Find Me On:
Agree but I would kind of like to punch each of the ridiculous, noodley dancers. Just sayin’
Also, when I was 17 (2007, Game Theory Era) I saw The Roots at Brown and ?uest gave me his sweaty towel and tossed us a drumstick after the show. I took them home and put them in my closet as souvenirs but a year later I went to college and my Mom threw them out.
Everytime I see posts like this, my inner monologue is Darth Vader’s NOOOOO.
Man, I was reading this and clicking through each page going, “Exactly! Exactly! Yes!” and as I got closer and closer to Number 1 my pulse quickened with maniacal anticipation: I thought that this might be the first inexhaustive Stereogum list that I completely, 100% agree with.
But alas, I got to Number 2 and streak was broken: I would put Phrenology at Number 1 (Switch 1 and 2). Sigh.
Yes, but is McKayla Maroney impressed?
I can’t believe I’m being a grammar troll, but WHAT?!
blame it on the alcohol?
As long as we’re only talking about the category of music videos that embraces the whole, “no plot just simple, patterned imagery that morphs subtly to the music” aesthetic, I think this is one of the most visually beautiful music videos I’ve ever seen.
Hologram of Kurt Cobain
Truth! There’s a certain understated genius to his appeal, and Channel Orange really captures that.
The intellectual in me says, “it smacks of Voodoo’s (as in D’Angelo’s) meditative lounge vibe and Maxwell’s honeycomb harmonies”….
….and the epic contra within me just thinks its awesomely ironic and cool that a recently out gay man still writes the best songs about vaginas. “Pink Matter” is…just so awesome. Andre 3000?
Let me don my purple velvet spottieottiedopaliscious bell-bottoms and repeat that: Andre 3000.
Coupled with the rich FO tenor? You’ve got to be kidding me. Regardless of his sexuality, I’d still want to hear that. But I probably know nothing about R&B since I’m too busy “blindly following” indie blogs and sweating in this itchy wool hat.
Just found out that its pronounced “see-uhhrr rose”
Woops, the specific link is here: http://jasperasalways.wordpress.com/2012/06/26/in-continued-defense-of-lana-del-rey/
I think the martyring of Lana Del Rey highlights the crazy implosion that can result for new artists in the modern age of music criticism — that is to say, the age of internet based music criticism.
You’ve got so many big whig critics like Stereogum and Pitchfork and NME vying to be the FIRST to review new music, and they want (and in fact, need) so badly to make the RIGHT call and give the correct review that any premature assumptions blow up in the face of the artist, and not in the faces of the critics who should really be taking the blame for their misjudgement.
This time last year, all of the major critics sang LDR’s praise before doing a complete about face once her album was released. Pitchfork, Rollingstone…three major songs (blue jeans, video games, born to die) were already released and they were all jumping on the LDR bandwagon. They built up so much hype that that Born To Die was doomed to fall short of those monumental expectations. But there was absolutely no temperance from the media and no willingness to step back and say, “hey, this album isn’t what we wanted it to be, but its still not terrible” that they chose to roast it because there was such fear of being wrong. Now, again, everyone’s looking like chumps because the once-vilified album is returning to the spotlight, and this time, its getting the positive attention that it may have deserved more of the first time around.
I’m not saying that Lana Del Rey’s Born To Die is a perfect ten, but its fickle reception was demonstrative of total restraint from critics, who were afraid to really engage with the music because the stakes were so high. Instead, they chose to pontificate about the drama surrounding it (which, admittedly IS fun to write about, but which cannot, by itself, sustain her or their careers). I think everyone needs to calm down with the obsession over deciding what team they are on, and approach her music honestly and just like any other new artist. We get it, she’s hott; but don’t give her any more credit than is due. And we get it, some of her music is truly original and promising; so don’t hate her just because she is hotter than the typical indie songstress. I think we (collectively, the music community) need to get over the scandalous aspects of her critical reception and finally give her just that: an honest, critical reception. Stop the violence, y’all.
Sorry this post is already annoying and long, but I write more about this here, for those who follow the argument: