One of these days I should really get around to filming a video of some nice fellows jamming out to a Morrissey song while throwing darts at a photo of his racist face. Seems like it'd be fun. Nick Cave owns, this excerpt is the exact correct take to have.
My stance on artists like Kim Petras has always been to keep my head down, listen to their music because I still enjoy it, and never say anything about them publicly that isn't criticism of their behavior. She has the jams, but I don't want to go around throwing endorsements for someone who makes songs (really, really nice songs) with an alleged abuser. All that said, does anyone have more nuanced takes on the concept of an apolitical trans pop star? I think it's kind of a shitty, throw under the bus move, but I'd be interested in hearing what actual trans people have to say about it.
I often wonder how many pieces of media, if given sentience, would scream eternally in immense agony, forever contemplating the sheer pointlessness of their own existence. Er, I mean, film bad, yo.
How much ad revenue do these Morrissey articles bring in? His name must be a pretty bankable resource for how often you give him unwarranted attention for things we wouldn't know or care about if they weren't reported on. Just let him scream into the void like every other old racist fart who has long alienated himself from polite society. We won't be missing much. Birds fly, bears shit in the woods, Morrissey is a racist asshole who made some good music that one time.
What I'm getting here is, like all previous Yorke efforts, ANIMA seeks to put its own spin on the feeling of standing in an industrial plant listening to machines in silence spearheaded by Selected Ambient Works Volume II. How well did he succeed? I'll find out for myself on Friday. Excellent write-up, Chris. I found it to be a captivating read.
Still amazed she managed to put out such an excellently produced cover when the original sounds like carbonated ass blasts filtered through a drinking straw.
It says quite a bit that there was enough juvenile immaturity and bigotry on display that you had to namecheck 4chan. Hell, that would've been my capsule review. "It's the 4chan album."
I'm going all in on this guy. He reminds me of 90's Beck, and that's nothing but a compliment. "Old Town Road" is his "Loser" and I think he's more than capable of delivering an Odelay to this Mellow Gold. Some of it could use a bit of refinement, but I see a real talent for hooks and genre melding, the most tantalizing of all combinations to my particular set of tastes. Most of the EP's missteps seem to come from its collective mish mash of hit chasing producers, rather than directly stemming from any of Lil Nas X's writing. If he really is a one hit wonder destined to fade into obscurity, I bet he'll have a cult fanbase ready to follow his music down whatever bizarre, trailblazing paths it takes.
I feel like this album almost makes sense if you envision it less as a proper Sleater-Kinney release and more as a spiritual successor to Love This Giant.
I want to say I like it, but I'm concerned that if I do so I'll reported for terroristic threats. It's a fucking pop song, and an above average one at that. Don't get so bent out of shape about this.
You forgot to report the part where he said the n-word. He should absolutely be catching shit for that. Anyway, yeah, if you point a camera at and/or harass a celebrity in public, you deserve a gun in your face. They're just people, leave them the fuck alone.
Wouldn't be that hard. When "Focus" flopped hard for Ariana Grande, her team just buried it deep in its associated album's deluxe edition and pretended it didn't exist. Of course, they album they ended up burying it in had some excellent singles on it. My confidence in Taylor to deliver is a bit low, but, at the very least, she does have a streak of incredibly poor choices for lead singles.
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