Not often you hear a saxophone.
They’ll either give it something less than a 6.5, or higher but delete the Blue Slide Park review. They lack the courage of conviction.
trying to hard with this album cover artwork bb.
you don’t need to impress me.
Am I hearing the same song as these guys? This is awful.
Technojeremy is BACK y’all.
And he ain’t relaxin’
I’m not sure I agree with your second paragraph, but I can see where you’re coming from with it.
I do think the “cute n’ sexy” voice falls more in line with pandering toward the self-aware mock-seriousness junkies, than it does to the fellows looking to get their bone on. Although I don’t doubt that the latter are a seriously large number of her audience (and seemingly every female musicians audience.)
Also as an aside, I don’t think her music is to be held high with the sophists of rap, and their stone tablets of Illmatic lyrics. I just think it’s very intelligent, funny music that needs to be appreciated on the level that it’s put out.
I mean, we can debate the merits of a skinny, white, and seemingly awkward girl rapping at all. Let alone rapping about white girl problems. And if you’re going to take that approach, then her presence is probably offensive. Especially with like, Kreayshawn as her closest rap contemporary (demographic-wise.)
But if we’re talking about actual talent…. have you actually listened to her lyrics? I would say her lyrics are smarter, funnier and more self-aware than 80-90% of every other rapper that circulates the blogozone. Her flow isn’t particularly horrendous either.
I think it’s a good pop cover of a pop song.
The key is not watching the video and just listening to it. The douchebaggery lessens significantly.
I cannot accurately convey in words how much I hate this post. The rage is too thick and blinding.
I don’t think it’s a throwaway line if it’s the best line on the track.
Not even sure what the point of performing Wicked Games is, if you’re not going to swear.
Completely neuters the song.
The problem isn’t really consumers, or a lack of legal safeguards on the internet or their enforcement. These all play a role in decreased revenue, sure.
But the focus should instead be on the distribution channels. Music wasn’t devalued by Napster, at least in a meaningful sense. Music was devalued by companies like Apple and Amazon, which when creating their brand-powered mp3 markets, cut market price of an album in half and allotted a FAR greater portion of earned revenue to non-artist parties. On the internet, limitless “information” whether it be in the form of music or movies, cannot have differing prices between retailers because there are no supply barriers to excuse it. Pricing then comes down to demand and the lowest common denominator for a company to turn a profit. When you look at CD sales decline in tandem with adjusted digital sales, the drop is not nearly as steep as we might like to pretend.
Another factor still neglected, is the record labels, in cahoots with these powerhouse internet giants. Artists unfortunately sign away a great deal of their digital distribution revenue, in favor of the exposure and advances they may not otherwise hope to get. Good luck being an unsigned artist available on iTunes.
Theoretically in this new internet model, it should be easy for a band to rise to the top of their own talent or promise, without ever being signed. Their rising notoriety would have record labels flocking to them, with the band holding the leverage in contract negotiations. But most professional music bloggers fail to do their due diligence, in seeking out music of their own volition. They rely largely on what is sent to them by label-affiliated promoters. Despite all our talks about the INTERNET being this WILD UNTAMED PRARIE OF USER-LED INTEREST, the fact is bands still need record labels to get noticed (with of course, the odd exception.) As long as that’s the case, bands are not going to get a fair shake.
Worst case scenario is that a blog’s valuable original content sharply declines in favor of things like rehashing repertoires of long established bands.
I don’t know if I’d say we’re there yet, because outside of the occasional mass-feed down the blogosphere pipeline (a la Lana Del Ray), Stereogum still features a staggering number of unknown bands.
Still, if you look at the comments on posts about previously unheard of bands (i.e. a maximum of 3), vs the comments on a post like this, you can’t help but fret a little or raise a cynical eyebrow.
If all the kids think she’s cool, then she’s cool. That’s pretty much how being cool works, like it or not.
The complainer that no-one likes to hang out with isn’t cool just because he thinks he is.
the “Blue Velvet” film had a lot of blatant mocking of forced product placement. And this is a cover of the title song…. made for an advertising campaign.
….can’t tell if Lana Del Ray is a Master Troll Lvl. 1000 or just literally the worst.
Probably the worst, right?
I don’t even care if it’s for the money and yields nothing but uninvolved live sets of old material.
I want this to happen so much.
Is there actually that 2whiny4mebro backlash? I’m just shy of 25, so perhaps in a month’s time i’ll suddenly be all “HAHA WHITE PEOPLE ANGST.” It’s happened before. God, has it ever. But I’ve always viewed the album as close as you can get to a melancholy ambience WITHOUT being angsty, perhaps alongside Slowdive-similar shoegaze.
…actual intent. (accidentally deleted the end of my comment before posting)
The brevity of the name is not the issue. There’s been 500 blog buzzed bands in the last two years with “Teen” in their name, so it seems either derivative or trying to encapsulate on a trend, whether or not that’s the
iNot a big fan of “Better” but I really dig “Electric”; it has a good build. Have to agree with the above commenters though, definitely need a name change.
Pitchfork has already given the keyboard song Best New Music, praising Newsom’s ability to step outside of her comfort zone.
He’s right about the fact that Spotify is not a fair system. That’s the shittiest thing about the music industry right now. Not piracy, but how financially fucked artists are, by their labels.
There needs to be a system in place exactly like iTunes or like Spotify, except labels don’t get 95-99% of the profits. I would buy the shit out of that music.
That is ENOUGH, internet. Settle down.
“North American Tour” aka “American Tour ft. Vancouver”
I agree with most of the 25 albums being placed in the top 25, but the order seems all screwy to me.
In my list Death Grips, Spiritualized, and Grimes would all be much higher. And Japandroids, Chairlift and The Walkmen should be much lower.
Also Schoolboy Q’s omission, while Action Bronson and Rick Ross hold places, is all manner of riddikulus.