My mom said she likes Elton John, but she can't appreciate him very well, because piano as an instrument takes up too much of her attention, so she doesn't know whether to focus on the voice or the piano. She says guitar feels like more of a background instrument.
My mom said she likes Elton John, but she can't appreciate him very well, because piano as an instrument takes up too much of her attention, so she doesn't know whether to focus on the voice or the piano. She says guitar feels like more of a background instrument.
I think this is sort of my problem with guitar.
It's more that like
any two given tunes played on an electric guitar would sound the same to me. Something about the timbre is just so monochrome to my ears that finer points of musicality sort of lose their meaning.
Yeah but that's true of a lot of amateur bands who are not unironically cited as hugely influential (often by male artists. Frank Zappa comes to mind as the big one).
I should probably not care about this honestly.
It's a really unique sound that's hard to imitate. It's fun and genuinely weird. Same goes for Half-Japanese years later, and they were both teenage boys, albeit way more overtly experimental even early on.
Dot Wiggin just made a record with her band. The single is really good.
One of them did die, I think, but I think most of them were pretty cool with being cult icons and had a sense of humour about it. They even did some reunion shows.
Apparently Brent DiCrescenzo not only has done a complete 180° flip on NYC Ghosts & Flowers but has freely admitted that he was basically full of it when he was younger and that the Pitchfork rating system has always been essentially arbitrary and borderline meaningless.
I now like him significantly more than when I was first introduced to his work.
Apparently Brent DiCrescenzo not only has done a complete 180° flip on NYC Ghosts & Flowers but has freely admitted that he was basically full of it when he was younger and that the Pitchfork rating system has always been essentially arbitrary and borderline meaningless.
I now like him significantly more than when I was first introduced to his work.
I dunno, this already sounds like an implicit admission that his reviews were basically total bullshit to me.
And that's the exact moment he jumped ship, preserved in amber, and it's kind of beautiful in that it's the hipper-than-thou music writer tearing away his mask and admitting that music is something he loves and not something he feels comfortable quantifying.
He apparently still does write about music, but it's generally stuff like artist profiles for magazines. His style is still very much his, but less... Pitchfork.
Honestly, even his Pitchfork stuff was at least creative in its trollishness. Their current stuff is just ehhh on average, not even worth getting mad about.
Jamie Stewart has reached peak weirdness: Xiu Xiu now has an entire second Bandcamp dedicated to field recordings, avant-garde percussion compositions, dark ambient soundtrack work, and a collaboration with Grouper because why not.
There is something to be said for a band where a statement like this will come as a shock to almost no-one.
you know it's occurred to me that if I spent as much time listening to music as I did reading fucking random-ass Pitchfork reviews I'd probably be a lot more well-listened.
I can tell you a decent amount about Capn' Jazz despite having never heard a single record of theirs for instance.
also Bob Dylan. Like I should really listen to some Bob Dylan records sometime, I basically only know "The Times They Are A-Changin'" and "Like A Rolling Stone".
On the most recent album by my group Clipping, we made a track that was partly a tribute to Screw. We didn’t want to simply slow down a beat and chop the drums on the second to last eighth note of every bar—that would have been too thievish. Plus, just ripping off his techniques would have been antithetical to Screw’s pioneering creativity. Instead, each individual drum sound that made up the beat for “Dominoes” was the sound of a record slowing to a full stop—we screwed every element separately and then constructed a track out of those sounds. Most people didn’t recognize that the song was, in part, an homage, and we were happy to keep the reference obscure
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It's a really unique sound that's hard to imitate. It's fun and genuinely weird. Same goes for Half-Japanese years later, and they were both teenage boys, albeit way more overtly experimental even early on.
One of them did die, I think, but I think most of them were pretty cool with being cult icons and had a sense of humour about it. They even did some reunion shows.
^ Ninjutsu cat.
I now like him significantly more than when I was first introduced to his work.
I can respect that.
*checks*
Fuck, his Wikipedia article is gone. His Twitter informs me he's in broadcasting now or something?
Honestly, even his Pitchfork stuff was at least creative in its trollishness. Their current stuff is just ehhh on average, not even worth getting mad about.
There is something to be said for a band where a statement like this will come as a shock to almost no-one.
also that album she released last year is rly good u should listen
this is why i dont read/watch any sort of music criticism at all anymore
would be good
that is pretty cool
if I'm able to donate plasma today I'm gonna pick up a physical copy sometime this week because I'm too hyped to just go with digital