What I wrote is logical, factual and not remotely racist.
Have you ever listened to Migos? They are pure fucking id and they revel in it. I was essentially defending them not being as heinous as the alleged serial rapist who exploited the community he purports to foster.
All of this garbage is about identity politics and in my comparison I simply compared identities and how they fit their "crimes". Migos happen to be black. They also happen to be ignorant, intolerant and seemingly quite dumb. Not racist in my mind.
You're the one maybe being a little self-righteous.
False equivalence brah
Actual rape/assault by a (privileged) white person co-opting queerness/sjwness for terrible ends vs (unprivileged) gleefully ignorant black guys who are simply iignorant, intolerant dummies
I don't really find their intolerance any more sickening than the blanket statement bullshit above that isn't getting lambasted because the presumably lgbtq+ people making them occupy an irreproachable bubble of righteousness in the oppression hierarchy against all straight men.
Pretty Noose was always my favorite post-Superunknown cut. Really fucking sad context now. Thanks for the tunes Chris. Sorry you couldn't make it work.
Doesn't "bi" connote a gendered binary structure that this band clearly seeks to dismantle with their allegedly progressive views? And especially as Ben identifies with the personal pronoun "they", how would you classify someone who has sex with male-identifying, female-identifying and a non-binary-identifying person? Proper language is important. Stereogum has practically become an alt-right website right before my eyes.
Guess I'm the only one who finds this utterly boring and charmless. Loved 2, liked Salad Days a lot and thought Another One had some gold (Without Me!) but this just seems so fucking bland.
After the first couple spins I prefer "Common" by a fair margin as I think it's more adventurous, confrontational, humorous and impactful, but I find this to be a big improvement over the last Jesu collab (which should really be the only comparison). I seem to be one of the few who much prefers Among the Leaves and later to previous work, but so be it. Guy is a national treasure as far as I'm concerned and I hope he keeps up with the steady output. I'm always interested to hear his take on things. Between this, Common and the EP from a couple weeks ago, that's 4 hrs of new material before May. Pretty remarkable.
Well, I appreciate the engagement nonetheless.
The intensity, technicality, rhyme schemes, the perfection with which the beat is ridden, the cleverness of many of the lines, and most importantly that it makes me feel vicariously like I'm the shit when I sing along like many good rap songs should. I guess what I've found on other albums is that I tend to like the music and some of the flows quite a bit as separate things (esp TPAB), but think a lot is sacrificed in harmonizing the two in a better way at the expense of concept and the want to make something more artistic (which is admirable, but does not a banger make, which is what I personally want from hip hop).
I guess, like I said before, I was always skeptical when people said he's the greatest rapper alive. This is the first song unquestionably demonstrating that. After spending a bit more time with his previous work after being so into DNA, I guess I'd clarify it personally and say he's the most ambitious and artistic hip hop artist out there, but don't think he has enough body of work demonstrating that he's actually the best rapper. It's all subjective, but I do prefer the big beats and the monster-level rapping myself. Also like Humble quite a bit.
So to go back to my earlier, heavily downvoted comment saying I wished all Kendrick Lamar songs were as good as DNA: which ones are as good/better and why? Just curious what people think.
I've heard all of his stuff and liked a few songs here and there, but this is the first one that justified the hype(rbole) for me personally. If they were all this caliber I'd be on the same train as seemingly everyone else, but this is the kind of stuff that really impresses me personally
I know most people never have and never will take Riff Raff seriously, but Neon Icon was a pretty banging album with a couple of stone cold classics and only a few of missteps. Peach Panther and the other mix tapes he's put out since have been complete and utter garbage though. I was kind of rooting for the guy, but he seems to actually give zero fucks at this point instead of just rapping that he does.
