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Solomon Gumball
Jul 24, 2019


Like any decade, the first bit was a lot different than the rest of it. I expect Interpol's TOTBL in the top 50 10, Antics will also be probably in the top too. Illinois will probably be Sufjan's highest one. It's hard to tell where to balance everything from the remnants of the non-streaming era. The early 00s were indie rock and electroclash at its height and we're in a very different musical landscape now, not to mention one that Pitchfork covers a lot more than they used to. I'd expect something like Born to Die to be on the best of even thought Pitchfork panned it.

Im old

Solomon Gumball fucked around with this message at 20:44 on Sep 23, 2019

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Solomon Gumball
Jul 24, 2019


If you go on the Wayback Machine or actually remember the old Pitchfork, the reviews were tremendously biased because they didn't have much weight. I guess getting bought by Conde Nast or whatever and, in general, the genres of popularity have changed.


Yeah, Born to Die will make it because it started something in pop music. LDR has nearly done a 180 in public perception from her start, so I think there's going to be a lot of revisionism since BTD was so polarizing.

BTD is ultimately the odd album out, her discography is solid, even with this continual move to AOR, but that's popular now too. Everything from UV until now, I think critics agree are decent albums. My favorite is Honeymoon, that album really aged on me well.

Speaking of pop, I figure L something of Charli's will.

Solomon Gumball fucked around with this message at 20:47 on Sep 23, 2019

Solomon Gumball
Jul 24, 2019


Polo-Rican posted:

those are all from the '00s, not the '10s! an entire new decade has ended since then!

Oh drat lol

Gorrilla vs Bear released theirs:

http://www.gorillavsbear.net/gorilla-vs-bears-albums-of-the-decade-2010-2019/


I think Floral Shoppe not being included is a crime, that's a 2011 album that defined the genre even if Ecco Jams might be better.

Solomon Gumball fucked around with this message at 20:46 on Sep 23, 2019

Solomon Gumball
Jul 24, 2019


The Modern Leper posted:

Jesus Christ, I did not participate in this decade at all, musically.

Wait until The Quietus releases their list.

Solomon Gumball
Jul 24, 2019


Streaming really changed things, there's hope for rock but this past decade it just seemed rock bands thew in synthesizers in hopes to catch up to the landscape. Most indie rock bands still seem to be from the 00s touring mediocre albums that their fans like or playing festivals.

What is indie rock even anymore? I look at this: https://www.billboard.com/charts/alternative-songs and obviously not a rock or alternative for that matter; I look at that list can count maybe 4-5 rock bands only from the 10s and I wouldn't call some of them really "indie rock". Obviously Billboard isn't a great source.

Solomon Gumball fucked around with this message at 02:13 on Sep 24, 2019

Solomon Gumball
Jul 24, 2019


DoubleCakes posted:

I don't pay attention to every corner of the rock scene but it seems like in the last decade psychedelic rock made a comeback. Indie rock might not be as popular as it was in the 2000s but rock's still kicking.


This was the point I was trying to make in my earlier post but missed. The only rock music that is actually finding some success outside of mainstream buttrock is psychedic rock right now.

Solomon Gumball
Jul 24, 2019


If you told my Warped Tourn youth-self Panic! At The Disco would still be around and even charting high, I wouldn't have believed it.


Edit: Now what is "emo" - some people call My Chemical Romance and Evanescence emo, that's a far cry from Mineral.

Solomon Gumball fucked around with this message at 22:49 on Sep 24, 2019

Solomon Gumball
Jul 24, 2019


It's weird how Pitchfork just glosses over bands they would normally cover, like Men I Trust.


