You missed that they're playing in Oxford, Mississippi which definitely counts as the South. Why they'd skip New Orleans is beyond me, though.
I grew up in south MS, so I've got to say it's pretty cool that they're playing there (and I read that they're interested in Jam Band crowds, well Oxford is nothing but those kind of kids in my experience). But I would rather have driven to New Orleans when I was a teenager. Oh well the Northeast gets a slew of choices. Yay for us.
I've never even heard Ryan Adams' music. I only know of him by several degrees of separation from his blog, which gets talked about a lot. What's he make? Counting Crows type songs? That's the vibe I've always gotten. But like I said, I've never actually heard any of the music. I missed his whole career, apparently. Boss.
Beh. I blocked VH1 from my TV years ago. Saves time when I'm flipping through the channels and it cut out those brief flashes of Bret Michaels mug when I'm trying to watch Simon & Simon and Tom & Jerry reruns at the same time. The channel's just a soap/talksoup/E network for older people who were never really into music to begin with.
The only decent things to come from VH1 were Behind The Music (which wasn't all that great) because it inspired a hilarious parody for The Simpsons; and Pop Up Video, *That* shit rocked (and I think it was also parodied briefly on The Simpsons as well).
Good lord, this is horrible. Why do singers think they don't have to practice? I'm not saying a person has to be amazing, but maybe try thinking about running through a scale or two before jumping onstage and subjecting everyone to your mediocrity. Lazy assholes.
The Grey Album was a little more than just a mash-up album if you ask me. Danger Mouse really reworked The Beatles' songs to make them much more choppy and beat-like.
Danger Mouse could have just shopped each individual beat out to a different artist, and I still think the tracks would have ended up pretty great. As it is (was), it's more like a mixtape that happens to sample only two albums.
Heh heh. I find it funny that most of these people seem obliged to stick an urban album or single into their lists (Barnes, Hegarty, Quin, Healy, Pecknold, Rossen, Owens).
Oh and look, Greg Gillis didn't list *any* indie albums! "He's so real, dude!"
Personally, I see 7.1 as a good score. I've noticed that anything that cracks 7.0 ends up being an album that I'll hear a lot of people talking about soon. I'm sure there are a lot of people that buy anything over 7.0 sound unheard.
Wow. That's absolutely the most depressing thing I've ever read. I hope to god you're not an artist.
How about this for tried and true music?: Just listen to the original fucking music that this non-innovative band is ripping. Oh, I'm sorry, "inspired by." If you ask me, there's absolutely no need for *any* more soft spoken acoustic balladry in this world.
Oh forget it. Damn near every indie band in this list is a reference to an older, usually much better band. Indie rock has become as staunchly traditionalist as a square dance.
Impressive. To be able to sing off key while still using Autotune. And he's waaay off. Really, that's quite a feat. It takes a zen like concentration to completely ignore every tone going on around you.
Also, Kanye kind of dances like an awkward white dude.
And yes, whoever mentioned it, I'm pretty sure I also saw a goose step in there.
Nerdish Tendencies Revealed:
Anyone else notice that if you were to replace the Soviets with the US and the "Umbrella Corp" in this video, this is almost precisely the plot of Resident Evil 4? The video game, that is. Resident Evil 4 is a little more Spanish Civil War-era based (although it takes place in the present), rather than WWII, but the plots are very similar.
Not that RE4 originated the idea, maybe they were both inspired by the same something else.
Weird, while I absolutely adore Sleater-Kinney, it's incredibly weird to hear them referred to in such sacrosanct terms.
I guess it has been a long time...
I feel really old.
Here's what I think (and I'm sure y'all couldn't care less):, I don't care how "Hawt" or "cute" the girls[sic] in this band are, they're a bunch of net numb nuts who are such scared-y cats that THEY DELETE THEIR OWN RANTS ABOUT THEMSELVES.
We ( "normals" ) don't get that luxury.
Here it is: The Vivian Girls are TRBL! Go home, already. You've never talked to a cute boy in your life... Stop being bitter about it.
Oh! Kiss kiss kiss!
Oh man, that was a little tougher than I thought. Prepare yourself for a bad link or two while I figure out how SG parses links:
Here's the Colbert Challenge, Autotuned with a twist:
http://media.putfile.com/ColbertChallengesKanye
And if you want to have your own fun, here's the vocals, Autotuned, with none of our nonsense:
http://media.putfile.com/ColbertChallengesKanye-SimplytheVocals01
Have fun.
^^^ I'm on it.
I'm about to see what I can do about running an entire Colbert Report through my Autotune plug. I'll be sure to post the "results". Thanks for the great idea.
How silly. If they're going to be so strident and elitist with their punk ideology, then I think they would have to consider that "faking it" at a job with cubicles would pretty much preclude your ability to be punk.
Besides, making watered down throwback-style punk rock is sooo not punk anymore.
And also, it's completely normal to turn against musicians because of their ideals. A lot (A LOT) of people to this day still won't listen to Wagner because of his Nazi leanings.
