I was the exact same. I hailed Hail as my favorite next to Kid A for the longest time, but every since the flawless flow of In Rainbows and the refreshing brevity of KOL, Hail does seem a bit thick. It seems like it could use a shave, but then I would be hard pressed to decide what goes. I would've said "Mixamatosis" until I saw that shit live. Dayamn.
I'm well aware how unpopular of an opinion this is, but I'd take KOL over The Bends most days. It's length only every bothered me in the way the article points out - i.e. "That's it...?" after waiting a few years. But, once I got over that, and soaked it in, I found it to be a concise, brilliant work. I truly love every song, start to finish, and that's not something I can say even for The Bends (though it is an incredible album).
"B+" or "A-" may look slight compared to the A+'s that exist before it, but it's still damn good, and for sure 100% better than Pablo in every way.
Hey Diplo, remix this (sidebar - does posting someone's GIF to Stereogum merit an online sexist legal battle?)
http://www.loopdeloop.org/wp-content/uploads/2013/04/mel_roach_GIF.gif
GIF "art" like the one Dipshit stole is definitely a thing. (Notice: much different than simply re purposing character reactions in lame romantic comedies)
DeVille, I respect the sentiment. The fact that you posted about it at all was pleasant to me. But this is exactly how American journalism has been handling them for years, which as I said above is a result of the uninformed American audience, but the two go hand in hand and cause the other.
Daniel Johns and Silverchair ended up being MUCH better than anyone out here bothered giving them credit for, and it's always kind of urked me. They always get tagged as "those Frogstomp kids." (Pitchfork reviewed The Dissociatives when it came out and gave a laughably bad and misinformed review of it).
Anyway, I get your intentions, I just wish more straight forward respect was given to Daniel Johns beyond the "Wow... this is actually kind of good, who'da thunk?"
I thunk.
Cerberus, your passion for the subject is so refreshing. I used to think I was the only American around that knew or cared about them haha. So awesome.
Although I did see them live on the Young Modern tour, and I guess there were Americans there.
FKA twigs would be a sweet duet! When thinking about Young Modern, I kept thinking St Vincent and him should team up. Her last album sounded like it would be a similar style that DJ might attempt post-Silverchair with the wacky guitar noodling and grooves.
Good point. As another counter (just for conversation sake), the journalists are only catering to their audience, and it's not like the general audience of Stereogum would know a damn thing about them either haha. America just missed out when it came to Daniel John's genius.
To Stereogum's defense, this is typical for American journalism when talking about Silverchair or related projects. America seems to know almost nothing about them post-90's, so their contemporary projects always seem shocking. I don't blame DeVille, but it becomes obvious when people haven't taken the time.
It's like if a journalist was to be shocked by Tomorrow's Modern Boxes and say "Wasn't this the guy that did The Bends in the 90's? What the hell is this?"
The Dissociatives is wacky with intent. The lyrics are complete nonsense, but Johns admitted as much. He wanted the lyrics to simply be catalyst to the melody, nothing more. Knowing his personality, it's a very fun and often humorous listen. Go check it out again, you won't be disappointed. I wish they'd do another!
From what I've heard, he did work with Van Dyke Parks again. So I'm hoping for some of that orchestral bombast that was typical of late era Silverchair.
If you knew anything about Silverchair post-Neon Ballroom, this actually wouldn't be as much of a shock. Typical American side of things to bring it back to "Tomorrow" and the like. It's a twist, for sure, but not entirely unbelievable given the direction he was heading with Silverchair or otherwise.
Diorama, Young Modern, and The Dissociatives are some of my favorite albums of all time. Quirky and whimsical in all the right ways. I'm very excited to see what he does solo.
I'll be real with ya though...
As much as I hate Kanye, I would be all over it if he (or someone) would have done the same thing at the 2001 Grammy's.
"I'ma letchu finish, Steela Dan, but Radiohead had one of the best albums of all time!"
In seriousness, I respect Kanye as an artist, even if I don't enjoy his art. As a person? Hell no. Dude's a Class A, self-righteous douchebag that is fueled by America's odd obsession with celebrity worship.
Beck, on the other hand I respect as an artist, and as a person.
Man I really wish the Kanye thing was a joke. I liked it as a joke.
Can't do that, RJ, but you knew that from me.
Kanye's a loser baby, so why don't we kill him.
http://stream1.gifsoup.com/view6/2418170/beck-loser-o.gif
I think it's cuz Lennon is never home, cuz he's too busy making badass albums under The Ghost of a Saber Toothed Tiger, and having wild tour relations with his hotter than hot bandmate/lifemate Charlotte Kemp Muhl.
Then again, Marissa Tomei. This is a tough beef to side.
I wish I could invite Uncle Noel over for Thanksgiving. He'd inevitably tell me to "Fuck off!" and I respectfully would. Then I'd go buy me the new High Flying Birds.
"The sound is so rich and full and thick that it’s really a shame it leaked in shitty-bitrate form first. "
And that is why I avoid them leaks at all costs. The artist didn't intend for that to be the first experience, and neither do I.
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