TV on the Radio is still around, didn't they have an album a few years ago? I forgot about them, didn't one of the members die too? Might have taken a hit. It did remind me of when they crushed it on Letterman.

https://www.youtube.com/watch?v=73qBnuzrjx0

Speaking of - I think a big hit for indie rock might have been Letterman leaving too. Letterman's music department picked up a lot of up-and-comers to make their TV debuts, where as the other late shows you have to be more established or they've done away with the music segment altogether. Plus, Letterman favoured rock. There were some real gems of performances on Letterman and all nearly rock. Future Islands basically got famous overnight due to their performance on it.

https://www.youtube.com/watch?v=l4r6M22oTao

https://www.youtube.com/watch?v=wGKDJXW2BNo

Solomon Gumball fucked around with this message at 05:43 on Sep 27, 2019

Solomon Gumball
Jul 24, 2019


yeah Antics is 15 years old today.

Solomon Gumball
Jul 24, 2019


Charles Bradley is a good pick. I feel like he kept growing and was on the cusp of being even bigger and having some maintstream crossover success then cancer cut that short for him.

https://www.youtube.com/watch?v=1WMxYAmKvw0

Solomon Gumball fucked around with this message at 06:32 on Oct 1, 2019

Solomon Gumball
Jul 24, 2019


CLAM DOWN posted:

That list is stupid and pointless.


Preach. Pitchfork just keeps getting worse. It's going to be Entertainment Weekly in a few years.

Solomon Gumball
Jul 24, 2019


lots of songs, less albums though. i agree the album list is the important one always with the "album dying" though idk

Solomon Gumball
Jul 24, 2019


i think history will be kinder to 3. both side albums were good, i used to like swae lee more but an album of him is a lot; wheras i was surprised slimjxmmi and his album was more flowed better. they still just work better together.

Solomon Gumball
Jul 24, 2019


Good to hear them back, Interpol used to use Battles's space to rehearse El Pintor (and I think S/T) but they mentioned for Marauder they were using the Yeah Yeah Yeahs's place. Made me think Battles might have given up the space, but maybe they were working themselves!

Solomon Gumball
Jul 24, 2019


Track 10 gets the honor deepdown because of it's placement on Pop 2. If it were anywhere else on the album, it wouldn't have had the same punch. Fans and critics rave about the production, it kind of encapsulates a good solo Charli track too. She's open about her autotune use, loves to deconstruct pop music with her friends and fellow PC Music gang. When you think the song is at its emotional peak by Charli's singing, it goes further and we get the crazy flute-y autotune that makes that track such a stand-out. It surprises when you think it can't gain more tension.

Solomon Gumball fucked around with this message at 23:02 on Oct 16, 2019

Solomon Gumball
Jul 24, 2019


resident posted:

I'll officially feel old when Night Ripper hits its 20th anniversary since that was prime college party drinking music. Greg Gillis really needs to plan some kind of mid-life crisis tour celebrating that bygone era.


I'm kinda friends with him and I don't think you're going to see that for a while. Hate to the kill the dream, but he's at the opposite end of mid-life crisis though fortunately. Seems very happy :)

Solomon Gumball
Jul 24, 2019


Kramdar posted:

Nothing made me feel time slipping away faster and also go LOL WHY more than Filter announcing a 20th anniversary tour for Title of Record. And they even remastered the album and are releasing it on vinyl. Like why would I buy that again. I loved it 19 years ago, but talk about forgettable and being lost to the moment of the pre-2000s start of radio-friendly, industrial-lite alt-rock wave that we got bombarded with back then. So many CDs that ended up lining the used sections of the Wherehouse and Amoeba, and eventually new copies filling the bargain bins of the Virgin Megastore.


People that like Filter? They did have a following before they had a few minor hits when the Gen X alt-rock hit big. A lot of those bands never broke up and just went on hiatuses (aka - had to get real jobs or had a family).

What I find great any of those bands that probably made out with the most money is Fastball. That "Bad Things" by Camila Cabillo and Machine Gun Kelly song took the melody line of "Little Things". That song was on mainstream KISS-FM stations non-stop.

Fastball got fairly listed as writers so they must have had a very surprising boon of royalties.

Solomon Gumball fucked around with this message at 21:36 on Oct 18, 2019

Solomon Gumball
Jul 24, 2019


It was a finite era because it was hellous clearing all the samples or reworking a song when you can't get clearance. From the artist to the label, it was difficult and you often had to wait. Annoying to wait on someone or label to finally clear something for a very long time when you've got a essentially a final product.

