I love Camp Cope, but I never took much to Georgia's pop music, and I think it's because pop trends in Australia are very different than those in the States.
I don't think anyone had it in on their 2021 bingo card as being Pitchfork's #1 song of the year. That was one of the biggest curve balls in year-end list history as far as I'm concerned. It's a fine song, but I thought it was one of those singles that came out, and people moved on from.
The Polachak fanbase is growingly rabidly, though, and I get the feeling Pitchfork did it because they expect (or know) her new album is going to be very well received and popular. Add to that, she's opening for Dua Lipa, so by this time next year, she could be a pretty big deal and the placement will look forward-thinking.
Yes, but will that headliner be interesting is the question. They're at the guaranteed sell-out point at this stage no matter what, and the past few years have felt safe and expected with who they choose as headliners. If they must with a rap headliner, then make it be Bad Bunny.
I remember the days when it used to be fun and interesting trying to figure out Coachella headliners. Travis obviously has to go, but when that just leaves you potentially with Swedish House Mafia as a headliner, it's starting to feel like Coachella is trying to create nostalgia for EDM in the same way we used to get hyped over the prospect of an indie band reunion at the festival, which is a mindtrip.
The album wasn't bad, and Stereogum even brought in Michael Nelson to praise it. When you get a mid-6 score on Pitchfork, though, that's the killer right there with listeners at large. That is the absolute worst range to get a p4k score because it guarantees disinterest and mixed feelings far more than getting a 5 or below.
This was probably for the best. The Middle East Club has long been operating under ownership by a guy who has been accused of sexual misconduct. He's stepped down from his position, but he's still an owner of the club. That's why bands usually decide to cancel their dates here for that reason.
Apparently they've been trying to sell the venue for that exact reason, but with a price tag of $4 million dollars and piping like that, I can see why nobody's been biting.
It's the pop culture celeb status for sure. When her romance life gets covered in Deux Mois, her tour dates sell out in minutes, and she's saturating the market with guest spots (and headliners for it,) the backlash is anticipated.
I do think artists needs to explore expanding their selection on backing vocals or guest spots, though. Phoebe probably made more off royalties from those tracks than most indie artists did putting out new albums this year.
Are you also wondering because you feel whoever they commissioned for it should return the money? It looks more like Aimee Mann or one of those aged projections of what a missing kid would like as a grown adult.
Something to consider about This Ain't No Picnic, though: It's a 2-day festival with a lot of acts, and I can't imagine how there won't be so many set conflicts that are going to force people to miss a lot of who they wanted to see, so it looks great on paper, but reality come schedule release time may lead to some tough decisions.
I also think NIN and Artic Monkeys are better headliners than two acts who borderline nostalgia acts at this stage.
Holding onto pre-sale tickets two years ago turned out to be a sound investment. With fees, they were like $180. Now people have to pay $400+.
I've seen some negativity on this lineup compared to the This Ain't No Picnic festival happening a few weeks prior in Pasadena, and while I did worry that the lineup pool would be drained after seeing theirs, this is very Primavera Sound and it's also important to note that there will be more additions.
Boston Calling has continuously been a disappointment in my eyes as its grown, but Boston has never really been the most trendy music audience either. I don't really know how else to describe it aside from "totally basic white indie listener who also likes Foo Fighters."
I think we're far enough removed from its promo cycle and initial reaction to say that Kacey Musgraves was really boring. My hope was that by year's end, it would experience one of those later blooming revelations of being better than initially thought like CRJ's EMOTION or Dua Lipa's Future Nostalgia, but it isn't, so I'm surprised to see it given any love on here whatsoever as well as how high it placed.
Primavera Sound Los Angeles is supposed to happen in September, but this is literally the lineup I would have expected them to have, so who are they going to book lol
Speaking of troll moves, this is really not much of a story if the reason behind the removal is mere technicality and his credit for Album of the Year still leaves him a contender. It says nothing about the Grammy's position on Manson if the removal has nothing to do with Manson's abusive history.
