lol i don't think pitchfork actually watched this video before they agg'd it on their site: http://pitchfork.com/news/62637-mac-demarco-reviews-star-wars-the-force-awakens/
it seems like they would've added an NSFW if they had, and that "(There are spoilers, of course, so stay away if you haven't yet seen the film.)" seems earnest whereas scott's is clearly tongue-in-cheek.
anyway, this video is hilarious. i have a lot of people staring at me at work rn b/c i'm crying. thank u, mac.
oyyyyy i don't want to speak too ill of the band because i'm sure they're checking out this page or their PR people are or w/e (since this is where the song premiered) but this is really bland you guys!!! in no universe should a mix of Akon, PB&J, and Primo be considered a good thing. that is a bad-tasting music salad. Miike Snow is a good band; this song is not their best.
The first song sounds more like Charli XCX's "Sucker" than I would like. And I like Charli XCX. It just doesn't seem like the right direction for Grimes. Plus, as far as pop songs go, this is really not a memorable track. Nothing earworm-y or catchy about it.
it's a bummer that this review and the Pitchfork review open up by framing the release of TYLS as being a problem. not to sound like a dick, but that's such a facile way to write about any album, especially when the band doesn't want it to be thought of as a "surprise" album. like, engage with the work on its own. they explicitly told us that it's not a companion/b-sides/whatever you want to call it. there's no ambiguity, really! quit worrying about the narrative around it. i think there are a lot of good points made about the album itself once you get past James' initial reaction to the album's existence (especially in the last paragraph), but it's really bizarre to me that critics are so perturbed by the release schedule of all things. it's an album, not an earthquake.
confused about why u were downvoted on this. like, it might not be fair to say that st. vincent is influencing wilco b/c wilco came first, but to say that they aren't using some of the same sounds that she regularly uses on her albums is crazy. it's all over EKG and Random Name Generator.
A couple things here: as far as I know, no members of Arcade Fire are transgendered. As such, they should only be considered allies to the transgendered cause, not individuals who have the right to dictate the cause's course. Furthermore, it's really, really easy for heterosexual, cis-gendered individuals to say that using a heterosexual, cis-gendered actor is sufficient. However, given that Arcade Fire is trying to ally themselves with transgendered individuals through this video, I think it's more important to pay attention to transgendered people's reactions to this video than our own (I am also a cis-gendered person) or even Arcade Fire's. Laura Jane Grace is one of those people. In my mind, if she's wondering why Arcade Fire didn't use a trans actor, then we should all be wondering that same question. Otherwise, Arcade Fire's message is a failure because the people that they're trying to help still feel disenfranchised by the system.
Totally agree. I'm excited about Cocaine Pinata though. Production-wise, it'll be refreshing to see him step away from the hard-as-fuck, but oft-repetitive, gangster shit. On a side note, I've never heard anyone like this guy Big Kill. Dude sounds like Tyrone Biggums picked up a mic.
I don't know how Mac Miller suddenly ingratiated himself with L.A's hip-hop scene, but it's been working really, really well for him. SDS is one of my favorite tracks of the year. That sort of rhyming would've fit right in with the UOENO Black Hippy remix too.
A little disappointed he didn't involve Quelle or Danny Brown with this album. Shotgun was one of my favorite tracks of 2011.
http://www.youtube.com/watch?v=SrUmsXYZyAA
Sing About Me/Dying of Thirst is some Memoirs of A Geisha type shit when Kendrick takes on the working girl narrative. The multiple narratives are definitely the initial draw, but what I really loved was the way he cut his cadence up with those breathes in Dying of Thirst. Something about that rhythm added a lot to its power. Plus the beat is crazy good. The heaven/hell images that hang over that song are drawn out so well by the poignancy of the melody.
This might be a dumb idea, but why don't more bands use KickStarter as a means of receiving money for their music? Couldn't they just set a donation minimum (say $1m, which, given the size of the fan base for a band like Grizzly Bear wouldn't be completely out of the question) to pay for their living expenses, recording costs, etc. and live off that until they make their next record? They wouldn't distribute the music until they received the money. Yes, royalties are taken out of the equation, but if they're worried about album sales and such, as the current situation stands, why not just say fuck it to that and just make as much money as they think they can up front? I'm not at all savvy to the benefits of a record labels, so I don't know what the effects of taking out the middle man here would be, but I'm interested to know why more bands don't try this.
I wouldn't call Jeezy and Freddie "vastly different rappers" by any means. If you follow Gibbs on Twitter, you see that all he really cares about are the streets, women, and drugs. If you follow Jay Bilas on Twitter, you see that Jeezy's pretty much the same.
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