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Nickelback are good songwriters. It's the voice and image that's the problem
The Beatles are massively beige and I don't derive much enjoyment from listening to them.
defo defo not beige though
Grouper sounds like someone who has never heard ambient music but has read its wikipedia entry.
I've always thought the interesting thing about her is that she doesn't sound like she's purposely trying to create ambient music, I'd be very surprise if she actually listed many/any ambient artists as her inspiration.
I'm not really trying to peg her as False Ambient or something, it's just that all her stuff just comes off as very low effort: crank up the reverb, whisper the vocals, and BAM you've got "dreamy" music, the music of a million bandcamp artists no one cares about.
It's all stuff Roy Montgomery and FSA could do in their sleep as far as I'm concerned.
to look at Grouper's music
I'm a big fan of Montgomery and can see the similarities/influences but really she's carved out her own niche and doesn't sound like either of them
reductive? yeah I'll cop to that, though I don't think there's much more to what she does.
Purely because I totally separate ambient from electronic/other technical music forms. Ambient is a completely malleable, humanistic form of music that connects to a person on a basic level. Any technical discussion doesn't belong in ambient critique. Grouper creates a melancholic fog within her, usually expertly created, songs which have there own purpose.
nah, man. she's a very talented songwriter. her use of (rural) ambience taps into a deeper personality and emotion in her music, investing it with a depth of feeling and place beyond any would-be peers in either ambient/drone or folky singer/songwriter realms.
Elliott Smith, for example, is incredibly dull singer-songwriter stuff if you analyse it on a technical level. But he's incredibly popular.
Yes, what you've described is indeed Grouper but equally that's a bit like saying a pop song is just four chords and singing 'yeah' and 'baby' a bit. If it were that simple we'd all be millionaires off our massive pop hit back catalogue.
I'm not saying you should like Grouper, only that you shouldn't bother trying to express why she sounds like an also-ran to you because it's almost impossible to articulate that sort of fault line difference.
..its the small things that differs it from being an immersive experience to just a series of washed sounds. If she has managed to get such a strong following in groups that normally dont enjoy this kind of music she is doing something right.
pretty much. Like applied to other artists what she's doing is generally fine, but how she applies it is sort of the psychedelic equivalent of releasing an album consisting of nothing but whooshing flangers.
Owned all their albums. Saw them 3 times I think. But I don't think they've ages that well. I think the first record (Happy with..) is particularly good and half of the next two stand up well. But they did rip off ELO a few times too many (even if my innocent young self didn't realise it at the time). But they were a good band granted.
for this to be a problem.
There can never be too much symphonic, bombastic, widescreen megapop.
Chop Chop: https://youtu.be/7qOm8DpGK4w
The Indoor League: https://youtu.be/RaEkzPVEptY
Do You Imagine Things is a forgotten masterpiece.
Not even Fugazi or the Smiths.
They are just doing other stuff for a bit.
so take comfort in the fact that you are not alone in being so totally, totally RIGHT
if the general apathy/criticism of Trompe clouds and informs my own judgement of it when I listen. But, I always end up really enjoying it. It's just that you listen to Surfer/Doolittle and you enjoy them too but knowing full well the whole world thinks they're the best. It might have been different if I had been old enough to listen to them fresh the first time and form a better opinion myself.
If you mean the first 30 seconds
With the exception of a few outstanding gems, it's pretty much the worst musical genre.
I'm sort of surprised at how much of a following it still has. There's like 3 great artists (you know exactly who I'm talking about) and a whole bunch of not-bad but nothing to get excited over middling artists. Trip Hop has probably the worst hit to miss ratio of any genre.
Resented being described as "trip-hop", Massive Attack especially who thought it was an excuse for their music to be hijacked by dinner party yuppies.
fucking loved it.
fucking loved it they did.
I think it's one of the better genre names as it mostly describes what the genre sounds like. Could've been unhelpful like Shoegaze or nebulous like Post-Rock or Post-Punk.
There's actually some pretty good stuff on this list - they've given 'trip hop' a fairly wide definition though.
