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Or (in reference to your profile picture) the Scissor Sisters.
2004 was a magical place.
I’m fairly sure this sort of thing has happened on the last two National albums, and it never feels like they’re actually a presence there.
Why are their best two albums in the highest two places? Something must have gone wrong at Stereogum this week (yes, it’s this joke again. But srsly.)
Actually, I realised it’s probably because it’d be better to have all these songs as MP3s, which would be nice but, given the law, impossible.
Because that’s what I said!
(srsly i dont get the downthumbs)
Moving to Spotify is definitely a good thing, it was a bit pointless limiting it to freely available MP3s as you said.
Look at Swans all the way down there…
How could anyone put At War With The Mystics above Yoshimi? AWWTM is an incredible patchy album, held up by a handful of strong singles (The Yeah Yeah Yeah Song and The W.A.N.D are the undeniably great). Yoshimi’s a solid listen all the way through though (closing track aside, maybe), and despite what you think about the pop sound they were going for on the two albums, ranking them that way round seems odd.
Just until recently Lambchop was my album of the year (The Seer pushed it down after I realised I’m obsessed with it), so I’m massively disappointed in how little attention its been getting. I think it’s more proof of January/February albums being at a significant disadvantage to albums released later in the year.
I’ve never disliked a band as people but liked their music so much.
Tame Impala = Rad Rock
Which, if anything, makes the whole ‘putting AOTY lists out in November’ even more ridiculous. El Camino is objectively from 2011, bending the rules to your own weird system is just dumb.
“So here’s the plan. Do what nobody would ever expect us to do: sign up with a major label, even though it goes completely against our ethos. Then, act entirely against the terms of the contract we chose to sign (that went completely against out ethos). Finally, we act surprised/kick up an internet shitstorm when the label inevitably drops us (for acting entirely against the terms of the contract we chose to sign that went completely against our ethos.”
“That’s a cool plan, MC Ride, but why?”
Really, what were they expecting when they signed up to a major label? As cool of an action it is, it seems like they sort of set themselves up for it, and that subtracts from the message.
So. Much. Reverb.
But Castlemania and Carrion Crawler were awesome.
I know what you mean… as much as I enjoyed Cruel Summer, the amount of synthy/reverb tracks was almost too much. It all blurred into one, long, washed out mix.
Then you’ll be the perfect person to answer my question: what happened to Survival by Muse being the official song of the Olympics and being played at every available opportunity? I don’t think I’ve heard it once.
Absolutely awful. One of the first deaths amongst classic 90s bands, much too soon.
I honestly don’t understand why Chris Brown hasn’t been collectively shunned by the music community.
Lest we forget Bloodhound Gang’s seminal release, Hefty Fine?
I can’t believe Stereogum missed Supermassive Blackhole off this list, the soundtrack to what was perhaps the greatest game of baseball in Hollywood witnessed this side of Field of Dreams.
The Rise and Rise and Fall and Rise and Fall and Fall and Fall and Fall and Rise of Michael_! XVII: Shut Up, Dude, 20th July 2012 – Things Said in the Heat of The ‘Comment’.
Coming to a screen near you!