A lot of people are being negative on these albums, and I'm not sure why. I've only really given kick ii a thorough listen and thought it surpassed expectations and was more interesting than most electronic albums all year. It's as if there's a blowback against Arca all because she decided to release three albums in one week or something.
Apparently one of the guitarists was a child actor and in the original broadway production of School of Rock. He looks so adorable in his young pre-teen angst stage:
https://images.squarespace-cdn.com/content/v1/5664498ee4b078c56b529822/1467228076300-YDAPHW21R2S1DS4VWCX5/Dante+Headshot+2016.jpg?format=750w
Overall, I'm pretty underwhelmed by the re-recording of Red. The new version of "We Are Never Going Back Together" can't hold a candle to the original. The "WeeeeeeeEEEEEEEEEE" has a weird whiny tone to it, and what I'm realizing is that the songs where Taylor really began crossing over from country-pop to actual pop, such as "22" and "Trouble", may be the hardest to replicate because they were very much a reflection of both that moment in time in both her age and the sound of that moment. I'll be interested to see if she tries to tweak 1989 and Reputation slightly to modernize them rather than relive them to lesser effect.
Sorry, this was a sloppy poorly constructed comment.
I do think that there will be a reckoning to come for indie rock of a certain era where what used to pass as punk and hipstery bold and artsy will be called out, though. Black Lips members used to play naked. I remember when the guy from of Montreal stripped naked as well. Probably more I am forgetting, but it’s unsurprising that the story above happened, it is hella sketch, but back then, I can’t help but feel like it was also accepted under the “dirty hipster” image that permeated the Vice, American Apparel and Buddyhead scenes, and that was obviously terrible.
The Pitchfork article points out that Langland and Alexander later had consensual sex, which I think adds some grayness to the accusation.
That's not me defending Alexander by any means, but I will say this: There's been a lot of allegations lately and I for one would not not want to be an indie musician, because you basically have to either be a vanilla angel who only has sex within a perfectly functioning monogamous relationship, or you have to be a non cis man, in which case, go wild.
It gives me no pleasure to report that all your comment history is the story of someone who seems to be going out of there way here on Stereogum to defend those anyone facing allegations of sexual misconduct or emotional abuse, and cancellation. Probably Matt Mondanile for all I know...
Hooking up in itself isn't misogynistic, but hooking up because you have a toxic masculinity complex about it where men feel they need to get laid to prove something to their male peers is what incel culture grew from. When they view the women who hook up with them as "hoes," it's slut shaming those very women while trying to get a high five from your guy friends for getting laid. This is literally the fundamentals of toxic masculinity.
Oh, I'm sorry, did I miss something, or are we suddenly okay with young men, or men in general, referring to women as "hoes" in sexually objectifying fashion?
It kind of feels like Arca wants to move on from this whole Kick series by dumping it all at once. The fact it arrives in December also has me tempering expectations for it to be an okay listen, but maybe not anything critical.
I was at a Parquet Courts show a few weeks back, and there were a group of college guys standing behind me. Overheard in their conversation was one of the guys who looked like Jonah Hill with bleached blonde hair asking all his friends, "Getting any hoes?!" and they went around sharing their recent hookup stories.
Maybe I give the indie rock scene too much credit, but I would have thought that at this stage, it's younger fan base especially would be less misogynistic and fuckboy-like, but really nothing has changed over the years with behavior.
At this stage, seeing any news about an emo band triggers me negatively. It's unfortunate but I really can't invest myself in it anymore when there's a solid 50/50 shot that the band will be fighting allegations in a year's time.
Drake saw those $800 million worth of lawsuits mounting against Travis Scott and decided to mend bridges with oddly the lesser of Kardashian-linked evils.
This video only shows one side of the story. I was able to retrieve an alternate angle, and it looks like this was maybe some kind of setup.
https://c.tenor.com/X4GLgSuYSzIAAAAC/triple-h-thumbs-down.gif
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