Would have totally agreed until yesterday - and still totally hate the term 'trip hop' - but reading this reminded me there was some good stuff outside of the Bristol lot and DJ Shadow (the early Ninja Tune and Mo Wax comps, the Wordsound label, Req, DJ Krush, Black Dog, Laika etc)
Alright, looked it up - its called Lemme Know.
Brought back some Tricky vibes from back in the day. Cracking album as well.
(Not an insult, don't worry, this was an actual username on this forum a while ago and your posting style reminds me of him)
Variation on your theme: Black Magic by Little Mix is better than anything Motor head recorded that wasn't Ace of Spades.
Is the Graham's Number of music forum discussion
almost as bad as metal heads who won't listen to any rock music that doesn't sound stupidly masculine
The only genre never to have produced a single worthwhile record
All the music they make, and everything they say in interviews (apart from the cool as fuck one with the cheese) is massively cringeworthy, the worst of all bands.
But Blur in particular still labour under the delusion they're the first guitar band ever to deviate from clichés of "sex drugs girls and heavy RAWK." It's not 1986.
But I've never understood how an album with Girls & Boys and Parklife on it could be considered great.
Never has a song sounded so vacuous and empty. How anyone could write that song and think 'this is going to be a hit' amazes me.
At least Girls & Boys talks about something that makes sense, Parklife is completely devoid of meaning.
Catchy chorus though.
by far Radiohead's best album. Probably not very controversial but I'm surprised how very few people agree with me.
...but it's not the best "by far". OK Computer is a superior album musically and conceptually...I just prefer listening to the guitar angst of The Bends
I'm not sure it is though. I think Let Down , Karma Police, Paranoid Android and Lucky are brilliant but overall The Bends is a better set of songs. No Surprises always felt like a less good rewrite of Fake Plastic Trees and The Tourist is a bit of a weak closer compared to Street Spirit.
I sort of get what you mean though. The Bends feels more 'complete' than OK Computer. Fitter Happier and Electioneering don't help but the rest of the tracks on that album (except Karma Police and maybe Subterranean Homesick Alien) are life-changing. In fact every one is bigger and better than every song on The Bends, which is still a 10, granted.
I think for the vast majority of the general music-listening public, The Bends is the ONLY good Radiohead album. The consensus seems to be that from OK Computer onwards they got too 'weird and depressing' (much more so afterwards), which is understandable.
just how many of the general music-listening public think the post-Bends stuff isn't worth listening to.
Were better when they ditched the feedback
as much as I like their follow-ups, they lost what made them distinct with Psychocandy. and seemed like they were reacting to trends rather than leading them.
but Darklands is still the best album, just seems purer or something
Things got way more hit and miss in 72 and 73. There were a handful of landmark albums (Ziggy Stardust, DSotM etc.) but tonnes of artists that were revered in the late 60s suddenly started making dismal albums around then.
I'll go so far as to say that there hasn't been anything quite as come-out-of-nowhere since then, but that has more to do with the internet making it easier to follow trends almost from inception.
and Cerys Matthews has an awesome voice.
Kid A is terrible and seeing it as "the best" album of the 2000s all over the place makes me want to slap nuns
What would you say is the best album from that decade?
it's still great, but what the hell is with people acting like it's difficult to understand? 15 years later too; it's not like they went directly from Creeper to that.
I think it's more that it takes a long time to come to terms with how good it is (especially for people more used to bands like Oasis than Autechre) as opposed to being able to enjoy it. Some things you can enjoy things without realising.
But it's still a pretty dramatic shift from OK Computer, I think. Almost as dramatic as the shift from Barrett-era Floyd to DSotM-The Wall.
I think it's a pretty logical follow-up from Ok Computer. It's not really too far removed from Exit Music, Climbing Up the Walls, etc. I bought it the day it came out and I got into it right away.
either way, I still think it's odd that its reputation as a difficult album has grown with age. I can sort of see it when it came out (again, I disagree) if only because it seemed like a lot of people apparently assumed they would've gone in a direction that Muse initially took, but 15 years later and with electronic music's profile having since grown? Probably the last time anyone associated Oasis with being a peer of Radiohead was almost 20 years ago.
I mean that normally where a band puts it biggest banger. Lets face it if it was released now no one would call it difficult.
