shoulda covered it in a different key to emphasize their awesome voices better
i feel like monomania is just too new to really judge in comparison with the other ones…also ‘memory boy’ as the third cut picked from digest is just ridiculous espesh next to ‘desire lines’
well moreover there were a lot of personnel changes in the first great quintet whereas the second one had a consistent lineup and also featured a lot more of band members’ original compositions. it just doesn’t seem to make sense to compare the first as an ‘outfit’ to the band when the second one did such incredible work as a longtime collective creatively progressing as a whole….like the band
there was never a prominent “Miles Davis Quartet” and besides that the second Quintet reached heights of musical innovation and brilliant collective spontaneity untouched by the first, far more conventional one.
i like this album a lot and though i don’t think it’s their best that’s certainly a subjective matter. but I do think the assertion that “monomania” is the best song the band has written deserves contention . i don’t have another candidate and i like the track but come on
it’s certainly too low on the list
there’s no way the postal service reunion deserves nearly as much press as stereogum has given it. i know this article is about more than this, but furthermore i think stereogum’s been looking backward a little much as of late—do the last 15 years of music really need this much analysis and coverage? [i'm talking here in part about the 'backtrack' column...] that shit happened already. and who gives a shit if ‘indie’ is dead? all i’m trying to say is that obsessing over definitions and categorizations seems useless and the endless cycle of cultural mirrorgazing is frankly irritating–good music is being made and this should be concentrated on, i believe. when you lose track of this [that is, the music--what should be coming out of your stereo] then what the hell are you writing about?
yeah i think irish blood>first of the gang
wholeheartedly agree with whiskeyclone as #1
yes to swearin!
graduation should be higher…. kanye’s awesome for so prominently featuring can and steely dan samples on his poppy victory album.
“there she goes again/the dopest ethiopian”
do the descendents
i respect bob mould, like i respect lou reed or public image ltd or neil young, for continuing to play music, release records, explore new ideas and do what interests them musically even after their most creative and fame-accumulating years are behind them. nevertheless, i don’t see how any of mould’s post-hüskers work even begins to stand up to the sheer force, creatively and musically, of zen arcade or new day rising. i know lists have to be subjectively made by their writers, but seriously—find a punk fan to talk about hüsker dü or at least respect mould enough to dissociate albums he made under different monikers rather than lumping all of his work together and rating it. there’s no reason albums of such different sounds/”genres” should be ranked in the same list just because the same artist made them.
cool! should be noted that dead man’s not a spaghetti western though
just wanted to say something in support of my personal favorite radiohead song, “life in a glass house,” which i think stands out in their catalog as a classic radiohead song–hauntingly beautiful, paranoid, and veyr catchy–but its use of a brass section sets it apart from most of radiohead’s work. anyway, i thought it at least deserved a mention in the ‘amnesiac’ section of the article so i thought i’d say something
I grew up a huge Death Cab fan–their album Plans got me interested in alternative music as a twelve-year-old and they stayed my favorite band for three years–I feel that now I have grown “past” their music as my taste has developed–but nevertheless I can find a whole lot of value in their first four albums, as well as to some extent Plans and definitely the Postal Service album. But everything after Plans has really really suffered for me because frankly the production has turned adult-contemporary, the melodies and chord progressions are boring, and the lyrics are still obtuse but they lack the power they once had. I still respect Gibbard for the first albums, and I think he’s got a terrific voice, but with every release I hear I lose a little more interest and respect for him and the band.