Rainbow Rosa
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Post by Rainbow Rosa on Dec 23, 2023 13:17:05 GMT -5
The main thing I disagreed with in that video was that I thought Todd in the Shadows is being far too nice to the Fudge Rounds guy. I do not trust his "I'm not really on the right or the left," schtick, and while I don't think he ever expected to have a song that charted at all, his lyrics very strongly suggest a quite reactionary worldview. Also, I guess the wordplay of "Rich men" and "Richmond" is mildly clever, but apart from that the lyrics to that song are laughably bad. Like, leaving aside the reactionary nature of the line "If you're five foot three, and three hundred pounds, taxes ought not to pay for your bags of Fudge Rounds" is such a tortured line. Also, the line about "miners" vs. "minors" is clearly meant to express disgust at politicians who associated with Epstein, but the way it's written "I wish politicians would look out for miners / And not just minors on an island somewhere" makes it sound like he's complaining about politicians who are trying to achieve justice for Epstein's victims. Oliver Anthony Music is a horrible lyricist. By far, I think the best response to Oliver Anthony is this: With apologies to our boy Del:
Could there be a more withering insult to a musician than "Billy Bragg liked your song, but thought your lyrics could be a little worse?"
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Post by Desert Dweller on Dec 23, 2023 15:10:02 GMT -5
I just listened to the whole album. Yeah, it is the best one I've heard from them in a long time. Tons of fun. Love the energy. And the modern production wasn't overwhelming or distracting. There were a couple songs that didn't really grab me, but I'll give it a couple more listens this weekend.
In the way of these things, the only song I could do without - Mess It Up - is the next single. I just realized that I had no memory of this song. And that is because I listened to the album through the Stones YouTube page, which had the official music video for "Mess It Up". This features Nicholas Hoult. This was an error by me, as I prefer to listen to music with no video playing. But I saw "Nicholas Hoult" and went on ahead with it because I really like him, and now the only thing I remember about the song is Hoult in the video. Going to have to listen to it without the video playing.
Edited to add: I just listened to the song only. Yeah, it is maybe the blandest one, and has the most modern production on it. I think the overproduction going on caused me to tune out and just stare at Hoult.
No, I haven't had much time for movies lately. December is a busy month for me. Also, I'm not even sure the movie interests me. I don't really care about the personal lives of musicians, and therefore movies about their personal lives are of little interest to me. Lenny was a great conductor, a strong composer, and a fantastic teacher of music. That's what I care about in regards to him.
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Post by Desert Dweller on Dec 23, 2023 19:46:23 GMT -5
Ugh, I know I complain about this incessantly, but UGH!
That CBS stream of the Willie Nelson concert uses Pitch Correction and Autotune. Those aren't the real live performances. I had my suspicions in a couple of performances of the artists I know really well. This suspicious blandness in their voices crept in that sounded unnatural to me. But I just let it go and watched the whole concert.
Today, just to see if I was insane, I went to YouTube and searched for audience-filmed videos from that day. Yep. The stream on CBS is using tech to alter their voices. Don't know if the artists requested this, or CBS just did it. But ugh, this is annoying. Go listen to an old live performance of Willie's from the 70s, or whenever. He didn't sing perfectly in tune when he was live. Who the fuck cared? NO ONE!
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Post by Jimmy James on Dec 25, 2023 15:14:45 GMT -5
Spotted the soundtrack album for Elvis's G.I. Blues in a used record store and somehow only just now learned that the Replacement's Pleased to Meet me is aping this the same way London Calling does his debut
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Post by songstarliner on Dec 28, 2023 3:04:57 GMT -5
I'm working on a playlist based on King of the Road: kinda languid, old-school vocal numbers, cowboy tunes, crooners. Charismatic but not goofy. It's sliding into R&B like all my playlists, but that's okay. Can't go wrong with Lee Dorsey. Anyway it needs to be 50s or 60s, nothing jazzy or rock. Let me know if you you have any suggestions.
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Post by Desert Dweller on Dec 28, 2023 20:18:42 GMT -5
I finally watched that Todd in the Shadows Top 10 Worst hits of 2023 video.
Holy hell, I didn't even know that Drake song existed. "Slime You Out". I only check in on the Billboard charts occasionally. That thing is over 5 minutes long? THAT? Good lord.
I don't know how music is going to escape this and come up with a new sound. All of pop, hip-hop and R&B are cursed by this dreariness. Songs made to please the algorithm. It's all computerized and soulless.
