Elvis vs. Shark
Find Me On:
‘Everything’s Fine’ is really great, I was worried they’d launch into a major key chorus and totally blow the song but thankfully they’re good songwriters.
I love The People’s Key, and hate how Pitchfork (and by association, most hipsters) threw it under the bus. One of the best albums of 2011, and one of the few albums I own that’s a front-to-back listen. Not even going to bother naming the best songs from it because they’re all amazing (but ok, Shell Games is the best and should be on this list). Also great are the B-sides, especially Singularity.
As for Stereogum’s list, it’s alright I guess. As some people have said, it’s hard to pick just 10 great songs from Oberst’s discography. The one song that I feel should definitely be on there is Easy/Lucky/Free. Flippin’ masterpiece.
Sad news. Out of all the alienated black-clad despair addicts of that era, Deftones are the only band that I still love. Awkward pre-teen nu-metalhead me would be horrified to know that all the Disturbeds and Papa Roaches on my playlist are long gone.
I’m guessing you haven’t heard the Alternate Version from the deluxe edition of High Violet, it’s the one they played on Fallon and is miles beyond the first version. And should be on this list, along with Guest Room.
well yeah it was a british attempt at being part of the arms race in the cold war, they did these technological experiments to create a human-like robot and the Thatcher prototype came closest to working properly, malfunctioned though.
Plans is actually my favorite album of all time. As in, all artists and time periods, ever. To see it ranked lower than their early work is just no no no no no. As opossum says below, their first few albums just sound like any of the Northwest Pacific indie scenesters of that era. Plans was when it All Came Together (when an indie band perfects their element for a mainstream breakthrough).
Of course every list is subjective, but even barring my personal bias Plans should be in the top three. It’s listenable from beginning to end, which can’t be said about the generic, occasionally bland early albums.
Yes, this x 1000. I think that this film is a great cultural touchstone- it acknowledges the realities of youth/party culture without being preachy or overly indulgent itself. It will be terribly dated in 10, maybe even 5 years, but I think it’s important that it exists as a time capsule that more thoroughly exposes the zeitgeist of the 2010′s.
All the party movies nowadays (21 and Over, Project X, The Hangover) and even ones that feature these sort of parties (Chronicle, 21 Jump Street) fail to address the fact that there is a flip side to insane bashes and “Whatevah, I do what I want!”
Needs more Anthony.
It was kind of unfair that they became the poster child for mallcore emo, considering Three Cheers for Sweet Revenge was a pretty great rock album, but dressing like a caricature will inevitably turn you into one. Not really bummed out about this split, cuz for one their output has hugely deteriorated since the beginning and two they’ll be back in two years anyway. Cue the inevitable failure solo projects! I bet they’ll all try and be skrillexes (skrilli?)
No voting system though means I can totally say that I still like a lot of their songs HAAAAAAAAA.
Oh man. At least two of my ten fav Bowie songs are from that movie. Probably because of nostalgia but still, SO GRAND.
True, but the intro reminds me of this though:
Even though I haven’t always been a diehard fan, I’ve often felt that objectively, Radiohead are probably one of the best bands (if not the best) to have ever existed.
Imagine if they’d made The Bends part 2? Thom would go on to date Winona Ryder or one of the Spice Girls and would now be chums with Bono and appear on big group charity singles and be featured on albums by Take That or McFly.
I really wish P4k/ the gum would stop foisting this band on us. They’re NOT catching on, there’s no buzz, and there hasn’t been for years now. It’s a completely inorganic push for popularity, really reminiscent of the failed campaign for Skylar Grey a few years back.
Where’s the CSI: Opening Themes OST?
Anti-corporate stance runs Mon-Fri. Weekends off.
Blah, moany is right. He’s oversinging again, which ruined parts of Playing the Angel for me. I hope he dials it down on the rest of the album.
I want Brown in jail as much as any of you, but I get the feeling that it would make him more of a martyr in his fans’ eyes. The only way for him to be defeated is to be forgotten.
I dunno, I still kinda don’t believe it. It seems more like he was just brushing off the heckler instead of giving an actual response. It’s like when my mom asks me to do things and I’m like “yeah I’ll do them later” but then I don’t do them later, but I eventually do them really later.
First two days are boss but Sunday is a resounding meh. If I were to theoretically go, I would theoretically not feel bad when I left that Sunday morning. But I am very not theoretically broke. SO OH WELL.
Even though I’ve never been a fan of them, I’ve always been quietly rooting for them, hoping that they could prove me wrong and redeem themselves with a big indie anthem, and here we are. It took six years and three bland albums but they’ve finally done it. Love the song. Hopefully there’s more gold on the record.
Yikes! I rarely chime in on these lists because I either agree with the placement or respect the ‘Gum’s decisions. Definitely still approve of this list, but I’m really surprised that not a single song overlaps between this list and my own. For what it’s worth, here are my Beck favs, in semi-order that I just made up now:
9. Ghettochip Malfunction
7. Beautiful Way
6. Profanity Prayers
5. Bonfire Blondes
4. Sexx Laws
3. The New Pollution
1. Think I’m in Love
I saw them in Toronto in October 2010 and they played this really dark song where the singer sang through a vocoder. In any case, it was really unlike their other work (sounded kind of like M83) and I never found out if this was a cover or a new song or whatnot, do any hardcore Phoenix phans know what this could have been?
It’s dad-pop (dad&B?), with a bit of dad-rap in there.
Wait, Underoath, Thursday, AND Thrice?
Teenage me is gonna go write poetry about this.
But I’m actually glad Thrice finally ended it. Their output for the past 5 years has been a slog to listen to.
Totally agree, but it’s understandable. Standout tracks (aka singles) are very mainstream now, so it’s only natural that Pitchfork begins to laud more difficult and obscure songs/albums. In past years Passion Pit’s ‘Take a Walk’ might have landed on the list, but now that KROQ et al are pumping it, ‘Constant Conversations’ gets the spot instead. Same deal with Twin Shadow (‘Golden Light’ over ‘Five Seconds’), also artists like Arctic Monkeys, The Shins, Lana Del Rey, The Big Pink. Critic’s darlings at one point, now overlooked because they’re the new normal.
I just don’t understand the reasoning behind their love affair with super mainstream pop. It’s sad that Carly Rae Jepsen gets a nod while artists like Band of Skulls or Cage the Elephant don’t even get mentioned on the site.