Cat's Eyes - The Missing Hour
Drugdealer- Suddenly
Surface to Air Missive - My Finest Shirt
Angel Olsen - Shut Up Kiss Me
Kevin Morby - Dorothy
Woods - Sun City Creeps
Whitney - No Woman
Die Antwoord - Fat Faded Fuckface
Morgan Delt - I Don't Wanna Know What's Happening Outside
Mild High Club - Skiptracing
Great comment. Everyone talking shit will very likely be exactly the same way when they're older, but they don't have the foresight yet to see it. To think history won't repeat itself and that the old generation won't always decry the new means you think you're immune/special. You ain't. I for one will probably be listening to The Byrds and CSNY long after anything modern I'm currently jamming. Fine by me if whatever hip, young twats at the time think they're smarter and wiser because they're tapped into whatever current, sexy, flashy artistic or sociological trend is in vogue.
When I first saw Check It Out! W/Dr Steve Brule I was amazed that a show could be more awkward than Ali G at its most awkward in terms of unstaged host-guest interaction. Been meaning to check this out for awhile. How does it compare to the aforementioned?
i still haev respect for those guys because they are capable of releasing an album such as Calculating Infinity. BUT...Irony Is A Dead Scene made me want to vomit...there new stuff will probably be lame too. we'll see.
I'll continue to illegally download all your albums and delete either the whole thing or 90% of it thank you very much West.
PS, paying for content is for suckers. And no more need for even burned CDs since all the money I saved by not buying media has allowed me to buy things that I can plug a thumb drive into and play. Starving artists are the only true artists. Just doing my part.
After actually cringing my way through that, I like Meredith Graves even less than I did before, which would mean I despise her wholly and completely with every fiber of my being if I actually cared beyond the very little she merits caring about. Lauren Mayberry, while I don't care for her band and have found her brand of feminism more insufferable than others in the past think she is very nuanced, mature and intelligent by comparison.
What I've always like about fka twigs is that the music is very non-traditional and downright nightmarish at times, with amazing, hard-hitting production and that her voice and vocal melodies anchor it all into something striking and beautiful that somehow resembles pop or at least avant pop even with so little melody or a discernible beat a lot of the time that I'm just baffled it works at all. This one lacked that nasty, hard-hitting production and downright scariness and sheer atmospheric dynamism that a song like Glass and Patron perfectly encapsulates, and I'm admittedly disappointed as it seems the project was just getting weirder and scarier with each subsequent release, but somehow more pop and darkly beautiful or at least powerful. Hoping this isn't an indicator of a new direction towards "safety". The song is pretty and the melody is nice, but the juxtaposition between beautiful and ugly, soft and hard is what's always excited me about her.
This is the worst, most egregious, cringeworthy piece of sjw drivel I've ever read on this site and that's saying something. Both these artists are complete joke that anyone with an ounce of good taste can see, but saying someone isn't allowed or supposed to do something because of their race is extremely regressive, liberal fascist bullshit. I hope to god you don't actually buy what you're selling.
Sun Kil Moon just gets more comical, ridiculous, meta, experimental, polarizing and endearing with each new release. Although pretty inaccessible, even by his standards, there's some real gold on this Jesu collab. The doom and post-rock vibes are kind of jarring at first pitted against Kozelek at his most and diaristic (he's managed to outdo even Universal themes) and pure IDGAF attitude (he reads not one, but two fan letters in their entirety as part of his songs). I'm honestly interested in the guy and his life and where he'll take things next, and there are very few I can say that about. As unpopular as the guy's made himself, he's both larger than life and as relatable and human as it gets to me. "Fragile" is just beautiful.
"the minute they put something up that doesn’t align with the social justice mob mentality, the risk is too high. So you have a watering down of diversity and homogenizing of general messaging. That, as an artist, is death"
#nailedit
1. Sufjan - C&L
2. FJM - I Love You...
3. Destroyer - Poison Season
4. Deerhunter - Fading Frontier
5. LDR - Honeymoon
6. Deradoorian - TEFP
7. Martin Courtney - Many Moons
8. Braids - Deep in the Iris
9. Widowspeak- All Yours
10. Panda Bear -PBvsGM
Honorables: Kurt Vile, Ducktails, A$AP Rocky, Sun Kil Moon
Couldn't get into a lot of the hyped releases. Maybe next year.
Middle schoolers and high schoolers will always need bands like insane clown posse, mindless self indulgence and odd future so that they'll be able piss their parents off immensely and have something to feel embarrassed about later in life.
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