(that said I appreciated what they were trying to do i.e. underground techno trends incorporated into songs it just is kind of boring and that's made worse by the fact that they SOUND bored)
My favorite song off of the new album which tbh I found pretty underwhelming, albeit I'm looking forward to seeing where they go next because I really do think they expanded their sonic pallet in some exciting ways. Looking forward to the premature evaluation or album of the week or whatever you guys give it.
Okay, true. Looking back when I was a young'un I would never have gotten into the weird stuff I listen to today if it wasn't for Kid A and some other relatively left-field stuff released by big groups. But I just hope if people who wouldn't normally listen to stuff like this listen to this and decide they like it it's because they're intrigued by what they hear, not because LA LA LA ANIMAL COLLECTIVE IS SO GOOD YOU GUISE!!!!!11!!! So case by case basis, whatever.
I really like it but it's way less accessible than MPP and if a similar circlejerk occurs around it I will seriously have to question the honesty of some people who have never enjoyed such esoteric music.
Neither of the songs so far do anything for me as songs... hopefully they'll make sense in the context of the album, because I like what I hear. They're just not satisfying as songs.
Seriously, EVOL through Dirty is basically the best (or at least my favorite) 5 album run ever. I'll never forget the first time I heard Teenage Riot, the second the guitar riff kicks in you know you're listening to something special.
Nope, definitely with you on this one. I think the confusion is stemming from Jamie XX' remarks in interviews that this album would be more club influenced, which... it definitely doesn't sound like, at least not yet.
You make a good point but the difference with Frank Ocean is that he did it in the R&B/hip-hop community which historically has been perceived as far more intolerant to the LGBTQ community in general.
Awks because I was convinced Fiona Apple's latest was Album of the Decade so far and it probably still is (at least personally) but it took way more listens to get into than this one so I'm sort of sitting here in shock that's cool guys
And just for clarification, I'm talking the decade so far, not saying I can't see an album this good being released in the next 7 years either. That would be silly.
So correct me if I'm wrong - but I'm honestly a little confused. I'm still in my honeymoon phase with this album, but to be honest I'd say it's a contender for best album to be released in this decade. It's sort of spectacular. Right? Yet I recall Bon Iver getting a far more rapturous reception when his record was released last year, and honestly, this really confuses me. Admittedly, I didn't like it as much as other people, but I understood the appeal - but what I don't understand is how this album which shows clear growth and increased maturity in a songwriter who has been growing and maturing for 20 years and, while still being well received, isn't being hailed as the second coming on places that aren't this site (cough, Pitchfork. And the only reason this really matters is because Pitchfork has disproportionate influence on opinions, but I just think it's kind of unacceptable that this isn't even the highest rated album of the year so far by them, and I loved the new Beach House.) But it's not just Pitchfork, but a lot of the other reviews I've read - namely the one in the Washington Post - take the "this is such admirable but not necessarily enjoyable" music tone and I disagree completely with that.
Whatever. I'll stop caring what people are saying about it for now. The album rocks. Peace.
Wait, just kidding, Spanish Sahara is from 2010 and on this list. My apologies. So yeah, that's a pretty glaring omission. Actually, if that's the case there are LOTS of glaring omissions.
AND I STILL DON'T UNDERSTAND NME'S MASSIVE BONER FOR THAT SONG. It's totally unremarkable.
I really like Red House Painters fan, but for some reason haven't listened to Sun Kil Moon much. RHP already has a pretty big discography that I haven't fully explored so that's probably it, but I'll probably listen to this sometime tonight.
On a different note, Laurel Halo doesn't even get an honorable mention? :(
So I'm a little late but I saw this on Friday and remembered how much I hated Bitte Orca back in '09 but for some reason I felt compelled to give it another chance last night and... damn. It's like the stars aligned or something. What.
This is kind of not a necessary argument to be started and thus should not be really an argument, but while many of the lyrics on Tidal were influenced by her traumatic rape, "Criminal" is one of the songs that is NOT about her rape and is actually about feeling guilty about taking advantage of your sexual attractiveness. So.
The Great Arcade Fire by Arcade Fire?
It's actually awfully mediocre but people don't realize it exists.
Also Who's Afraid of the Art of Noise? by the Art of Noise,
didn't the knife already officially announce though? admittedly it was in some random post about stopping discrimination against roma gypsies...but still.
" lyrically it would have to be the worst album I heard all year"
thank you. the music is definitely at least pretty and at moments transcendent, but the lyrics...they're like, meaningless. And it's one thing to do Cocteau Twins-esque vocal craziness where the voice is just another instrument, but that doesn't seem to be the point here. And people ascribing all this "create your own significance" to it...I'm really not buying it.
They pretty much hated Biophilia though. It wasn't her best effort but it got way too much shit, and at the very least Crystalline and Mutual Core are ridiculously fun and maybe even great songs. The lack of Radiohead but people's expectations for TKOL were kind of all over the place, so I'm not awfully surprised.
Saw Dawes open for Bright Eyes over the summer, and it totally turned me off. Seemed totally derivative. And to be honest, I can't get into Bon Iver, but the heaps of praise it's been getting make me want to give it another chance, since I haven't really listened since it was released.
Anyways, James Blake and the War on Drugs are too low, My Morning Jacket is too high, and I still feel like The King of Limbs was saddled by weighty expectations.
So I'm aware this article has been around for a while now, but I just realized "New Clothes for the New World" by Disco Inferno - like, seriously. That is an amazing song. They got a little attention a few months ago from Pitchfork because they got a reissue of their EPs, but damn, "D.I. Go Pop" is pretty much an unbeatable album. Legit. Hopefully someone sees this...one day...
It's not so much that it's the most blatantly pop thing they've done yet, but it's so formulaic, undistinctive, and generic. If you swapped out the vocals for that OneRepublic guy, it would be a OneRepublic song. It's almost self parody.
I'm honestly a little disappointed. The songs on the debut were left field enough to be intriguing, but not so much as to be bland and boring. He kept the lesser moments blissfully short - "Why Don't You Call Me?" etc. - but this just seems like a lengthy diversion deeper into left field, and not in the best way. The Joni Mitchell cover is great, though, as is the collaboration with Bon Iver, and I can see the first 2 growing on me...actually this might just be because I wasn't a fan of the closer. Oh well. I'll give it a few more listens.
Well it's pretty clear that Outro is cut short. And in the past, he's had 11-15 minute outro songs. So, if it turns out there are like 10 minutes of the song missing, it wouldn't fit on a single cd. Just saying.
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