Solomon Gumball
Jul 24, 2019


Lutha Mahtin posted:

Nobody ever cleared samples for their silly mashup albums. And none of the sampled artists ever sued because music industry lawyers are terrified of losing and ending up with a court ruling that widens the fair-use exceptions for sampling.


That's not how it works. It's a business in the end. Gregg's a different and unique story. Illegal Art (his label) was about 5 people running it and handling all distribution because no other one would touch it fearing suits. I don't even think the label incorporated, lasted a very short time, with very limted number of releases. The label's on hiatus but their site's up and everything.

Gregg argued he was just using samples to create entire new compositions, so they didn't need to be cleared. Legally he's not right but that's how he saw it. The last proper Girl Talk release was free and released online. Same before, all his albums were free as mp3s online, I believe all of his releases are under some Creative Commons too.

Sample-heavy labels likes Stones Throw, definitely gets sample clearances. Madlib, Dilla, Avalanches, any song that uses a sample must be cleared if they're on a legitimate label. Other labels couldn't replicate what Illegal Art was doing without a ton of work clearning samples or fearing how many of those people come for royalties and for how much and also how to distribute it through labels abroad. Double Dee & Steinski were also one of the few other very few artists on Illegal Art and they would consciously choose samples and steer away from blantantly obvious samples from big labels. They were aware of the danger of being sued big.

A song can use one sample sometimes and take nearly all the profits from it. For some reason, I'm thinking of the comedy one-off hit Harry Enfield's 'Loadsamoney' sampled ABBA for 3 seconds. ABBA got 80% of all royalties for the song. Sometimes a song will have 2 samples only and the 2 owners will request 80% each. You can't release something at -160% profit. You can negotiate a lower royalty to just get it out, rework it without the sample, or it gets shelved.

But in the case of crate diggers like DJ Shadow, Dilla, and the like -- they try to clear the samples the best they can or work out some deal with whoever owns the rights. There's been plenty of times people have come back to get royalties when an artist samples someone very obscure or samples a bootleg. The label will make every effort to find who owns the rights and if they can't, then they gauge whether to rework it or just release it and see it the person comes out.

Gregg's a special case, Illegal Art's a special case. That's why it was lasted a short time. He can definitely go around with new music to play party concerts, but like I said, he's past that point in his life and never wanted that really.

Solomon Gumball fucked around with this message at 20:02 on Oct 19, 2019

Solomon Gumball
Jul 24, 2019


They're good about calling a 5.0 album being truly average as a baseline. I still hope to see Pitchfork go out in the next decade but they've got no competition, Stereogum ain't gonna cut it. Hopefully at least less influential.

Solomon Gumball
Jul 24, 2019


Blast Fantasto posted:

Oh gently caress off, the last thing we need in this era is more publications going out of business - especially one that sponsors as much live music as Pitchfork.

I hope a bunch of people lose their jobs and recurring music festivals are canceled because this website doesn’t like radiohead enough!!

Ian Cohen secret account found

Solomon Gumball
Jul 24, 2019


Rageaholic posted:

New Best Coast album announced! New Best Coast single out!

https://www.youtube.com/watch?v=pofZ9G0k9Vw

I wonder who wavves had to evict to shoot this video

Solomon Gumball
Jul 24, 2019





What is hyperpop? Apparently I'm into it. I have Spotify Japan so it skews things heavily.

Edit: I guess hyperpop is essentially PC Music and Kero Kero Bonito?

Solomon Gumball fucked around with this message at 19:40 on Dec 5, 2019

Solomon Gumball
Jul 24, 2019


https://www.youtube.com/watch?v=BQZmFgfchwM

Solomon Gumball
Jul 24, 2019


red dead posted:

Just ran across Beabadoobee on the BBC Sound of 2020 list.. for fans of Girl in Red, beach bunny, Clairo

https://www.youtube.com/watch?v=RPrw_Nyq88U

"She plays bass" is a good song

Solomon Gumball
Jul 24, 2019


I guess Poppy parted ways with her old producer and the "I'm Poppy" world died a hard death in 2018. The shift over the past few years have been really good. Past two albums have been really interesting.

