I do that in my "Fantasy Record Industry Exec League" in my head. In my "Fantasy Newspaper Editor League" in my head I definitely chew on an old-timey tobacco pipe and yell "YOU CALL THIS NEWS!?! YOU CALL THIS A CROSSWORD PUZZLE!?!? YOU'RE OFF THE BEAT!!!!"
Nah, I wouldn't fire someone over it. I would get mad and yell a lot tho.. but not because of the severity of the mistake (which is, as you'd said, extremely minor), but mainly because I like to a. get mad b. yell a lot c. generally act like a spoiled jackass and d. thrive in situations where the egos are very big and the stakes are very small.. which, in my estimation, are the main criteria for being a print news editor. It's a good article, I was just feeling provocative, because hey, it's the intardnet.
Yeah, except HE'S NOT WRITING FOR A MAJOR WEBSITE. Minor mistake? If this went to print for a widely distributed magazine, and I were your editor, that'd be your ass. It's called accountability, and you're right, the internet needs a hell of a lot more of it. Take a little pride for fuck's sake.
The above comment is in reference to douchey-leroux (aka lee19tm) and that AWFUL STINKING CRAP SHIT link to some youtube ponce covering Christina Aguillera. He doesn't even bother trying to relate this to the actual Autolux post, and spammed this shit all over. I guarantee you this rotten jackass pervert lee19tm is the actual artist, so lee, I would appreciate it if you could please fuck off and die slowly in a fire, such that you will be disinclined to continue poisoning my beloved interwebs with your dizzy, malodorous, fuzzy fucking warbles.
This is my favorite band. Future Perfect is an absolute masterpiece, tragically looked over by the greater music journo community.. and I couldn't be more excited for a release. When I heard Autolux had finally signed to a good label and had the right support for Transit Transit, I contacted their manager to thank him and the band for persevering on behalf of their love for music, fans, and themselves. This is what the manager replied in email:
"wow! thanks for all the kind words. the band has worked very hard through many obstacles (that the fans don't even know about) to make this record. the labels they're on are great and the people at both labels are huge fans of theirs too. so autolux are in good hands. the wait will be worth it as the band has made an incredibly magical, unique record. i shall pass your email on to the band."
Just a side-note.. I have to marvel at how what used to be "cd quality" is now "mp3 quality," and how what used to be "mp3 quality" is now "streaming quality." Dude where's my fidelity. Not your fault, nothing wrong with your comment (in fact I appreciate the thought you put into the review), just thought I'd point that out.
I happen to agree with you fully. Kudos for the courage to honestly appraise the song for what you hear. I personally don't take to this musical style, though they do it better than anyone else in this sub-sub-genre. It's not bad writing, and the production is pretty good. I won't be buying this, but I wouldn't pshaw at anyone who did. Just wouldn't form a band with em.
That's amazing. I have a deep love for celtic music, and this really pulls from the ancient traditions of the celtic folk ballad.. he's both reverent of the history, and at the same time, building on it with modern verse and modern compositional ideas.. simple, brilliant. Paul Brady would be proud.
fuck remixes, and fuck remix-ING. why bother with this pilth? just torrent a contra 2 emulator and remix the soundtrack on your midi plugin-du-jour. NO ONE WILL NOTICE. you could be elected president. president dj. danger suck. fuck stereogum for this ass-crap no-talent contest. can we please have some actual MUSIC please please? or do you just want to be another digital noise maker like a new-year's rotary clacker, with nothing more to say than "clack." this shit sucks.com. go back to sucking hind-PR teat while begging for some advertising cash and maybe a free lunch with a mid-level receptionist for Capitol. www.BOOOOOOO.com.
Catchy tune, strong groove, but not my genre. All this electronic noodlery has always been distracting, but when Beck did it in the 90's, at least it was fresh, and done with tasteful tastelessness. These dime-a-dozen electro-pop slash chillwave slash whatever bands could disappear forever and I wouldn't even know to cheer.
I was sad when the song ended. Love the afro-beat groove, and the "oooohh's" section was memorable. The little electro-fizzles, keyboards, and other subtle instrumentation was done tastefully, added, never subtracted. Production was top notch, the mix engineer should get a friggin medal. Made me feel like I was inside a movie montage, which is one of my favorite feelings.
previous comment directed @ Zayin, not Kafka. I'm not a huge fan of ad hominem attacks, or having to defend my personality on internet forums. I feel like my comments were balanced and open-minded.. I think everyone benefits from mindful dissent, because it opens up healthy discussion. From Kafka's comments, I'm now really compelled to go back and give WP a more attentive listen in a different setting. That wouldn't have happened if we hadn't had a mature discussion about it.
True say about the vox. I only did two listens apiece, and couldn't really tolerate the vocals on either so I didn't give them much aural attention. Thanks for pointing that out tho, I'll listen with the vox in mind on WDMLS.
I do agree, they have some fantastic songs.. but I think the media-saturated world is starting to affect my attention span. There's just so much music out there, if I don't hear some kind of payoff in the first two mins of the song, it's like "next." Not proud of that.. but I've also started adjusting my own writing to incorporate the main hook (be it riff, lyric, or vocal) within the first minute.
Sign of the times, IDK.
