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sinew
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My two fave tracks, though they’re all solid. The record keeps getting better with every listen.
For sure. It’s one of my faves.
This is a great record. Love the production/live feel.
Yeah, I hear the Velvets aesthetic all over this record and loving it. Also, T.H.M. totally nails the first Talking Heads album. The understated, whispery Byrne jangles, Weymouth inspired bass line and Harrison type electric piano and subtle guitar. Fantastic song.
Tried getting into this record. The music is interesting but the guy’s vocals are just way too agitating. Like nails on a chalk board.
Diamond Dogs & Young Americans are both fantastic albums. A few of my fave tunes are on both.
Goat’s Head Soup is a criminally underrated album. I wrote it off for years but it’s a masterpiece.
Look forward to hearing it
Beautiful write up. I too remember when Loveless came out and hearing it for the first time as an impressionable 14 year old. It changed everything. I’m going to go ahead and pull the trigger… easily album of the year. Nothing else matters in the wake of this release. Everything else will be derivative of some other band who has done it better. I’m sure they’ll be a couple good records but come on…. I’ve had this album on repeat since Saturday. Haven’t had the urge to do that with a new release in ages and definitely not to this extent. Shields delivered big time.
Comparing them to classic Stones now? Hahaha… what a joke. They’re not even in the same universe. Their new music is the sound of a band struggling to connect and write a decent song. It’s forced. There’s nothing organic or intuitive left in these guys. But hey, diff blokes for diff folks.
I have to agree with Aggy. Spin, NME and the like are terrible but Pitchfork are just as bad. Look at some of the horrendous music they praise. This may not be The Strokes best album but how do they bash it then praise trash like The Weekend, Blood Diamonds and Shit Robot? Do they really believe in that junk? They champion nonsense that sounds like it could have been created by an eight year old with a Casio drum machine. Pitchfork are leading music journalism into a very sorry state and the quantity of bottom feeder, fly by night internet tosser acts they boost to indie stardom is unsettling.
Granted, they are to Deerhunter what NME and Spin were to the Strokes and they religiously push bands like Dum Dum Girls and Kurt Vile on a daily basis but the majority of their cast are indeed a sorry bunch of 4th rate buffoons whom climb the hype ladder clenching firmly to style over substance, devoid of anything to say artistically. Curious listeners would hear a lot of that junk differently if they couldn’t put a face or some sort of ironic hipster image to the sounds coming out of their computer speakers. And regardless of what you think of The Strokes and whether you like Angles or not (that’s besides the point), it’s a lot better than anything streaming on Pitchfork’s page right now.
The basic writers on that site are often notoriously oblivious to any sort of music history beyond the past five or ten years which is painfully apparent when trying to get through most reviews. One has to wonder where in the world do they find these people. If you’re going to write music commentary then research your subject beforehand. Do the homework, know the references, have some passion about why you do what you do – speak the language.
Don’t get the big stink. Not that they’re a terrible band but this has been done before and a hell of a lot better. It’s a tired and tried formula. Having not seen them live, the recorded music is boring, predictable and ultimately, forgettable. A one dimensional affair. Guess they would be appealing to anyone who isn’t familiar with the bands they’re mimicking. In that case, I kind of get why kids are drawn to them. At least there’s nothing sneeringly ironic about the act, they seem to mean it.