Solomon Gumball
Jul 24, 2019


Have you looked three posts up?

Rolling Stone is doing a similar thing called "In My Room" on their Instagram with Brian Wilson appropriately leading off the series.

Solomon Gumball
Jul 24, 2019


Nihonniboku posted:

Sufjan Stevens has just announced The Ascension due out September 25th. This will be only his third solo record since 2005's Illinois. That fact blows my mind.


Carrie & Lowell
The Age of Adz
The BQE
The Avalanche
Illinois
A Sun Came
Enjoy Your Rabbit
Seven Swans
Michigan
All Delighted People

a bunch of one-offs too that aren't ambient or soundscape work like "Tonya Harding", "Love Yourself", "With My Whole Heart", etc.

Solomon Gumball
Jul 24, 2019


Nihonniboku posted:

I'm aware of his discography. I was talking about his main records, not his collaborations, b-sides, random singles, side projects, or EPs. He's put out A LOT of work. But before September, he has only put out 2 main records since 2005.

At this point though we're quibbling over semantics. Sufjan's work is vast and prolific.


Most of those aren't side projects. I don't know what you're counting, but he's released more than three solo albums by far. I could include all the side projects, which are long and I'm not about to argue about Sufjan Stevens.

He gave up on the state project, why count Illinois out of all records as his last tent-pole release?

Solomon Gumball fucked around with this message at 18:44 on Jun 30, 2020

Solomon Gumball
Jul 24, 2019


I don't foresee Sufjan finishing out the state project. He said so far as much as he bit off more than he could chew and didn't want to be writing songs like that all the time. He blew through states he's familiar with, there's only a few left. I've heard from Sufjan fans that C&L is considered the Oregon album which I get the intent, it's not about Oregon or doing the background extensive research on it. I feel he already had a good grasp on the states he covered but I think it'd be incredible time-consuming for him to research on top of writing material on states he's no super familiar with.


New Bob is a good as Tempest and L&F. Modern Times was solid, too. I still think Leonard Cohen has had him beat in the older years if these are Bob's swan songs from the vault.

Solomon Gumball
Jul 24, 2019


How has Muzz not been mentioned in this thread yet?

In short - Paul Banks of Interpol-fame has been working with his high school friend (who was in the group Bonny Light Horseman) since 2015 on music with one of The Walkmen/Fleet Foxes. A lot of comparisons to early The National especially with the baritone-bass voices that Dessner and Banks share.

https://www.youtube.com/watch?v=sfL4STVaG2U

https://www.youtube.com/watch?v=OsRSwQoOA68

https://www.youtube.com/watch?v=hvrR5Aw6BmU

Solomon Gumball fucked around with this message at 23:03 on Jul 13, 2020

Solomon Gumball
Jul 24, 2019


Emmitt Rhodes died, he cut 3 studio albums in the early 70s of baroque pop all by himself, when that thing wasn't really a thing yet. Kind of had a Nick Drake-esque following but his songs are much more a la Beach Boys, Beatles, etc. which brings me to the point he was pretty influential on a lot of the indie scene' singer-songwriters, e.g. Elliott Smith, Conor Oberst, stc. once he was re-discovered a bit. He cut another album and had one in the works before he died.

Here's his first album on YouTube. I think McCartney dubbed him a "one-man Beatle" if that's your thing. The production, especially for doing all his recording in his parent's house is surprisingly clean even amongst 70s standards.

https://www.youtube.com/watch?v=Z4TIK9K06CQ

Solomon Gumball
Jul 24, 2019


How misleading it's "gently caress you forever".

Josh Kaufman from Muzz/Bonny Light Horseman is also on the record, I posted a few Muzz videos before that post, it's a group with Paul Banks from Interpol and Matt Barrick from The Wallkmen.

