Profile 
unheard78
Website: -
Find Me On:

Comments

 +1Posted on Oct 5th | re: Premature Evaluation: Flying Lotus You're Dead! (21 comments)

Hey Patric. No offense intended with the “what if” mention. In fact, it wasn’t really about what you’ve written, so much as many fans of jazz and any other form of music seem to say. I’ve seen so many “what if Jimi had lived” stories, or “what if Jimi and Miles…” things. As for FlyLo, I hope he doesn’t identify himself as a jazz musician unless that’s what his focus will be on. He can do whatever he likes, but I much prefer it when an artist is just making their art instead of trying to “be” something.

 +5Posted on Oct 4th | re: Premature Evaluation: Flying Lotus You're Dead! (21 comments)

I’m not at all disappointed by this record, apart from it being only forty minutes long. I don’t think it’s better than Cosmogramma, but I don’t think that album is better than this. They’re both totally unique records that are high points in Flying Lotus’ career. And yes, he could have done his jazz thing differently, but that’s why it’s Flying Lotus and not Squarepusher or someone else. Squarepusher’s Music Is Rotted One Note is about the straightest jazz record from an inherently electronic-based musician to get a wide release, and it’s really good, but it’s also proggy as all get out, even if it grooves nicely in places. We can’t compare this to everything else with a “what if” attitude. Miles and company simply jammed and Teo Macero edited On The Corner together from a myriad of sessions. If Miles were alive today, would he want to do something like this, would he be unable to grasp it, or would someone be assembling his tapes to make something more presentable? Not like On The Corner is terribly easy to grasp for most folks, as it was hated when it came out, but people have come around to it. It’s not the go-to record for a Miles introduction, and it’s not taking away from the fact that Miles didn’t need to be edited to make a gorgeous noise all his own (see Dark Magus, Agharta and Pangaea for evidence, along with the sessions boxes), but it has it’s charms. As for FlyLo, I’d say the concern is more about his love of jazz and whether he does it “right”. I think he did a great job and the album is awesome. I do find it funny when non-Jazz musicians either go all-the-way hardcore prog or totally smooth when they do something jazz-influenced, though FlyLo actually touched on both sides throughout the album.

To put it really simply, I totally love this album and think it’s one of the year’s best releases. Furthermore, Herbie Hancock is on it, along with master bassist Thundercat. If there isn’t hope for an extended collaboration between FlyLo and them, there should be. And yeah, I’m not going to skip it, I still want that Squarepusher/Herbie Hancock/Brian Eno record to come out, even if they claim they didn’t like it.

Stagediving can really suck. I’m not saying always, and especially if you’re doing it right, but just jumping headfirst into any part of the audience you see fit is selfish, dangerous and irresponsible. Same people jumping on someone and hurting them would be pissed off if it happened to them, so just don’t do it if you can’t be safe and do it right. And credit to Joyce Manor for calling out the dude and bringing this point up. What’s the point in going somewhere for a fun, safe time if you’re not safe and the fun ends painfully?

Quick side story… I saw Andrew W.K. years ago at a club in Bowling Green, Ohio. The entire audience was like a giant moshpit with it surging in all directions whether you wanted to participate or not. There were people moshing, some were being dicks, and I remember one guy getting punched out for ramming into someone’s girlfriend in a clearly malicious way. At it’s worst, this girl at the front of the stage was getting crushed by the crowd and couldn’t get out. AWK stopped the show, had the people move back, helped the girl onto the stage, asked her if she was alright and let her sit on the side of the stage. He didn’t bash anyone, he just asked everyone to be more careful and then went on with the show, dedicating the next song to the girl. That’s responsible and I gained even more respect for him that day. Same thing with Johnson from Joyce Manor, I’ve got a lot of respect for that guy putting his foot down and being mature about it too. So don’t hate, you wouldn’t want your brother or sister getting hurt at a show because some asshole who doesn’t care about anyone decided to take out their aggression because “stagediving is cool” or some other bullshit excuse.

 +3Posted on Sep 19th | re: Whip-Smart Turns 20 (24 comments)

I LOVE THIS ALBUM! I played the hell out of this years before I ever heard Exile. Now don’t get me wrong, I adore Exile, but Whip-Smart is like a great secret no one seems to know about. Love it, love it, LOVE IT!

Damn, I love these guys! Glad to see they’re in a healthier place than when they broke up. And the album is genuinely great too! If they come to town I’ll have to see them, though I’ll have to be careful not to get punched. I can’t lose any more teeth.

 +2Posted on Sep 3rd | re: Premature Evaluation: Death From Above 1979 The Physical World (19 comments)

It’s not You’re A Woman, but it’s what I needed right now. Awesome album!

Yeah, it’s a very simple, almost generic, melody. Claiming it to be stolen is ridiculous. I mean, yeah, subconsciously it probably is stolen, but it’s more than likely not influenced by a K-Pop record 99% of Americans probably never heard until now.

I like that Kimbra record, but that video is annoying as hell. It’s an overdose of happy. Furthermore, that shouldn’t have been the single, so many better songs on that album.

By the way, just watched the video, which I suggest Earl do (it’s only four minutes, and I’d love to hear what he’d say afterwards). While I’ll note she doesn’t make as much fun of herself during the twerking or b-boy scenes as she does in the rest of the video, it’s clearly not meant to be taken seriously, especially when you see the end of the video. I wonder if her label had a fit editing this to make it look like she wasn’t mocking any potentially racially sensitive dance phenomenons. And it’s not that bad a song, though it’s not that great either. So let’s just get past this goofiness.

Oh, how much you wanna bet Solange still hasn’t watched the video? If you’re going to like someone’s comments where they admit they haven’t watched it, you should probably watch it yourself and have your own opinion.