OK, this bullshit stops now. I don't care, at all, about VW (I don't think I've heard one of their songs in almost a year now) and I'm only marginally familiar with Fleet Foxes work (what I've heard here at SG so far is non-musically offensive enough that I've got no beef with it); BUT what I can't stand now is all the "why the backlash?" people. You do realize that *no one* has said one bad thing about VW in these comments, right? In fact, you're only the *second* person to even bring them up! And *no one* has spoken ill of Fleet Foxes, EXCEPT for the guy IN THAT VERY BAND who decided to post a list of albums he thought people might have overlooked (props, to that).
Besides, *none* of these bands are actually popular enough to warrant actual backlash, something akin to what was leveled against Madonna in the mid to late 90s. None of them are getting laughed out of their own country by mainstream America.
Verve Pipe? How do you people even recall such inconsequential ephemera? If not for this comment thread I don't think I would have ever thought of that band again. Or 3EB, for that matter. The mid/late 90s were terrible on so many levels...
Anyway, this whole 3EB nonsense has been extremely hilarious. Definitely one for the Wayback machine.
I passed by Roseland on my way home from work that night. One thing struck me: Of Montreal fans are *young*. I don't think I saw anyone older than 22 in line. Most of the kids looked even younger than that; I thought it was some Jersey emo-band show or something until I saw the marquee.
Also, the line wrapped around the block; when did OM get so popular? Roseland is a big venue. Do they have a video on one of the MTVs or something?
Hey, I just watched Tunde in a movie on PBS. He was great in it. "Jump Tomorrow" I think it was called? Anyway, good movie, good band. And I usually hate when musicians and actors crossbreed or whatnot.
Funny that he's once again sporting the short-haired look at the same time. I wouldn't have recognized him in the movie if I hadn't known what he looked like with his locks cropped.
The cost of pharmaceuticals is a separate issue from free health care. *Lots* of pharm companies would like to extend their drugs to poor people (in particular, poorer continents like Africa), but as soon as they make a price cut for the poor, the wealthy will demand the drugs at the same rate that Africans or gov't welfare riders pay. It's a catch-22 for them. Developing drugs is a very expensive endeavor, you have to assure those companies the chance to make a profit from their research and product, or else *no one* will be able to afford to develop any new drugs. The only other option is putting the gov't in charge of research, and they're not very good at keeping up with advances in technology, let alone microbiology and antibiotics. Not to say that these pharm company execs aren't ridiculously greedy or don't seek little more than the bottom line, but the solution to the problem is much more complicated than just giving the drugs away.
And about free healthcare, people seem to think that the money we put towards our health plans now could be put to supplying everyone with healthcare. But what about people like me, who don't pay for or have access to health insurance as it is? There's no money from me to reroute to socialized healthcare, and there are *millions* more like me in New York state alone. And, I live around the poverty line, so none of my taxes are actually kept by the government, so no extra cash to reroute there either. And it's people that can't afford healthcare (like me) that need it the most, but who's going to pay for it? I don't think my friends, family, or you should have to foot my medical expenses. Lucky for the rich kids that do pay taxes, I have an Ayn Rand-ian complex that keeps me from taking any gov't handouts.
Cool. Reminds me of how I would play with my Hot Wheels and MicroMachines when I was a young one. Speaking of which, the "MicroMachines" video games are awesome.
Eww... That means Axl Rose could be your dad!
Your moms got any ripped jeans in her closet? Did you ever find any pictures of her with a t-shirt tied to the side so it showed off her midriff?
Nah, not being in the studio for mixes is pretty much par for the course. I do mixing work for some "starving artist" type bands, and even they're rarely ever with me while mixing. A lot of bands that hire a mixing engineer separate from the recording engineer won't be around in the mix room--or even in the same state. It's boring as all hell, and besides it's easier for them to hear rough drafts of the progress rather than being in the room (god I love high speed internet). You have to train your ears so you don't get bogged down in all the noise after several hours of work and end up wanting the Bass way too loud.
And the dynamic range probably wasn't crushed by the mixing engineer, that's usually done by the mastering engineer. And even they don't like smashing the mixes, it's mostly the artists (really, it's them that are doing this, none of them would blast a mix if the client wasn't asking for it) and sometimes the labels that ask for it to be as LOUD as some other popular squashed CD.
And I don't know what's up with the WSJ, ...And Justice For All is pretty much universally considered an embarrassing production catastrophe. The songs are capital-A Amazing, but there's absolutely no Bass and no impact to that record whatsoever. Why use ...AJFA as a bar to measure production values? The later Pavement records had better post-production than ...AJFA.
We already went over this last time. This is simply "Singles" again, except it's a movie for the new indie set rather than for the Grunge kids. And actually, from the commercials, it's looking a whole lot like "Singles" + "200 Cigarettes" = "Cinema Focus Group Gold!"
However, I doubt any of the modern indie "stars" are going to be able to deliver the kind of riveting character portrait Eddie Vedder gave us in "Singles" as the drummer for Citizen Dick.
Ahh... Citizen Dick, where have all the years gone?