I think Taylor is thinking Lana might change direction given her recent comments, but she's already working again with Jack Antonoff and I foresee her next release being much like NFR! I think she has found a sweet spot with Jack, as Lust for Life was messy with a lot of last minute changes. It'd be nice to have another Born to Die-esque album but I don't think it'll ever happen. That album was a one-off and her Lizzy Grant roots have shown since Honeymoon, which fared better than Lust for Life in cohesiveness. It's obvious her personal life is still searching around the 60s with those who are still alive (Baez for example) and the kids of those who aren't (Sean Lennon and Adam Cohen) and being kind of boring and bougie. It surprises me that for all the 60s living she has never once brought up Bob Dylan.


The label didn't know what to do with Lana after Born to Die, that's why Paradise exists, as a time-buyer. Her unreleased catalog is one of the best in pop right now, up there with Kylie Minogue's. Lana at least has performed some of those unreleased tracks (Serial Killer, Us Against The World). I think she was really smart taking the outline of UV to Dan Auerbach to produce. The label hated it since it was so slow but by that point there was no more time to buy.

Speaking of Kylie, her country phase lasted only an album and she's back in with an album called Disco on Nov. 6, first single:
https://www.youtube.com/watch?v=pRzwD2LLXSI

Solomon Gumball fucked around with this message at 14:25 on Jul 24, 2020

Solomon Gumball
Jul 24, 2019


Tainen posted:

Lol I heard he lyric as “mouth gently caress you forever” when it’s “mouth, gently caress you forever” which I guess makes more sense.


Haha you got me excited since it's a pretty raunch lyric and then I listened to the context. I don't know if it's Scooter. Taylor on the outside feels like she holds more animosity toward Braun, and rightly so. Kanye made a spectacle and wouldn't let up, but Braun has her works. I think this whole album is a bit more freer given she owns her poo poo now and maybe feels like she doesn't have to cater to fans since ME! flopped so hard and was formulaic for her fans it seemed.

The only thing that could make it Kanye is the lyric "they say move on" which a lot of Kanye and Swift fans both had sentiments about the whole Snapchat/MTV awards thing as the animosity continued into this year.

Solomon Gumball
Jul 24, 2019


Secret Machines have reunited, first single:

https://www.youtube.com/watch?v=vQb6IYO2jio

Solomon Gumball
Jul 24, 2019


Oxxidation posted:

Matt Berninger’s solo album came out today

I like it when the mumbly man sings the sad words


If you like him, check out Hayden who has been around longer than The National and played on Matt's album along with Andrew Bird who is all over it.

I think he uses his full name now too, but he was supposed to be the next Jack Johnson type deal out of Canada in the mid-90s for a major and he hated it and started releasing stuff on his own, he got into a bit of alt-country phase but most of it's sad indie rock. "Bad As They Seem" was supposed to be his breakout hit and hasn't dated well lyrically (he changes it live), "Dynamite Walls", and "Bass Song" were some minor hits in Canada but writes some of the saddest songs next to Leonard Cohen and Elliott Smith. Matt and The National began speaking about him interviews, befriended him, and it revived his career, got signed to Arts & Crafts, and is pumping out new music.

I recommend "Instructions", "Hearts Just Beat", "Orange Curtain Light", "Let's Break Up" (for a happy sad song), "More Than Alive" "drat this Feeling" (the whole "In Field & Town" was a great album), "Did I Wake Up Beside You?", "Lonely Security Guard", "Dynamite Walls", "Bass Song", "The Hazards of Sitting Beneath Palm Trees", "Home By Saturday" (him at his peak alt-country), "You Are All I Have", "Tragedy", "You Were Loved", "Choking", "Wasting My Days Away", "Woody" is the fan favorite because it's about his cat.

Anyway, The National saved the guy's career and got him to sign to Arts & Crafts for a couple of albums after disappearing and now he's back. I'm not a fan of The National but they were influenced by the guy and helped him start making music again and I'll always love The National for that.