Remember when the olds used to be annoyed by new music because it was too loud, or naughty or offensive? And now anyone over age 30 hates new music because it is so freaking boring.
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moimoi
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Post by moimoi on Dec 28, 2023 21:43:13 GMT -5
Remember when the olds used to be annoyed by new music because it was too loud, or naughty or offensive? And now anyone over age 30 hates new music because it is so freaking boring. Seriously. Listen to Olivia Rodrigo's breakout single "Driver's License". It is the dreariest, most boring hit ballad since "Wrecking Ball".
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Rainbow Rosa
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Post by Rainbow Rosa on Dec 29, 2023 12:30:00 GMT -5
Remember when the olds used to be annoyed by new music because it was too loud, or naughty or offensive? And now anyone over age 30 hates new music because it is so freaking boring. Seriously. Listen to Olivia Rodrigo's breakout single "Driver's License". It is the dreariest, most boring hit ballad since "Wrecking Ball". I don't really know what to make of Olivia Rodrigo. I mean, I like her - by which I mean, I like her, Olivia Rodrigo the person. She seems happy with her life in a way that you wouldn't expect from a teen pop star, and some of her more "rockin" numbers are genuinely fun, with exactly the right ratio of above-the-fray-of-teen-brattiness to reveling-in-it.
But on another level, it's just kind of sad how reliant her music - her career! - is on interring the honestly-kinda-moribund culture of the late '00s, and not really doing anything with it, and also how much people love that about her. There's nothing wrong about writing "Misery Business 2," but that going to #1 basically because people really love "Misery Business" is... sad.
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Post by ganews on Dec 29, 2023 16:18:35 GMT -5
Thank god for indie radio, which allows me to listen to new music all the time while barely being aware of these people beyond maybe their names.
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moimoi
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Post by moimoi on Dec 30, 2023 9:35:10 GMT -5
Seriously. Listen to Olivia Rodrigo's breakout single "Driver's License". It is the dreariest, most boring hit ballad since "Wrecking Ball". I don't really know what to make of Olivia Rodrigo. I mean, I like her - by which I mean, I like her, Olivia Rodrigo the person. She seems happy with her life in a way that you wouldn't expect from a teen pop star, and some of her more "rockin" numbers are genuinely fun, with exactly the right ratio of above-the-fray-of-teen-brattiness to reveling-in-it.
But on another level, it's just kind of sad how reliant her music - her career! - is on interring the honestly-kinda-moribund culture of the late '00s, and not really doing anything with it, and also how much people love that about her. There's nothing wrong about writing "Misery Business 2," but that going to #1 basically because people really love "Misery Business" is... sad.
Well said. I can't really dispute her success because she has some good songs and she is otherwise unproblematic. It's just hard to get excited about something you've totally heard before. Also, her older-critic converts arguing for indie cred might need to refresh their memories vis-a-vis the Lilith era. Specifically:
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Post by Some Kind of Munster on Dec 30, 2023 10:07:21 GMT -5
I don't really know what to make of Olivia Rodrigo. I mean, I like her - by which I mean, I like her, Olivia Rodrigo the person. She seems happy with her life in a way that you wouldn't expect from a teen pop star, and some of her more "rockin" numbers are genuinely fun, with exactly the right ratio of above-the-fray-of-teen-brattiness to reveling-in-it.
But on another level, it's just kind of sad how reliant her music - her career! - is on interring the honestly-kinda-moribund culture of the late '00s, and not really doing anything with it, and also how much people love that about her. There's nothing wrong about writing "Misery Business 2," but that going to #1 basically because people really love "Misery Business" is... sad.
Well said. I can't really dispute her success because she has some good songs and she is otherwise unproblematic. It's just hard to get excited about something you've totally heard before. Also, her older-critic converts arguing for indie cred might need to refresh their memories vis-a-vis the Lilith era. Specifically: Ha! “Jealousy, Jealousy”, the one song from her first album that I really liked, I liked specifically because it reminded me of Poe
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Rainbow Rosa
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Post by Rainbow Rosa on Dec 30, 2023 16:44:37 GMT -5
Thank god for indie radio, which allows me to listen to new music all the time while barely being aware of these people beyond maybe their names. The thing with indie radio is, I don't actually know that it's actually less derivative, so much as it's derivative of culture that was formative for Gen X rather than Gen Y.
Or, god forbid, the boomers. I'm not a Greta van Fleet fan or anything, but do they actually suck? It's clear that critics hate them because they're nakedly ripping off music their dads liked instead of Slowdive or whatever.
