No... no can't imagine that at all.
are pretty rad.
I've just come round to her, she's pretty poptacular.
ripped all those songs from the stereo mix. :(
¨I HATE THOSE CUNTS... NOW BRING THEIR MUSIC TO ME!¨
is pretty spectacular. Not quite as convinced about the other stuff on his myspace though. Should of gone to Oxford and seen him, mergh.
I think a lot of this review is just: "oh no its too loud and fast you might not be familiar with pop music like this ohhhh where are my glasses I need to find my medication."
I've even reviewed them and given them a perfect score...
But I don't actually THINK this album is perfect (despite it being almost-perfect). Its just nice to get ridiculously enthusiastic about something that is incredibly fun. Really, uninhibited, joyous fun.
If liking an irresistible pop song puts you in the minority...
Actually fuck you.
Just to clarify- that was not me.
feels so ridiculously relevant to me.
Meh, probably my own problem.
I mean, most of it is good, yeah (the review, not the album, although I do like the album a lot), but whats with the comparison to Adele's album? I mean, mentioning her along Foals and the Klaxons... feels very deliberate, in a way. I think what I am trying to say is: I am disturbed that DiS are giving that much credit to coffee table music.
I mean this.
But I guess you could always completely mis-read what I said, it's up to you.
With writers like this, no wonder the NME exudes so little wonder and joy. I have never read anything else he's written, but from the evidence of this, James McMahon is just hiding his personal hang-ups about the posh by pretending that the old rock dreams of acquiring as much sex and cocaine as possible are still in any way exciting, interesting, or relevant to the quality of music.
Apparently its more 'pop-influenced'. If that means it sounds anything like the first two tracks on the remix album, I will be very happy indeed.
Subtle Subtle Subtle Subtle.
There. That makes up for it not being mentioned in the article.
Last Thursday, supporting A Hawk And A Hacksaw. They're pretty OK. I liked them, and their guitarist seemed to keep on smiling at me, but their music didn't really stick too much in my head.
for when you have created something different and new.
Disclaimer: there is never actually a valid reason to declare war on anything.
'Hissing Fauna...' is a work of singular pop genius, and 'The Past Is A Grotesque Animal' is intense, affecting and wonderful. Should have been top 5, definitely.
is ridiculously good up until about halfway through, then all it has going for it is 'No Cars Go', and that song, whilst incredible, doesn't really fit with the rest of the album- it was written much earlier and it shows.
Is still better than Klaxons though.
But I think it does a) split opinion with fans and b) not stand up as well as earlier albums to repeated listens, so...
Its going to be mid-table at best in most end-year lists, I reckon. Probably scrapes Top 20 in mine, and Animal Collective are one of my favourite ever bands.
I don't think you meant to put The Shins and Maccabees in it.
Though still an improvement on the bands in this article.
not that I've seen them live, but The Search Map are also a good example of a much better Manchester band.
all much better than these Neanderthals.
These bands are not what the music scene in Manchester is about.
Is it 1969? Well, no, but if someone who’d been in a coma since then woke up the first thing he heard on the radio was Black Lips then he probably wouldn’t realize that time had advanced by so much in the interval. Apparently their live show is really good, though. Plus, one of them appears semi-engorged on the cover of the first Deerhunter album, so they do at least know people with actual imaginations.
once featured in an NME photoshoot thing for bands who had 'been influenced by the Arctic Monkeys', around late 2005 time I think. The drummer from my old band filled in for one of their members because they were having an argument at the time. They'd never even done a proper demo, just replied to an advert for the feature and looked impeccably indie and cool. I still have the page saved somewhere. True story.
that people like Morrissey. Therefore it is possible to forgive him for being a bit right-wing, whereas it is completely impossible to forgive Conor McNicholas for turning the NME into a big cheerleading nonsense rag for the industry band machine.
I don't give two shits what Morrissey's views on race are, to be honest (even though he's clearly not racist, just anti-immigration), because he has given something beautiful to the world in the form of the music of The Smiths, particularly the first album and The Queen Is Dead, music that has enriched mine and many other peoples' lives, and music which has made me at times feel substantially less alone. And Conor McNicholas has done what, exactly? Made the Arctic Monkeys and Razorlight look more important? Fuck you, McNicholas, fuck you and your whole money-chasing operation.
but I genuinely forgot what date it was.
Klaxons are good though, even if they're essentially just a slightly more pretentious version of Pop Will Eat Itself.
In general, a hideous carbuncle of a list.
Deerhunter are amazing.
The Woods sucks, sorry.
Joiners = only part of Southampton that is good.
Is it actually out in this country? I don't know, but it should be up there. The Field too- they're the two biggest misses. Would have been nice to see Frog Eyes at least in the top 50 as well.