’s not bad, but he doesn’t even seem to care much about the music on it so why is he hyping it like its the fucking Lonesome Crowded West? “What’s wrong with Pitchfork,” indeed.
Yes, Cupid’s Head is just as strong as the rest of The Field’s already great body of work. It will get some shit from critics for not being as adventurous as his previous two albums, but I am a big supporter of the whole “if it’s not broken, don’t fix it” mentality a la The National, or in this case The Field. That’s not to say that it’s completely formulaic, though. It is a lot moodier than his previous albums, and also feels a lot more focused. If you liked anything by him in the past you will like this album.
Yeah I can definitely see how “No. No…” was the jumping off point for the album. Really loving this album after a few listens, looking forward to discussing it more when it drops in a few weeks.
Amazing. The man has such a gift with loops and repetition. In less skilled hands this song would just be annoying.
Same re: The Field. I am absolutely dying to hear that album, especially after finding some preview samples here:
I only listened to the first one because I want the album to be completely fresh upon first listen, but DAMN that first track sounds like its gonna be incredible.
Goodbye, money in my bank account! It was nice knowing you!
I had a similar reaction! I work in a cubicle and did everything I could not to cause a commotion, but ended up leaping out of my chair in excitement.
Yeah that Mind Mischief remix is amazing. I think it might be somewhat indicative of the direction he’s going in since he said that the new album will be more downtempo. Given that he has been so consistent in quality of output over the years I don’t think there is any reason to think this album will be any less than at least very good. I actually really liked “Sweet Slow Baby” off LSoM, but agree that “Leave It” is the weak track of Yesterday & Today. I didn’t come around to “Sweet Slow Baby” until I listened to it on vinyl, where it’s easier to pick up the subtle layering and progression of the song.
And I’m with you on not understanding why The Field doesn’t have more fans. I really wish more people listened to him so he could get the credit he sorely deserves. I have spent a good amount of time trying to find other artists who have a similar sound and come up mostly empty. From Here We Go Sublime definitely was a game changer for me too, and I had the same reaction as you after playing it hundreds of times.
Thanks for your input. It is always nice to hear from someone else who is as obsessed with The Field as me. Counting down the days until Cupid’s Head!
You probably wont see this, if not I will ask you next time I happen across a post of yours, please don’t think I am crazypants, but I remember having a conversation with you in one of these comment threads some time in the last year or so about The Field, and to this day I can count on 3 fingers the number of people I know who listen to The Field. And knowing your love for The Field, HOW PUMPED ARE YOU FOR THE NEW ALBUM??
Given your long, thoughtful posts like the one above I want to hear your thoughts on the new direction its taking, how excited you are, etc.
Matt Tong definitely is a fucking beast. I saw them once in Atlanta, and they killed. After the show, I found out that Matt Tong had a collapsed lung the entire time they played. Right before they went on it happened, and he just played through the set without missing a beat. He had to be rushed to the hospital in an ambulance right afterwards. WHAT.
Not a fan of this song. I think it’s pretty lazy at best, to take an already great hip hop track (“Fall in Love” by Slum Village), pitch it down a bit and sloppily ramble over it.
I gotta say I like this feature a lot. Reflections on past great albums that sometimes get forgotten is always an interesting read, and for albums I have loved in the past its a nice reminder/nostalgia trip.
Anyways, I started listening to No Age with Nouns, which is an amazing album that perfectly melds the ambient serenity with old school punk sensibilities. Sorta like My Bloody Valentine covering Black Flag. I discovered Weirdo Rippers later on, and was going through a rough break up at the time. It might sound super eye rolling, but hearing “Every Artist Needs a Tragedy” was a moment where I stopped and totally felt like the song hit the exact nerve and feeling I was trying to find in music at the time.
I have no real problem with this list. Personally I would have included a few more tracks off of Homework and gotten rid of “Contact” and “Make Love.” My favorite Daft Punk track is “Phoenix” off of Homework. That song is absolute minimalist perfection.
Such an underappreciated band. Emergency & I is seriously one of the best albums I have ever heard, both musically and lyrically. Cannot wait for this album.
“not trying to make music that everyone understands the first time they hear it… There’s no illusion on [Columbia Records'] part that that we’re going to turn into a Top 40 band.”
That’s a quote from them about the album. These dudes need to rest their case with this whole thing. We get it guys. Congratulations was a pretty big middle finger to anyone thinking you were going to make really accessible pop music after “Kids” and “Time to Pretend.” You don’t need to beat everyone over the head with it at this point. Just make the music and let it speak for itself.