that hot chip remix is flames, if trent keeps up this collaborative streak he's been on that would definitely be a fun pairing to see more work out of.
i was able to ignore the lyrics on her last album and i will ignore them on this one, too! this song sounds great imo! no clue what it's about and you can't make me learn.
i mean they all literally made their manager the 'fifth member' of the band, i've seen no evidence to indicate those other guys have any more creative integrity than Chris does.
i'm really loving RXK Nephew's run right now, he's more of a comedian than a rapper in some ways (his twitter is great too) but it works. here's another track from this most recent mixtape which is like a weird progressive metal song? he's just doing whatever the fuck he wants https://www.youtube.com/watch?v=DCk5j6VRt7U&feature=emb_title
yeah idk people were comparing it to movie trailers and whatever but i don't pay attention to that stuff so i guess i've missed this trend everyone is mad at. the two you've highlighted were definitely the stand outs to me as well though. the only one i didn't really love was her version of Safety Dance
in related news, Ghostface took to Reddit (yes, really) to let us know that Supreme Clientele 2 is coming next year, executive produced by Kanye and Mike Dean. wouldn't be the first Kanye or Ghost related album to never surface but if this actually happens? the potential is legendary. https://www.reddit.com/r/hiphopheads/comments/pvw79n/supreme_clientele_2_is_executive_produced_by/
loving this specificity. definitely don't hate YHF but i don't get it either, easily the corniest album in the indie canon, which is fine but it's just not my thing. that said, jesus etc goes, of course.
godspeed is really the musical and narrative finale of blonde, but futura free is an absolutely incredible epilogue that i think serves multiple purposes. after telling us all about his struggles and darkest fears for a whole album, he just FLEXES and talks his shit for a few minutes. and it's beautiful! tyler slept on his sofa, man! they go back that far! he SHOULD flex about that! everything about it is pure triumph. i think it's also a conscious choice to end the album on one last unambiguous hip-hop moment, to remind people that even though Frank is interpolating elliot smith and the beatles and cutting out all the drums, that this album is still a part of a greater legacy of black music. and then the interview is one last examination of youth, but with Frank on the outside looking in. this final bit actually hits way harder now that his brother Ryan has passed away, too.
i mean at the end of the day it's music and if you don't enjoy listening to it, i get it, but i love his auto-tune warble and honestly sing along with this song every time i hit the end of the album. it's become weirdly anthemic to me and it's honestly like, one of my top 5 songs on the record haha. frank made it, man!!!
Endless is basically a perfect 10 but Blonde is like a 14. i definitely understand the impetus to root for the more experimental little brother (i am a major Amnesiac stan) but Blonde is just such a seismic EVENT while still being so emotionally open and of course experimental in it's own way. but i'm probably biased cause i honestly think 99.9% of albums could be considered "worse than Blonde" so it's not a dig on Endless, we're lucky to have both.
the article says that Len covered Novocaine for the Soul, which might be cool but does not seem to be what actually happened here. won't have a chance to listen to this till later but i love the original song (which felt ubiquitous in the 00s and now feels like a forgotten classic imo) so i'm interested. do not care about Steal My Sunshine at all though haha
i think i misread and you're right, but if that Wrens album release is predicated on the new songs he's recently written being finished then my point stands haha
Charles seems to imply in the NYT article that maybe he's just gonna release his half of the album as like a "part one" or something, but if you think he's actually gonna manage to get himself to put out something he considers half-finished i have a bridge to sell you
article also says Kevin and Charles haven't spoken since Kevin told him about the Aeon Station album, which is a tragedy, hopefully they can make up, that kind of longtime friendship isn't worth losing over stuff like this.
revisiting the single from Celebration, Florida now, which is kind of a mess but still a song i've always had a fondness for, and "pivot to synth" is definitely a mis-remembered description, but it was a shift towards bigger and more anthemic songs from them (and there is some synth stuff in the second half lol). https://www.youtube.com/watch?v=ElTS7gv5ffQ
for whatever reason the Felice Brothers have never gotten much play in the indie press, feel like they're just a bit too far into the 'alt-country' scene or something even if that distinction is pretty meaningless in 2021. i haven't kept up with them since their weird pivot-to-synths album about florida but i'll have to check out the singles, they were my best friend's favorite band in high school so i've always had a soft spot for them.
Astley honestly kills it in that clip, his stage presence is sort of corny with all the emotional right hand moving but he can sing the shit out of those songs. wondering what's got Johnny in a tizzy? something about his tweets indicates some kind of drama beyond "lol it's rick astley"
highly recommend the show "The Other Two" on HBO Max for a great comedy with an extremely biting and mean sense of humor that still manages to build meaningful and emotional relationships between it's characters
i think Drive kind of made everyone think Refn was a sort of neon-soaked Tarantino or something but really he's more of a neon-soaked Lars Von Trier. Only God Forgives towers above Drive to me, it's much knottier, weirder, and yes, more vile, and that's what rules about it
the thing i liked about Lush was that it just sounded like four people playing in a room together, it didn't have any of the 90s throwback affectations so many of those other bands have. it just sounded like a really good indie rock album in an era where every rock album has to have some kind of punk/emo/90s bend to it to get any attention at all. obviously if the songwriting or playing doesn't work for somebody that's fair, i think Lindsay is a really interesting guitarist and singer but that's really just a matter of taste.
i don't think there's an image tag but the software will convert links that end in .jpg or .gif into images on the site, except even then half the time that doesn't work and you end up with a little blue square with a question mark.
Questlove, whose music i adore, is the starfucker of all starfuckers and i'm sure relishes the chance to meet all those Celebs in their talk show glory
i have a sort of similar feel, this record specifically was formative for me in that it was the first time a band i loved released an acclaimed album that i just did not like at all. still enjoy that first record and EP and a couple of songs off this one but i've never seen this as the massive leap others did, and to me it has a lot of the same problems i have with Chris Owen's solo work.
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