I agree, in general. But I've never liked Dirty Projectors, and I thought their new one was more of the same.
I am an AC fan but though most of Cent. Hz. was basically unlistenable.
I feel about the same with GB's new one as I did the last: I like it but I don't love it.
All in all, none of the three albums seemed to make much of an impression on the larger music conversation this year, regardless of what I think.
As a pissed off little shit I was initially drawn to RATM's anger, but I eventually started researching what they were talking about. And even though some of it has to be taken with a grain of salt, the band's leftist message definitely redirected and reorientated a lot of my perspectives as a young teenager, for which I'll always be thankful.
Red Kross's sound is more relevant than you give them credit for.
It wouldn't totally out of place on a Ty Segall/Mikal Cronin playlist, or King Tuff, or next to Japandroid's cover of The Gun Club's "For the Love of Ivy."
I don't know why but I seem to like Riot Act a lot more than other people. Probably because in the prime of my adolescent anti-Bush fury when it came out. Regardless, I d put it ahead of both Avocado and Backspacer.
I still can't get into Twin Shadow on record, I wish he sounded like he does in the live clips I've seen, with a little more guitar pushed to the front of the mix. Anyone else think the new records sounds like another victim in the loudness wars, super compressed and at times hard to listen to?
The praise heaped on Chief Keef is fucking depressing. I just feel like the newest version of the old white guy saying this, but remember when rappers actually rapped? He has no talent or ability other than a back story of home arrest and the other depressing realities of urban juvenilia that cause privileged white people at Gawker and Pitchfork to rubberneck with the same enthusiasm as the vaudeville crowds 100 years ago. He has no ability or desire to talk about where he's from with any sort of cleverness or reflection. His clumsy delivery is barely even on the beat on half of these tracks.
I'd love to read this, but slideshows can eat my butt. I'm not gonna wait for each of these 20 pages to load just so I can inflate your page/hit count.
Jordy, you're exactly the person I'm talking about. You just rationalized the shit out of your refusal to pay for the music you listen to.
I'm not sure how illegally downloading an album from a small indie label is punishing anyone besides the artists, producers, engineers and handful of poorly paid label employees who put out the music.
"I do much more for them than you do by paying Apple for the right to download an artist’s music."
Have you been following me around town? How do you know how many shows I go to, or whether I buy fucking T-shirts or not?
Buying music is the moral thing to do. It's that simple. Unfortunately, most people don't have strong morals. Given the unethical option, if it's cheaper on people's pocketbook, and no one is looking, they will take it. They can try to rationalize it any way they choose, but it doesn't make it right.
favorites so far:
1. The Men
2. Ty Segall and White Fence
3. Cloud Nothings
4. Beach House
I'm kind of bummed I can't even get to 10 records yet this year that I really liked. I'm either broken, or this year has been weak.
Not everything Dangermouse turns to gold, a lot of it turns to shit: "The Odd Couple," "Attack and Release," "Modern Guilt" and "Broken Bells" are all either one of the weaker efforts or downright worst efforts by the central artists involved.
Shouldn't Paste's folk-leaning brand be the biggest reason why the Civil Wars should be nowhere near this fucking list? It's tantamount to a hip-hop publication listing Kraeshawn's bullshit as some of the year's best work. Shouldn't Paste have at least a modicum of expertise?
The Civil Wars make me ill. Buy some fucking standards Paste, not every Rye Whiskey Washboard band has to get press just because they bought an old hat.
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