I agree. While SY is definitely one of my all time favorite bands, I can easily list a lot of reasons why someone might not like their music--some of which bother me, too. But yeah, there's not really much to get: it's mostly noisy music peppered with off kilter melodies, odd chords, and NYcentric beat poetry. You either like it or you don't, I don't think there's much intellectualizing to SY's music.
Man, SY fans must be getting up there in years, someone talks bad about a rabidly loved band and no one starts a bitchfest back and forth.
And leave Thin Lizzy out of this (although I get your point). Those guys were great. A band aping that style of music 30 (30+!) years later... not so much.
How can you spew such garbage and still sleep at night? I'd really *love* to hear an explanation of how Radiohead doesn't write "songs" anymore. Is it just that their conception of music doesn't jibe with what you're comfortable in calling a "song"? (And I'm sure you've got a foolproof scientifically verified method of determining "songness") Because I know that complaint--it's been unimaginatively regurgitated by millions of boring whiners about an infinitum of bands over the years--, and while it could easily be leveled (futilely) against any number of so-called experimental acts out there, it's a biiig stretch to throw it at Radiohead.
Save your obvious knee-jerk hatred of people you perceive as "hipsters" for a band that's really pitiful. You're blowing your whole guise (that you simply "love to hate", I don't know, because girls with cute haircuts or tattoos or whatever kind of scare you, or they won't talk to you or something) by getting ass hurt over a band with the chops and accomplishments of Radiohead. You're obviously studying the ways of society and trying to find what "rules" you can break to be "different", but you look like a pathetic 13 year old when you just blast on anything that's respected (and in defense of The Hold Steady, no less. Maybe you really are 13). Study, son, inform yourself with valid arguing points if you want to be taken seriously in your hate.
...and with any boombox or book shelf stereo I could have recorded any song off the broadcast airwaves of radio (those fine, upstanding, honest payers of royalties, right?! *Right.*) throughout the 70s, 80s, and 90s.
Oh wait, didn't the RIAA claim *that* was going to end the industry? So the industry is already gone then, right? What's the hubbub?
Copyright rules are unclear altogether in the digital realm. That's why there's so many problems with it. *Everything* on the internet is a copy. You're not looking *at* Stereogum right now, you're looking at a *copy* of it that you're computer downloaded. The speed of the copying simply creates the illusion that you're looking at something concrete, but you're not. So how can you honestly attach a cost to *streaming* audio? Should I have to buy every song I ever hear, since radio and MTV were killed by technology and artists are denied that revenue stream? (And if you think artists *ever* actually got paid by radio stations, you'd be quite naive) In fact, if you want to be strict with your copyright enforcement, then simply viewing Stereogum is infringement, because you now have copies of all their artwork and logos buried somewhere in your computer. Plus, you've infringed on the trademarks and copyrights of every band mentioned or pictured on this site, because SG might have their permission to make copies of photos, but you do not. In fact, the whole page is downloaded at once, so even if you don't view a specific picture, you're still liable.
Is that the world you really want to defend?
DD?! As in Dungeons and Dragons?! How old are you man?! Alright, Tasslehoff, take your ass back to the newest Orc based MUDD or whatever, maybe we'll catch you on #losers irc.
But they're both still great bands. I forgot to jot that in there. Damn sneaking around on the net at work!
And lisinening (or whatever the hell I wrote) = listening.
"Lame-orelli"?! Get the fuck outta here with that bullshit!
And you're a troll, not a flamer. Flamer's end up in ridiculously childish insult fests that are usually an extension of the fanboy-isms (For example: "xbox360, ftw! ps3 is teh suxxorz!1!"). A troll waits around in threads that are supposed to be for positive--or at least critical if it's negative--discussion of something, and then proceeds to bash said topic. Start your own blog about how Sigur Ros sucks, don't come here to vent your obviously opposed opinions on the band.
And I'm not a *huge* Sigur Ros fan, but I do enjoy a lot of their music, so let me at least attempt to describe why I find the band interesting (for the sake of discussion): I find their music very pleasingly atmospheric, it's swelling textures--in the right environment--really seem to envelop me as a listener. The absence of driving rhythm, or even time signatures altogether, creates a sort of stasis for the music to unfold and fold over itself in. There's trepid weariness to the compositions: A hopeful exhaustion, if you'll permit me a "pitchfork" like analogy (I know, it makes me sick just to type tripe like that). And about the lyrics being nonsensical: I really, really, don't care. I love Radiohead, but few of Thom Yorke's lyrics make sense to me. All I ask from lyrics is that they paint pretty pictures (which doesn't mean they have to be coherent, see Nirvana and The Pixies, two other favorites of mine) and don't make me cringe like I'm lisinening to bad teenage poetry. Other than that, I don't care if the lyrics are mangled samples from TV shows (actually I love shit like that) or absent altogether. I love instrumental music, too. The only lyricists I really think are genius are generally from the 60s and 70s, or rappers from the last two and a half decades, but I digress and this isn't the place for that discussion.
Actually you know, a lot of the reasons I like Sigur Ros are the very same ones I like Radiohead for. I'd be willing to bet you'd find the majority of Sigur Ros fans to be of the same opinion. And just for the record, I think both Radiohead and Sigur Ros are *little* overrated.
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