Solomon Gumball fucked around with this message at 18:22 on Oct 18, 2020

Solomon Gumball
Jul 24, 2019


abraham linksys posted:

we need to stop jack antonoff

st vincent overreacting to accidentally destroying sleater kinney with drum machines by making a 70s singer songwriter album is very funny at least

Agreed dude is over-rated. I hope he's not the producer for the next June 1st Lana del Rey album but they probably made a ton of songs. I wish she'd got back with the original producer or Aueberbach. And songs like Yosemite have sat around forever, it was supposed to be a duet with Marina (and the Diamonds) originally.

For what it's worth I really like Lana, like her unreleased material when she was trying to make it in the 20s and her hard drives got stolen are all great stuff, same with stuff that didn't make the UV cut when she scrapped the entire thing an Auberbach came in. But since Antonoff came in, it's been boring. I think NFR is slightly better but there are some really strong songs on Chemtrails -- the title song, Breaking Up Slowly, and White Dress are all great, Tulsa Jesus Freak is pretty good too, but there are points where she sounds like she's really retreading NFR ground. Antonoff really neutered some of the good NFR tracks to fit the flow of the album I assume, but stuff like Cinnamon Girl had much more hitting trap and he really toned it down.

She announced an album for June 1, I figure Antonoff is on that,, they probably made a lot of material to cut it into two albums to be released. at least it's new music from an artist I like which has been a big drought. Lana just gets credited for singing and mellotron on NFR. I think the title gave it some early hype but her shift to AM gold folk music has been hit or miss. Her last real cohesive album was Honeymoon. The Label ruined Lust for Life, the demos for that before she secured the duets had much better lyrics.

I'm glad Lana's around after the whole initial backlash. She may be out of touch but she can write a few good couplets that take some clunky lyrical choices but I always like that in artists willing to take the risk.

I think NFR got overhyped straight from the start due to the title, it has good songs but it has a lot really boring songs, and the same with this one. The ratio of good to just mediocre has increased since she's started working with Antonoff.


fun. had like one mild hit back in the day too, wasn't he part of that? I saw them at some swanky hotel in San Francisco play for free and they just played in the corner while most people socialized. He must be a decent guy since it seems a lot of women trust him, no big scandals but his production is just boring and he cannot play to adequately all the big acts he's taken on effectively.

Solomon Gumball fucked around with this message at 09:55 on Mar 24, 2021

Solomon Gumball
Jul 24, 2019


SIgh, here's my long rear end reason why I like lana. I like Lana because unlike the narrative that was initially told, she worked her 20s off trying to get signed. Her unreleased catalog when her hard drives were stolen contain some of the best unreleased pop next to Kylie Minogue's to me, which is the best and gold standard to me.

Her sound has changed. I think this is my 2nd to the least favorite album after the label mulled "Lust for Life" (if you saw any initial promos and the original demos, it has a much more coherent and decent album). She got too many people. She openly sings about wanting to kill herself on "Beautiful People, People Problems" because of the press and the whole lyrics changed once she got Stevie Nicks. Give it a listen and tell me that's not a better song than what was recorded just because Stevie Nicks was secured -- https://www.youtube.com/watch?v=OXUlLpXYvbM

She's found a wheelhouse in late 60s-early 70s folk and into that. NFR! got by on the hype of the name but ultimately it was lacking, mostly I think to do with Antonoff and she's not so sad anymore, but better than "Lust"'s messiness.

For what it's worth, I think the first three albums and her earlier unreleased stuff are were she is cohesive and really shines. You listen to Ultraviolence or Honeymoon as records, it's like stepping into a fictional world that she has audio illustrated and done really well. It's not everyone's cup of tea but if you can venture into it and like it, then you find yourself really liking it. I think that's hard to do as an artist to create a landscape that immerses a listener into the artist's own little world she's made.

I didn't like NFR! as much, Honeymoon is probably my favorite then BTD and UV are apples and oranges in terms of how good they both are.

