This handwringing is so tiresome. Really couldn't care less who he supports when it comes to his albums. To be honest, Kanye's MAGA nonsense is less embarrassing than how many seemingly sane celebrities lost their shit over Hillary Clinton before her downfall (that Broad City cameo). At least with Kanye you know he's just an idiot.
He might have more opportunities but you know that depression and suicide is a big issue with men, right? And that is because of the patriarchal society we live in.
Benji was massively overrated when it came out, doesn't deserve to be anywhere near a best of the decade list. If anyone got shafted because the music press don't want problematic people on these lists now it's Swans
Joan Shelley/Bon Iver (on CD anyway)/Lana Del Rey/Sheryl Crow (shut up) for me this week. I'm glad I stuck around long enough for Sheryl Crow to finally become sort of cool
Maybe we can get some Mac de Marco/Mitski fan type beef going between Gruff Rhys and Caroline Polachek fans over them both releasing new albums this autumn called Pang
God forbid anyone should make upbeat music these days. Are we saying that all upbeat music made in the 80s and the 2000s was meaningless and pointless?
As we enter the second half of the year, here's all of Pitchfork's 2019 BNM albums so far (wasn't sure if Beyonce counted as it's a live album but included it anyway). Will any of these be their album of the year? I guess Big Thief is the obvious main contender.
Beyonce (live album) – 9.3
Big Thief – 9.2
Helado Negro – 8.5
Weyes Blood – 8.5
Fennesz – 8.5
Jamila Woods – 8.5
Bill Callahan – 8.5
Sharon Van Etten – 8.4
Jessica Pratt – 8.4
Cate Le Bon – 8.4
Solange – 8.4
Sunn O))) – 8.4
Mannequin Pussy – 8.4
Slowthai – 8.4
RAP – 8.4
Moodymann – 8.4
Thom Yorke – 8.3
CHAI – 8.3
Nivhek – 8.3
Nilufer Yanya – 8.3
Denzel Curry – 8.3
MIKE – 8.3
Polo G – 8.3
Leif – 8.3
Black Midi – 8.2
Rocketman was OK (Jamie Bell was very good in it), but it’s still basically A N Other musician biopic. I think some of the more effusive praise has come from reviewers still traumatised by Bohemian Rhapsody and its mammoth succes and now desperately embracing a film that’s at least competent.
Walk Hard was a perfect parody of these sorts of films, which have generally been dry and all in the same mould long before Bohemian Rhapsody (Love and Mercy maybe being a rare exception?)
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