Imagine if Roger Waters, Thurston Moore, etc. could come out and say anything at all against Palestinian terror and incitement. Are they concerned about that? It doesn't only work one way.
Well, equating what's going on there to apartheid sounds like they willfully want to hate Israel, but I definitely agree that Israel is not unblemished. Yes of course, I want Palestinians to have their voices and rights and everything, but it's such a complicated issue that the lengths to which they went in what they wrote in that letter is doing more harm than good.
Also, I feel silly commenting about politics on a music site, but here we are. At least we all love Radiohead!
Really sad to see so much blind hatred towards Israel and artists playing there without really understanding what's going on. If anyone is claiming apartheid is happening in Israel, they are being swept away by propaganda. Hard to see some of my favorite musicians take this stance... :(
I'll admit that XO is my favorite Elliott Smith offering overall, but Either/Or was the one that got me into his world and shows that with bare instrumentation to go along with his soul, brilliance was possible. Love it.
Let's say you're with his whole sarcastic/political commentary shtick. And, I admit, his music generally sounds nice and he's got a pleasant voice ... I don't feel like the majority of his music has any replay value. I don't get the endless fascination with him.
In the end I was kinda disappointed with Why Are You OK? A few really good songs, but felt like it had a lot of filler. Dino was also solid, but it's going to be hard to recapture the glory of Farm.
Anybody notice the sign next to the little computer that says The Shins You'll be Dead March 7th 2056 - maybe the album will be out then in 2017? Shown at 2:42
Should I be as worked up as I am over the errant apostrophe in the article title?
Also, can someone tell me if I should be looking forward to this or not? I'm so indecisive today!
Can't tell if the writer is making a sly reference or has no idea, but "the show must go on" is actually also a lyric form "Road Man," a song that is also on Astro Lounge alongside "All Star."
Giving shades of Lady Gaga on American Horror Story: Hotel.
It's quite possibly their best song... but it's probably not. It's good, but I can think of several others of theirs that are better, and I only really know their singles.
This is the 4th song they've released... they put out "Solemn Oath" in the past week. Anywhoo, even without hearing this one yet (I'm at work), this album sounds like a big step up from the dregs of Mirage Rock.
I woke up this morning and watched this video and cried because it was great and know that when look at the mirror in the bathroom after I get up, sometimes I see the little boy in my reflection and wonder where he went.
I love Infinite Arms. It's honestly up there with their first 2 records as my favorite. Mirage Rock, on the other hand, was an absolute dumpster fire, so hopefully it'll be nothing like that.
Except that it's not the opener. The title track opens the double album, and it was one of the songs that really made me return to the piano as a high school kid. I found the sheet music somewhere online and spent hours upon hours practicing and playing it until I got it down. Way more to say on this, but this album was very influential on my teenage years.
Sorry, but what about this would have been fun? I would absolutely not want to (drive a long way and) spend money for several hours of hearing only a few songs and having to endure numerous interruptions. It's not 'genius', it's annoying. It may not have all been B-Cox's fault, but if I'm going to see a band I love, it's to hear them play the songs I love well. Seems like this show was just mishandled.
If you go to The Wrens' comments on their first "outtake" you posted last year on Soundcloud itself, you will see that they said that part is off the cutting room floor and back in the album.
Man, I have no many idea how many hours I spent at the piano figuring out how to play that when I was younger. Haven't played it much in a while but when I put my fingers to the keys a bunch of it comes back to me.
This happened to me at the end of May when Built to Spill came to Brooklyn. I played Doug Martsch's guitar. I will never forget that. It was an amazing evening.
RE: "On Melancholy Hill" - to your point about not being sure whether it's happy or sad, I'll paint a picture for you. I was listening to the song on a hammock by the lake at summer camp as a counselor a few years back now, waiting for the girl I was with to meet me for a few hours at night. I was really excited to see her again, obviously, as this was the start of something new, but also in the back of my mind I was worried it would end when the summer did or shortly thereafter (which it kind of did). So that experience fits the song for me, and in essence my answer would be a tinge of both.
They also played a different B-side (not "Beneath the Dunes") in Philly on Thursday night, but I don't see that popping up anywhere. I also liked it more than this one.
A friend of mine told me about and had me listen to Lonesome Crowded West literally the day after I heard "Float On" for the first time. I was a sophomore in high school and had never heard of Modest Mouse before. I liked "Float On" and was intrigued by the band, but was honestly scared when I first listened to "Teeth Like God's Shoeshine." 10 years later, I have every Modest Mouse song ever released and I like both sides of Modest Mouse, poppy/slow and abstract/abrasive. Good News is a very good album.
It's way past time that their next full-length comes out, and I'm still excited for it.
Last note: "Float On" sounds much better in context on Good News than it does just as a song on shuffle.
I don't know what's more surprising - the fact that SSPU already are releasing a greatest hits album, or that this new track is less than 5 minutes long.
I'll preface this by saying I really enjoy Congratulations for the most part, but for this album it sounds like there are a few moments that are worth savoring but otherwise it does sound meandering and unsatisfying. This could change with more listens, but honestly what I've heard doesn't really encourage me to go back and listen to any or most of it again. If this is the music they want to make, who am I to say not to, but this album just doesn't really connect with me. Sorry, MGMT.
Lonesome Crowded West is also my favorite MM album, save for perhaps Building Nothing out of Something.
I just wanted to make a point: I think they deserve recognition for making each of their albums pretty long (13-14 tracks, 60-70 min) without much filler.
You picked some good ones and some that don't belong in the top 10.
3 of your biggest omissions, in my estimation, would be Mistaken for Strangers, The Geese of Beverly Road and About Today.
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