João Pedro da Costa
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When I discovered them some years ago (thanks to Dylan), I thought they were just another great band. But they are THE Band. The name says it all.
I really loved Kiss Each Other Clean, a fabulous take on Elton John early 70s sound and songsmith. But this new record is almost heartbreaking for me. I also hate it.
And The Laziest River is, in did, an epic and unparalleled masterpiece.
As Dylan would put it: It’s all good!
Spot on, yoko_oh_no. All guests’ contributions seemed so far to be fully absorbed by the band sound. The same will probably happen in this new album.
Lodger is awfully low.
A bonus track is, by definition, a part of an album.
You write so little about the record, man. And when you do, you do it vaguely as if Bowie’s previous work is more of a burden to you than to Bowie himself.
Long live New Album Releases Net!
‘Plan’ (previewed at the start of the video for ‘The Stars (Are Out Tonight)’) is a stunning instrumental rush, straight outta Berlin, a piledriver chord-drone extended over click-beats, like an elusive found fragment, a blue-blue-electric-blueprint.
From The Quietus review. The record seems to be great.
Alma matters is a remake of a previous and much better Morrissey track: Nobody Love Us.
That track was the closest Morrissey got to a Scott Walker vibe.
Interlude. That one is missing, though.
No, it’s not just that. I also love that track.
Any list that includes The Teachers Are Afraid Of The Pupils deserves my unconditional approval. If Southpaw track was in it, I would have to ask the author of the list to marry me (which would be a bummer for my girlfriend). Great work.
How come nobody talks about The Limey? That is an absolute masterpiece.
Beach House’s long video is an obvious nod to Pink Floyd’s Live at Pompeii.
No Nick Caver nor Liars?
No comments? Wow. Beautiful video from an amazing song, which is one of the many peaks of the greatest record i listened to in 2012.
That pretty much sums it up. :-)
Loveless was the entry point for many listeners to MBV and shoegaze in general. With m b v, things are totally different. Lots of fans had more than 20 years to digest their sound.
One doesn’t need to read Simon Reynolds to realize that retromania has been a propulsive engine in pop music history. Nevertheless, there was a time where going forward and breaking new musical frontiers were some of the most readable narratives of pop’s libretto. And guess what? All of its protagonists had a fucking guitar on their hands. When it was released in 1991, My Bloody Valentine’s Loveless was obviously received as a great and colourful chapter of an on-going history previously written by innovative bands like The Beatles, Can, Joy Division, The Smiths and the Pixies, just to name a few. What we didn’t know then was that it would be the last. My Bloody Valentine’s new m b v is a shock, not only because two decades of waiting made my generation pretty suspicious about anything that came out of Kevin Shields’ mouth, but because it personally made me realize that two decades of Britpop, rock’n’roll revivalism and electronica flirts really didn’t quench my thirst for some loud, kick-ass, innovative and experimental guitar mayhem. My Bloody Valentine: thank you for reminding me that.
I completely disagree: Kiss Each Other Clean is a great record and I do remember every single song on it. The Steely Dan reference is spot on, though.
Extended version available on YouFuckingTube: http://youtu.be/CAe-06mUHkI
Believe me: you are.