Its basically Radiohead making a slightly more commercial version of stuff Apex Twin and DJ Shadow (instead of Jeff Buckley or The Pixies) for indie music fans. Its still great though.
Anyone who claims to like PC Music is lying...and a bellend
Feels good to get that off my chest. Oh, and the last two Arcade Fire records are shite
HotS were the bomb dawg. At least The Lost Riots was anyway.
By Lostprophets is still a great singalong track
It kind of stings that I agree with this.
When they went more power-pop and away from generic nu-metal they were great songwriters. Can't Catch Tomorrow s like they never existed.
A Town Called Hypocrisy as well, I wrote a script for a satirical comedy play 8 years ago based on life in Clitheroe :-/ ... Obviously that rather bad person on vocals means it's now like they never existed.
Is wonderful and easily the best Cave-In record
but it's easily Jupiter
but totally agree that Antenna is fantastic.
Perfect Pitch Black, ostensibly a 'return to form', is on the whole a massive let down of an album and I'm hugely glad they came back with White Silence so that it wasn't the last thing they ever did. White Silence is fucking magnificent.
...obviously. To think there was a time that would have been a very controversial opinion. Unless I haven't caught up, and it is now cool to say it is their best record again. I forget where we are - is it still Revolver, or Abbey Road?
pretty sure saying "Sgt Peppers is their best" is more controversial than not, though people may assume you work at Rolling Stone.
but in the real world Sgt Peppers is still held in high regard.
I always thought revolver was supposed to be the quintessential Beatles album
Mac DeMarco's getting worse
than most of Nine Inch Nails output. Splinter and Jagged in particular.
are the most overrated shoegaze band ever
If you can't dig this I cannae help ye.
and have a couple of their albums. But don't get the obsessive worship they seem to inspire.
or listen to regularly but hey ho
But I'll go with Ride. Nowhere is a mixed bag that really benefits from its bonus tracks; nothing else after that is relevant to Shoegaze and isn't really that good either. Also, while relatively under-rated, Lush and Chapterhouse really aren't anything to get too excited about.
followup unpopular opinion: the recent reevulation of Slowdive that puts them nearly on par with MBV is responsible for neutering shoegaze and is responsible for some really fucking boring bands that don't really do anything and don't aspire to be much more than "sounds like Slowdive and/or MBV."
Leave Them All Behind is pretty much the national anthem of shoegaze - at least half of Going Blank Again is top quality too.
Agreed that Lush were lightweight even by shoegaze standards but Chapterhouse had some great songs once you get over the fey vocals.
Slowdive deserve all the plaudits they get. Of course they were flawed as a band - all the shoegaze bands were - but just their ep releases and the totally under-rated Pygmalion alone are enough to ensure their rightful place at the zenith of the shoegaze pantheon. As a band they were mismanaged, misunderstood and derided pretty much from their debut album onwards but of all the shoegaze bands their sound has weathered well. Sadly it's now too easy to listen to some semi-ambient splurge cranked out by bored americans and slate it as 'trying to be slowdive' when slowdive themselves experimented far more with their sound than their so-called imitators now do. Their 're-evaluation' also doesn't have anything to do with the emergence of nu-gaze bands and certainly doesn't have a neutralising effect either - any band that solely bases its sound on a scene that briefly flourished more than twenty years ago is going to neuter itself by definition.
Off to find my goat
Just an accepted fact.
is one of the best albums ever made.
There at best a guilty pleasure and just shit REM by Remote Part. Roddy Woombles solo stuff is better.
(I say this as a fan)
Captain, Hope is Important and 100 Broken Windows in this assessment?
But they are still, in my opinion, over-rated in the DiS sphere.
they all sound the same, and they have aged even more badly than Aphex Twin. What was once the sound of the future now stinks of the 1990s and early 00s.
but totally agree
is a better song than any song the Beatles ever wrote.
but their catalogue is much better than their detractors would care to admit and more consistent than most other bands.
shame they've become patron saints for some truly awful fans though.
dont get me started on those who think 'Stairway to Heaven' is like hyper meaningful, and one of the best songs ever written.
anthemic, catchy and diverse.
