chimps on ice
Find Me On:
Beyonce and Timberlake count as banal pop music? You’re talking about the same artists who release songs like “Single Ladies,” “LoveStoned,” “Countdown” and “Mirrors,” right? You’re talking about the same artist who performed the halftime show at this year’s Super Bowl, right?
It is refreshing to see publications like Pitchfork, SPIN, and Stereogum actually listening to the music itself and realizing that genuinely innovative stuff can be right under our noses, selling millions of albums, and getting lots of radio play. Imagine that.
Please for heaven’s sake stop buying into the whole “mainstream” versus “independent” music thing, because that distinction has been blurring for a while now. There are just bigger and smaller record labels, involved in the same industry. Occasionally they release music that is great and does something new. Most of the time they release stuff that retreads the same old territory.
Slash in his recent interview with Piers Morgan, when asked about Guns N Roses reuniting:
“I was in a band?”
Don’t forget the rumored album of jazz standards she recorded with Brad Mehldau. That has never been released. And the original version of Extraordinary Machine that was never properly released?
It’s much worse than 3 albums in 20 years. It’s 3 properly released albums, 2 recorded and then shelved forever.
Thanks, Stereogum! Are these playlists available on Spotify?
They should be.
Well said, Amrit. Great albums have always confounded my initial takes and then gradually taught me how to listen to them on their own terms. In the process, they’ve changed how I listen to everything else as well. Loveless is one of them.
As for Siamese Dream, you can’t reduce that album to Loveless. Let Corgan do his own thing, at least back when he did it well. There is way too much Queen and metal in that album to treat it as derivative.
Most people just use the word “description.”
Wait, I’m confused. I thought Diplo was the band that writes music for the Blackberry commercials?
1st interpretation of the lukewarm response: Radiohead’s musical sophistication has finally gotten too far ahead of most of their listeners and most music critics. They were always a pace or two ahead of most of us, but somewhere between Kid A and King of Limbs they started sprinting ahead.
2nd interpretation: Radiohead has made another album that demands careful listening, even more so than Kid A and Amnesiac. Most people aren’t willing to invest the listening energy, so they just shrug their shoulders.
3rd interpretation: Radiohead has finally made significant strides in making (as songwriters and performers) music that transcends the consumerist mindset under which we listen to almost all of our music. King of Limbs tries to push us out of this mindset, but gravity keeps pulling us back. And we keep getting trapped inside of questions: Is this album better than the previous one? Was it worth the wait? Why so few songs? How many points out of 10 should this get?
4th interpretation: People who don’t get this album just don’t know how to dance.