The other thing I like about her is after being being in bands, not being Lana del Rey, etc. she was puts up local to the area she's playing. I think she played New Mexico or something, and the opener she wanted was a native panflute player or something like that. I appreciate she gives no-names a chance because I think she realizes the struggle of finally maiking it, then had to deal with the negative reaction when she finally cracked in. it's not like her dad just went to Capitol Records, opened a brief case with tons of cash and told them to sign her based off some demos. She worked hard just to make it.

The label had no idea what to do with her after Born To Die and it all those demos show that, she recorded UV and didn't like it or the record company's reception and basically told them to go gently caress themselves, she chose to work with Dan Auerbach. Even then the label was unhappy because "there's no single, everything's under 90BPM" they complained but time was running out on trying to release a sophomore album and it worked in her favor.

Lana's been born with a silver spoon in her mouth, she's rich and out-of-touch and needs to shut up, but she definitely is a credible artist in mind and how the lies of "she bought her way in through her rich dad" isn't true when it comes down to it. She had money to gallivant around, act out fantasies like being trailer trash queen for her Lizzy Grant/Lana Del Ray album and before that, but otherwise she worked incredible hard. She's had songs like "Yayo" and many others in her backpocket since her late teens (and many others that still haven't ever surfaced or slight nods lyrically go back at least to 10 year old material on her songs that were pretty solid) when she tried to get into music. She tried solo, she had a band (called The Rich Whores, a lot of that material still hasn't leaked but it's a full-on rock band with a heavy version of Yayo) in and didn't really come onto the mainstream until 30, which is hard to do.

https://www.youtube.com/watch?v=wM_3pdnz0Nw
compared to
https://www.youtube.com/watch?v=G29rYfaxNaU

She's going in the direction I find pretty boring and think the Nikki Lane song is the best one, White Dress, and the title track are the only ones that really grab my ear. I don't like her production with Antonoff.

She's got another album coming out in June, I assume it was recorded with Antonoff again, hopefully he doesn't continue to maul the production (see "Cinnamon Girl" off NFR!'s original was harder hitting and he neutered the thing to flow with the album). He's a very overhyped producer.

That's my stupid long defense of Lana. She crafts a world like no other pop star, it's sad, it's foggy, it's mysterious in an age where that's hard. She at least has the guts to tell Azalea Banks to right back at her and told her "you know my address bitch, pull up" even after writing a nice song about her before ("Art Deco" of Honeymoon is clearly about Banks).

She's rich, out of touch, but not as stupid as people think and creates good pop music and has evolved into what I think she's wanted despite getting no airplay outside of her stans/fanbase (you don't hear her on the radio or anything). She has multiple times told off her label and somehow she gets by. I like Lana's music a lot and she was nice to me when I saw her behind Amoeba when she blew up and I had no idea who she was. I used to go to the bar next door and Amoeba shares a back street area so she was smoking a cigarette while all those fans were clamoring outside when "Video Games" was huge and was genuinely a nice person and maybe relieved I wasn't some crazy stan. It's hard to be a pop star, even artists like Charli XCX has expressed ire over her fanbase and having to sign bottles of poppers ad poo poo. They're trying t be artistic in their own way at least but the fans ruin it. Lana is just out of touch a lot because she was born rich and doesn't know anything different. She needs to shut up, her poetry is an obvious grab at her trying to be female Leonard Cohen which never works when you're already am musician, you have to a poet first like Cohen was.

When I finally became a Lana fan, I was amazed by the unreleased stuff and realized a lot of her songs are not just made up and she's stuck true to herself even if it gets her in trouble after working over 10 years to finally crack in, editing her own videos, etc. I respect she's not just a product of a label. That said, her concert I saw after UV was horrible, no wonder people hate Lana fans and a lot of pop music stans. The police had to escort about 30 people away after a fight broke out during "You and Beautiful".

Apologies if this is all over the place or I repeat a point or two, I'm ignoring a zoom conference that's unimportant. Ultimately, I think she is the real deal, needs to learn to shut up but I admire the fact that she knows drat well her takes are bad and still says it, it's not like what she does is highly level bad poo poo like Banks does to musicians or the drama you have with others like Rhianna/Chris Brown, Megan Thee Stallion/Tory Lanez, etc.