Its surprisingly filler-free too, I can think of only 1 track I'd ever skip (You Don't Know What They Do To Guys Like Us In Prison). Might put it on now for the nostalgia.
it's right where it should be: in Loveless' shadow being a pale version of what that album achieved. YMMR and FMWYK are both better than Isn't Anything.
but it just leaves me totally cold. i think it might have something to do with the mixing? because the song writing for the most part is great. Their newest album is better than Isn't Anything imo
pretty much. it sort of sounds like a work in progress whereas everything else (even the EPs that were recorded earlier) sound more fully formed. I feel like it was recorded with a more traditional mix in mind where every instrument is distinct, as opposed to Loveless putting the guitar way out front and having everything else add coloring to a massive sound. Isn't Anything sounds like a concession to the recording engineer.
I really liked it when I was first getting into MBV and though i still like it, it doesn't really do anything for me.
that's probably what most people think. and most people are wrong. fail!
it isn't. Please everyone stop it.
I still think Isn't Anything has better songs but Loveless is a better album overall. That said I've only ever heard the remastered version so it's quite possible I'm slightly biased.
Pretty on the Inside is better than anything in Nirvana's catalogue.
And Live Through This is a better mainstream sellout album than Nevermind into the bargain.
Has aged badly and has a good first half ruined by a second half filled with dreary lounge instrumental pieces.
But the best electronic instrumental from the Low sessions didn't make the final cut: https://youtu.be/RwFQdzQk55w
better songs, better musicianship, better looking....
For real big oceans
is the worst live act I've ever seen and has absolute contempt for his audience. And his band are dull session musos.
He seemed to be really enjoying himself when I saw him. The only low point of his set was A Hard Rain's Gonna Fall, which was reduced to an atonal dirge.
Beyond that, his performances of Thunder on the Mountain, Highway 61, and Ballad of a Thin Man were brilliant. Cold Iron's Bound, too, was fantastic.
There was even a crowd singalong for Like A Rolling Stone!
I suppose it all depends on how much you like his latter day style and material. And here's my controversial music opinion of the day - I find his output 1998-2013 far more compelling than any other run of albums in his career.
but went along to his concert in Saigon in 2011 hoping to finally realise what all the fuss was about, only to experience some bloke mumbling his way through the set backed by an overly slick bunch of session musicians. To say he phoned it in would be overly generous. And someone who'd seen him several times said it was one of his better nights.
He was fantastic.
But if you don't like him at all, you're not going to get anything approaching an understanding of "what all the fuss was about" through seeing him live in the 21st century.
I always admire people who approach things with an open mind, though, and a willingness to have their position challenged.
I believe he kicked off all of his 2011 shows with "Gonna Change My Way of Thinking". Irony? Probably not.
in the hope that I'd find myself being converted. Sadly my opinion was merely reinforced.
Try The Bootleg Series, volumes 1 to 3.
It ranges from stark, spectral, haunting folk standards to the sort of stoned and sprawling epics that sound amazing when you're drunk.
but using the phrase "folk standards" undid all your good work. Though I do like stoned & sprawling epics.
This song, though, haunts me: https://youtu.be/b43BAQFDOcM
is the best UK album of the century so far
"I can't stand the sound of the Velvet Underground
(White Light! White Heat!)
I can't stand that sound the second time around"
Having given them a good re-listen it has occurred to me how shamelessly and poorly the Wombats were trying to copy Art Brut.
can be equally as liberating as deleting old contacts from Facebook.
I recently purged my library, and as I did it alphabetically, Art Brut were among the first to go.
What a release!
I wonder why I need several 65daysofstatic albums when I don't think I have listened to any of them all the way through but I might do *one day*.
this is really good https://www.youtube.com/watch?v=RO_LX-m74uw
that's pretty nice
to be fair, most bands will never top those two tracks
But I doubt they'll manage it again.
I find Morrissey almost unlistenable. Marr is a great guitarist and they had some good tunes mind.
Far from being "granny music", is one of the greatest pop songs of the last 20 years. And the fact it steals shamelessly from Unfinished Sympathy only makes me love it more.
is one of my favourite tracks of the past 5 years