Read the response below by kafkaesque. That's how you disagree with someone like an adult. This is an open forum where music lovers are encouraged to voice their taste. I found both positives and negatives in the music. My comments on song length are because, although they take a progressive/modernist approach to arrangement, WP seems limited by a pop mindset (verse/chorus).
Oh christ, now I just used "pop" and "Wolf Parade" in the same sentence. I can feel the flames (or, more accurately, flamers), starting to fan already.
FWIW, I was in a post-rock band that took a post-modern approach to arrangement, but I am limited by a pop mindset, so the songs didn't work.
Well, being a lukewarm Wolf Parade believer at best, I can say I wanted to hate these songs but couldn't. I sure as hell didn't love them, though. There are some good ideas in there, and the groove does hit the pocket, albeit intermittently. The choruses of both are hooky enough to find a market and tide over the fans. As usual with WP, I find the verses mind-numbingly boring melodically, and lyrically, it sounds like he's emulating Robert Creeley but isn't quite sure if he's going "too far" (which means, as a postmodernist, you're fucked).
I thought Ghost Pressure was altogether sub-average, but the chorus was very good. "What Did my Lover Say" was my favorite of the two.. I did find myself enjoying the groove, and the courageously meandering guitar lines. At the end of the day, his vocal approach bothers me because of my personal distaste for this never-ending wave of 80's electro-pop vocal emulation.
As an open letter to WP, get your songs down to 4 minutes, tops. 5+ minutes for these songs is completely unnecessary and grossly self-indulgent.
Rating: It's pretty cool I guess -
I'm starting a band called "Nerds With Attitudes." It's gonna be a hugely influential Nerdcore Rap outfit, with kitschy throwbacks to hugely influential bands like Wu-Tang. Example: First album name: "We-Tang, because we is what we drank." We're gonna make Spin's fuckin' short list son.
I think I agree with you. It's a way we have, in these small-ish musical communities, to forget that an overwhelming majority of people listen to radio-ready pop-candy hits; and don't have the time, energy, or interest in the emotional investment necessary to really, deeply appreciate the art and socio-cultural impact of music that we all hold so closely. Pitchfork's got their finger a bit closer to that pulse. Spin is looking at everyone, equally, even the Britney fans. Which publication is right? Both? Neither? Who knows.
In any case, I just needed a forum to vent my frustration towards kellogg's frosted mini-wheats. I can't keep that rage inside me.
These guys never cease to amaze me. While this track may not quite reach the heights of "Take Time," it has its own magic. The pretension of the spoken elements nearly (but doesn't quite) belie the unity and understanding of the emotion behind the words. When energy flows from emotion to understanding, the music feels genuine. If it flows the other way, from knowledge to emotion, it's going to feel phony, heavy-handed, preachy. Thanks to Stereogum for turning me on to this group.
Sorry, just cause Kurt was influenced by the Pixies doesn't automatically mean his album was worse, or less popular, or less influential as a result.
In my mind, the influence of your album does not "pay it backwards" to your influences.. though I may be open to debate on that one...
wow. really? just.. wow. that's like if the FDA forgot one of the food groups in the food pyramid version 2010. fucking savages at spin need a great giant butt-punch in the taint. and i'll be the one to do it if the time is right. deplorable. god DAMMIT.
remain calm folks. this is spin we're talking about here, which is about as culturally relevant as kellogg's frosted mini wheats. i mean, seriously, who eats that crap?
Oh my god I love this. Which makes me feel vaguely ashamed for some teenage reason. But sweet jesus. This makes me wanna do the Napoleon Dynamite dance on the desk in my cubicle. That alliteration there was accidental and great. Also note, I capitalized Napoleon Dynamite but not jesus. I'm so raven.
Rating: Yeah +
I love this comment. Not sure how many people know this, but I guess she had a kind of quasi-nervous breakdown and can't get on stage any more. God they were amazing together. I have to hand it to JW.. He's committed to making music his way, and won't let anything stop him. He'll go down as one of the greats.
I haven't seen her perform live, but this forum is in regards to this track, and more generally, their recorded works. For me, she sounds like she's faking it on the record hence it doesn't sell me (I know a lot about girls faking it, not proud of it, just sayin'). I'm not saying she's being disingenuous, I'm sure she actually is (or was) pissed off about whatever the hell she's yelling about all the time.. what I AM saying is that I can hear through the toughness on record.
FWIW, there are recordings of an old band of mine where I was trying convey the anger and violence I felt while writing the song.. but I didn't really "feel" it in the studio environment, and it definitely showed in the final product.
Interesting points, though we're not talking about their live performance. We're talking about a phonorecord, and (albeit indirectly), whether or not to pay money for it. It is a valuable thing to say, that their live shows are better than their records, but I can't argue with you there, because I don't like their records.
I do agree some people hate on popular stuff just cause they think it's cool. It's not. I praise that which I like and criticize that which I don't, because in this web2.0 era, where everyone has a voice, we have to be careful that comments (and the innate power they have to sway popular opinion) are fair and balanced, and represent an accurate sampling of popular taste. Honesty is nothing to fear.
God I love it when people try to invoke some half-cocked definition of art as a justification of their aesthetic taste. Also, are you so unaware that you're criticizing criticism with criticism? Jesus Christ you people bore me. Thanks for the ignoramus lecture on the "spirit of rock" you tween. In other news, I have never felt one single emotion from any Dead Weather track, ever.
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