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You not digging the spoken word intro is pretty much what this song is trying to criticize.
I cannot be the only one who thinks this track sucks.
Baauer was right; Banks’ verse is weak.
In no way, shape or form is this mixtape anywhere near SashaGoHard’s Hip Hop V’s Love. Nope.
9/11. The day Hydra-Head called it quits.
First of all, troll.
Second of all, they’re on fucking Deathwish. Unless you have no interest in HC, which is fine, you’ve heard of this band.
Once you take it for what it is, which is pop music and not hip hop, you’ll be able to appreciate it more.
Fantastic article.
Where’s Max Harrold? You know what time it is…
Come again?
Sex Pistols? AMRITE?
Hot Chip and Passion Pit are on big labels. So why doesn’t Carly Rae Jepsen count?
Man: “How’s it goin’?”
Dave: “Not bad. You?”
Man: “Good. Good.”
Man with Camera: ” This place is beautiful.”
Amber: “I know. Get a picture, dude.”
“How in the fuck do you fit in those jeans?” -Man.
“I just tuck my penis in.” -Dave.
“Jesus…” -Amber.
“Der der da der duh” -Dave
“Excuse me, sir?” -Man
“Dave, you’re such an asshole.” -Amber
Oooookay. This makes sense. Ya, I know a few people out their who are similar where they listened to HC during a certain stage (often the rebel teenaged period) and now can’t even stand the shit, or even the prospect of going to a show where kids are running around, moshing and such.
I know want to seem like a know it all for trying to dissect your thought process, but it seems like you hear this music->reawakens a certain time (uninformed, convenient politics through and with HC)->juvenile. I get this. In many ways, this is one of the things that impresses me about HC because it does simplify certain politics, which is incredibly comforting when my entire life, and anyone who follows news on the Internet these days, is so inundated with news that complicates one’s core beliefs. I see positives and negatives to this understanding of the complexity of politics/ideologies because, if one’s too concerned with its complexity, it’s paralyzing, so middle ground has to be found and HC often helps me with this.
But, eldave, brother, you HAVE to check out Botch’s “C. Thomas Howell as the ‘Soul Man,’” (lyric sheet in hand, obviously) which directly touches upon the posturing often found in HC. A little background, this song is pretty much a diss of Racetraitor, whose drummer and bassist would go on to be members for Fall Out Boy. Cunts.
This impression on Salsa music is EXACTLY what I went through with country. Coming from butt-fuck, New Brunswick, country was everything and hearing songs like “She Thinks My Tractor Sexy” blasting from every ’94 Ford pickup, I completely dismissed everything about it. Then I challenged myself, did some research and decided to pick up Jamey Johnsons’ “That Lonely Song” and now I’m completely engulfed in country music. It’s a moment where I rediscovered that incredibly gratifying feeling of pushing myself, much like the feeling many of us get when we realize “Holy shit, my musical decision DON’T have to be informed by what’s popular.” So, I definitely subscribe to the idea that ALL genres and sub-genres have at least one or two gems, therefore no genre should be dismissed.
Also, correct me if this is fucking ridiculous and/or I’m not in on the obvious joke here, but Michael_ and Michael Hanna are the same person, aren’t they?
This is absolutely true. This vocal style has definitely become representative of many heavy metal bands’ intent to alienate (heavy music, on the other hand, is another matter, especially for the super melodic Tragedy, here). I guess much of my frustration comes from a misunderstanding of why us music lovers seem to pick on this sort of music, as if, usually because of the vocals, it’s a lesser form of music. This isn’t only informed from the comments here, but good friends who I know love music, but look at HC like it stupid, hoaky, etc ( I then I give them Azzerad’s “Our Band Could Be Your Life” and then their hate for HC goes from respect for Black Flag to not being able to wait for the next Double Negative 7″).
It’s sort of anthropological in its reflexivity. We should always look at where we’re coming from and be critical even of our own critiques. If, ultimately, it comes down to a simple personal distaste, that’s obviously fine, but don’t dismiss it and not give it some chance. I believe everyone who believes themselves to be a informed fan of music should have some what of a small collection of significant music from each and every genre. For example, go out and grab Refused’s Shape of Punk to Come, give it a good few spins and if that thing doesn’t convince you, ya, you probably won’t ever enjoy the genre.
Thank you.
*there, haha.
Ya, I got a tad excited their so typos and maybe a bit of hyperbole resounded. With revolutionaries, I mean that they’ve found a sort of middle ground between tradition and today’s hyper-accessibility. At first, when I heard about these boys, rising from the ashes of His Hero is Gone, talking about technology and they’re attempt to resist it, I found it not only impossible, but also weirdly conservative. Now that they’re 4 records, an EP and a split deep (I think that’s it), and they’re STILL at that shit, I’m ridiculously impressed.
But they’re also not assholes about it. They’re sound is highly influenced by Japanese d-beat, which reveals their cosmopolitanism, so it’s not all “Internet is the problem, man” kinda deal.
About this vocal business, I mean, read this article (yes, on Pitchfork) by Masters and Currin called “To Learn as a Listener.” It’s really important for people who take music seriously to challenge themselves, to ask themselves “Why does this sound so unpleasing?’ etc. etc.
I used to hate these sorts of vocals too, but then I challenged myself, asked “Why do they sing like this?” (Really though, is there any other type of vocals that could go with this music and with these themes and not sound sort of off?)
‘Nother thing for those trying to pick up the record but haven’t been able to tap into the pretty selective streams these boys deal with, check out my boy Paco at La Vida Es Un Mus. Also ask for a Kriegshog record while you’re their.
Open Your Heart.
I cannot believe what I’m hearing here. Masculinity? This stuff? Yanick and co. are staright up vegan feminists! Their revolutionaries. Their music has nothing to do with masculine topics at all. They speak about technology and how its deteriorating social ties, the proliferation of war mongers, the real experience that is depression and loniliness. Please guys, I respect your opinions, but consider reading the lyrics before judging HC bands.
I used to be like this. Then I considered the gender politics that can be applied to music. Indie music seems to be super masculinist. Cerebral, individual, aggressive, non-inclusive, etc. I still love that shit, but it becomes a bore sometimes and opposes many of my feminist leanings. On the other hand, pop music is a very feminine thing. Super inclusive and inviting (sometimes to the point that not even I can enjoy it), fun, occupied with the body and feelings. It’s taking a masculinist approach to respond to music like this as “catering to the common denominator” and “stupid” or “unoriginal.” Music for lots of people is not supposed to be this mental, introverted thing. Some people like to share their music, and the music of others, in order to create a shared identity and experience, unlike many “indie” people who use music to create an identity (LCD Soundsystem “Losing My Edge”).
If only every slight disagreement were ended so amicably on this website.