hayyy

hayyy

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"harness your hopes" is for sure weird, but, idk "strange" is pretty iconic in terms of galaxie 500, in that i always think of the song when i think about the band. weird algorithmic shit aside i do think it's one of their most recognizable songs.
this is good but i wish jack wouldn't sing like that lmao. like lil peep doing a springsteen impression? idk. but bruce sounds so fucking good! daddy son vibes ngl ;_;
i love uncut gems but yeah i mean an actual horror film.
the ice skating scene/general vibes make me really hope the safdie bros do a horror film someday.
idk, "stay away" > "nuclear seasons," although they are both the reason i fell in love with charli.
lol @ the idea that people tune into SNL to watch the musical guests when the show has built-in legacy viewership. not to mention if you're only interested in the performances you can just watch those on youtube after the fact. i've watched the show with people generally less interested in music than me (i.e. they don't comment on stereogum) and most often they fast forward through the musical guest, no matter who it is. colbert, fallon, kimmel, et al book "obscure indie" artists, like, every week and i would posit those late night shows have less of a stable viewership than SNL does. not to mention, i often only tune into those late night shows when i'm interested in the musical guest, and i'm sure there are other people out there who do the same. lastly, i'm not talking about jack white, which was a special circumstance, and he's a showstopper. the strokes put out a new album this year. i'm referring to, again, justin bieber being booked twice in 6 months and the foo fighters, who are not promoting a new album, for the tenth time over countless other artists who've released music this year. those are just two examples, and there are countless more.
lmao who is SNL's music director? ignoring all the artists who've put out great records this year to book justin bieber twice and...the foo fighters? it's fucking embarrassing.
the lyric in "tair" seems to match up with what the band said it is, but jack definitely says the n-word in "trapdoor," right? near the beginning of the third verse: "i'm a city n**** / i was born in the streets."
jerry saltz is a moron so checks out.
i love adrianne's songwriting (once in a generation talent for sure) and adore big thief. but i just can't get into her solo stuff as much as i want to. i like the acoustic moments on big thief's records, but enjoy them most when tempered with the band's knottier, jagged performances. it's the give and take for me. but man what a prolific artist.
but they're not actually the same phonetically? and her diction is clear: she sings "...mouth, 'fuck you forever'" not "mouth-fuck."
new live band! they sounded great. wonder if this is a permanent change-up or just due to COVID. the addition of meg from hand habits is awesome.
i thought the same after their colbert performance because in a separate interview danielle and alana said they were quarantined together.
the sequencing is revelatory. i mean, "leave" into "on the floor"—fuck—listening on headphones at night, i felt like i lost control of my body and just had to dance. i actually think while containing perhaps mike's most unabashed pop moments, this record is also maybe his most challenging, in a discography that has always rewarded patient and repeated listening. it's like he took the pop moments of "no shape" and made them even more immediate, while bending and warping the meditative, atmospheric ballads into something even more askew. it feels like the musical language that mike has been developing over his past releases has fully materialized and taken shape, and the songs take their form from within that space. it's interesting how even though "no shape" took plenty of turns into darkness, it always feels like you've made it out the other side by the time the album ends. "set my heart on fire immediately" feels more confusing, ambivalent, and challenging because there is no such resolve. i'm betting that it will end up being my favorite record of mike's after some time. it's definitely its own sonic universe that demands you give into it in order to fully experience it.
i feel like mike would definitely top himself
"...every pregnant pause and operatic flourish does something or says something, even if it’s hard to pin down its exact function." low-key this sentence sounds like part of the google doc that's flagged for needing a final edit.
oh yeah! i meant hopefully it was longer on the album. the edit tag had me thinking maybe it was 5 or 6 minutes. but still a great song.
probably my favorite track of hers since "tough love" but damn this could easily be a 7-minute track. and hopefully is on the album.