These people are not role models and to be an artist you have to be kinda hosed up but not that hosed up so you can drive yourself to write and record. I admire her work ethic a lot that isn't ever mentioned by people because they're unaware and admire she has gone her own direction, label be damned. Her career is very long and complicated but ultimately when does speak out, she can come off dumb and just out-of-touch. I don't know why anyone doesn't expect that from someone born rich her hole life, it's not like she hasn't had some crazy problems of her own (UV is all about her being a cult sect of AA in upstate NY, her home area, that's really hosed up -- there's a good story there). Shutting up finally, I'll just say she's had an interesting life and I want to hear more about because the songs she writes often are about a lot of the same experiences and expanding on them. But yeah, she's tone deaf when it comes to regular people mostly but she's cut her chops a lot more than people think, smart musically, willing to take chances on clunky-rear end lyrics (which I like), and has the ability to draw you in if you like her and can drop preconceived notions that came out way back when BTD was released.

Phew sorry for writing the next Swann's Way about loving Lana del Rey. But I do like her a lot and when you get into her life a bit through the music, she has a lot of interesting things and experiences to tell. Also I just like chanteuses and there aren't much "sultry" one in pop, she can belt out vocally, but she lingers like smoke instead.

Whoever wrote that article on Vulture is pretty ignorant of her full career. Yeah she was nervous on SNL, she was Letterman next week and killed it. She was rich and got some plastic surgery, she sings opening about not liking her appearance and having issues with that. She's not mega rich by any means, her dad bought and squat domain names on the fist dot com bubble and sold them when the internet got more popular and people needed those domains, hardly glamorous for the Grants to make their money, but they did. Expect a rich person to be out of touch and God forbid have problems like any other human.

Solomon Gumball fucked around with this message at 22:39 on Mar 28, 2021

Solomon Gumball
Jul 24, 2019


DC Murderverse posted:

Lol everyone pretending that lyricism didn’t peak with “my pussy takes like Pepsi cola”

Edit: 100% serious question: did Lana pick Pepsi because


Lana has used both Pepsi and Coca-Cola in various other songs. I think she just used it because it sounded better to her.

I'll admit the last three Lana albums have been real hit-or-miss and continue on the trajectory of miss. Chemtrails, White Dress, Tulsa Jesus Freak, and Breaking Up Slowly are the only songs that grab me in any sense off the latest.

Like I said, I like the first three great for me, label hosed with the fourth too much, and Antonoff bores the poo poo out of me production-wise no matter who he works with even though the new St. Vincent is good, it probably could have been better without Antonoff just like the rest of them perhaps the exception is CRJ. Unfortunately my favorite female pop artist in the past few years has been Kim Petas, who works with Dr. Luke pretty much exclusively. :\

Solomon Gumball fucked around with this message at 06:18 on Apr 18, 2021

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Solomon Gumball
Jul 24, 2019


https://www.youtube.com/watch?v=gGGPMTvfYb4

KKB's set

An aside, I just can't get into the other two tracks on Civ2 besides Princess. Glad I saw them live post-Civ1 but still while doing a rock set, songs like Battle Lines translated great to guitar. They also did a cover of U2's Vertigo that the Gen Z crowd moshed to and and the guy next to me asked his friend if it was a new song. Sigh...

I wish there was this much interest in Secret Sky when Wed Camp was still a group, given it was their fourth only and last show in the US. I highly encourage xiangyu (the other two members of the group are behind her now) and both of Kenmochi Hidefumi's albums (Footwork and Townwork) if you liked them. Kenmochi pretty much did everything for that group from lyrics to production except the last album/EP is where KOM_I is going off to. Kind of tangential, but KKB expressed admiration for them back when they were still using their Japanese name and if it weren't for the language barrier Kenmochi Hidefumi should be bigger. Nujabes signed and called him a virtuoso, he's responsible for finishing Nujabes' last album after he died at his request.

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