I was hoping so! My copy arrives in the mail next week!
Idgaf about that other's site's weak review, they also weren't big fans of the Crosswords EP and that's great as well.
Just listened to that Belle & Sebastian EP, "How to Solve Our Human Problems (Part 1)." While overall it's sort of a mixed bag, "Sweet Dew Lee" is a great B&S song.
IDK I thought "Everybody Works" was pretty much perfect as it was. This sounds a bit more like the lo-fi dreamy guitar-pop of "Turn Into" to me; I think it would've sounded a bit out of place on "Everybody Works."
Fair point, I'll grant him that line. He had decent beats and a decent flow back in the day, no doubt, but he's always been severely lacking in artistic vision and expression.
Even if he can rap as well technically as, say, K-Dot, as an artist he has less talent overall than Kendrick has in one of his fingernail clippings.
I actually don't. I remember when I *thought* Eminem was good, but I've been wrong about a few things in my life (especially back in middle school and high school).
Pretty sure that's what Aronofsky was going for with "Mother." I get that he was making a Big Artistic Statement about patriarchal religion or whatever, but it was a fucking terrible, heaping pile of shit. I regret not walking out of that movie like 20 minutes in, but I just kept hoping it would get better.
This doesn't feel like a complete song to me. It just feels like one really long intro. I mean, not a bad intro (that bass line is pretty good), but a long intro nonetheless.
Also, having lived in both places, I'm pretty sure Portland, ME has a much better music scene than Boston. Anyone who gets any attention from Boston seems to flee first thing. I think it's due to the transient nature of the young people (mainly college students) in Boston, while Maine has a hardier, more self-sufficient spirit.
The big festival production companies seem to be all-in on it. I'm personally hoping, though, that the ticket-buying public isn't and that these companies take a long, hard look in the mirror and make some big adjustments in the future.
Funny how these things work. As a teenager and then in college, I used to look on with envy as Europe had all these huge festivals with great lineups and wish we would have that sort of thing here.
Fast forward 10-15 years, and the big festivals have taken over and soaked up much of the oxygen. Now I have the exact opposite view--I wish more artists with medium-large followings would go on solo tours so I could see them rip through their own original songs in a smaller venue.
I saw Bon Iver, the XX, Run the Jewels, Car Seat Headrest, Mitski and a bunch more artists at Boston Calling last spring. It was fun, but the marginal utility of seeing dozens of bands for the cost of a $250 festival ticket, imo, is far lower than that of the $35-40 per ticket I spent on Spoon and Angel Olsen shows. Granted, those are two of the best live acts in the game, but I think I would have gotten much more enjoyment out of the $250 festival ticket cost if I had spent that money on five separate headlining gigs with the artists I saw at Boston Calling. I'm sure there are a whole bunch of logistical difficulties and costs involved with arranging headlining tours that are lessened when playing festivals but dammit, as a music lover, I just love seeing a band fill up a two-hour set on their own terms.
I've seen Tame Impala live at Boston Calling in 2015 and that was excellent, probably because it was a much smaller festival at that point. Now I'm worried that the next time they play the states, it will be on the festival circuit only and I won't ever have a chance to see them perform a headlining show with new material.
Her peacock feather tattoo is really pretty.
Cardi love referring to Cardi in third person. (For real though, digging this track, a step up from "Bodak Yellow" imo.)
Justice for the whole damn album. It bops way harder than "Days Are Gone" imo, but I guess it seems like people just soured on them because of Bass Face (yes, it's very annoying, but you don't see it when listening to the album!!!) and the Tay Tay connection. Very unfair!!!
Guess it's easier than making a good album?
At this point even if she did have another "Fame Monster"-quality album left in her, she'll probably never put it out. :-(
I like that Lorde album but it definitely wouldn't make my top 20 of the year, nevermind top 10. I also appreciate that there have been some critiques of that album but they all seem like bad takes. I don't honestly have a great critique of that album aside from the fact the most of the melodies really don't click for me and it gets kinda boring and same-ish sounding after a while.
Does he really hace much of a legacy to fall back on? I honestly don't think so.
I liked the first two albums as an angsty immature teenager but it really wore old after that. And, looking back, time and my own maturity have not been kind to any of his material, including his first two albums.
Can we just let go of any notion of Eminem being a decent artist at any point in his career? He's a garbage person who can spit syllables that rhyme in rapid succession. That's about the level of esteem he deserves imo.
They have ears that seem to hear everything through a lens of either "What would rockist boomers think of this album?" or "What's big with the kids these days?"
Bjork is certainly an artist who has earned the right to our patience and active engagement. I'm not sure what to make of this album myself on first listen, but that could be a good thing -- I had the same reaction to "The Gate," and it's now one of my favorite songs by her.
She's in company with the likes of Bowie in that respect. An all-time genius, a restless creative who never stops pushing herself. ("Hunter" is a good mission statement for her career as a whole.)
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