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Post by ganews on Dec 30, 2023 21:41:15 GMT -5
Thank god for indie radio, which allows me to listen to new music all the time while barely being aware of these people beyond maybe their names. The thing with indie radio is, I don't actually know that it's actually less derivative, so much as it's derivative of culture that was formative for Gen X rather than Gen Y.
Or, god forbid, the boomers. I'm not a Greta van Fleet fan or anything, but do they actually suck? It's clear that critics hate them because they're nakedly ripping off music their dads liked instead of Slowdive or whatever.
Eh, I've been perpetually behind the curve on most music my whole life. I could spend decades exclusively listening for the first time to great music written before I was born. This is actually my major motivation for Record Club. Plenty of times I have fallen in love with music only to later learn about its direct influences (that's why I love early 2000s dance punk, hey-oooo!). At least indie radio keeps me from spending my mid-life on listening to only music from when I was young.
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moimoi
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Post by moimoi on Dec 31, 2023 14:46:20 GMT -5
Thank god for indie radio, which allows me to listen to new music all the time while barely being aware of these people beyond maybe their names. The thing with indie radio is, I don't actually know that it's actually less derivative, so much as it's derivative of culture that was formative for Gen X rather than Gen Y.
Or, god forbid, the boomers. I'm not a Greta van Fleet fan or anything, but do they actually suck? It's clear that critics hate them because they're nakedly ripping off music their dads liked instead of Slowdive or whatever.
This is my number one pet peeve as an indie radio DJ: all these new kids ripping off 90s indie rock like they're the first to do it. Nobody is even trying to sound new--except for the likes of 100 gecs, but a little 'gecs goes a long way.
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Post by Desert Dweller on Dec 31, 2023 22:20:43 GMT -5
Remember when the olds used to be annoyed by new music because it was too loud, or naughty or offensive? And now anyone over age 30 hates new music because it is so freaking boring. Seriously. Listen to Olivia Rodrigo's breakout single "Driver's License". It is the dreariest, most boring hit ballad since "Wrecking Ball". I read this and thought, "I've heard that song." And then I couldn't remember any bit of it. So I played it. I listened to it no more than 5 minutes ago, and I can barely remember it. What I do remember is that she rhymes "me" with "street" in the chorus and it annoyed me.
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Post by Desert Dweller on Jan 1, 2024 0:00:00 GMT -5
My plans tonight got scuttled as two of my friends are sick, one with COVID. I'm sitting at home listening to some Broadway stuff.
Lin-Manuel Miranda needs to go back to writing for Broadway. He is great at this. And yeah, I know it took him 7 years to write "Hamilton", but "Wait for It" just came up on my playlist and damn, this is an incredible Broadway villain song. One of the reasons "Hamilton" works so well as a piece of theater is that Miranda truly seems to understand the psychology of the two primary characters.
I know I'm not saying anything new here, but damn, this is a great Broadway villain lyric. I gotta see where this will go on my favorite Broadway lyrics list. Maybe top 20? Miranda says this song and the other big villain song in "Hamilton" may be the two best songs he's ever written, and I think that may be right.
Theodosia writes me a letter every day I'm keeping her bed warm while her husband is away He's on the British side in Georgia He's trying to keep the colonies in line But he can keep all of Georgia Theodosia, she's mine
Love doesn't discriminate Between the sinners and the saints It takes and it takes and it takes And we keep loving anyway We laugh and we cry and we break And we make our mistakes And if there's a reason I'm by her side When so many have tried Then I'm willing to wait for it I'm willing to wait for it
My grandfather was a fire and brimstone preacher But there are things that the Homilies and hymns won't teach ya My mother was a genius My father commanded respect When they died they left no instructions Just a legacy to protect
Death doesn't discriminate Between the sinners and the saints It takes and it takes and it takes And we keep living anyway We rise and we fall and we break And we make our mistakes And if there's a reason I'm still alive When everyone who loves me has died I'm willing to wait for it
I am the one thing in life I can control I am inimitable I am an original I'm not falling behind or running late I'm not standing still I am lying in wait
Hamilton faces an endless uphill climb He has something to prove He has nothing to lose Hamilton's pace is relentless He wastes no time What is it like in his shoes?
Hamilton doesn't hesitate He exhibits no restraint He takes and he takes and he takes And he keeps winning anyway He changes the game He plays and he raises the stakes And if there's a reason He seems to thrive when so few survive, then Goddamnit I'm willing to wait for it
Life doesn't discriminate Between the sinners and the saints It takes and it takes and it takes And we keep living anyway We rise and we fall and we break and we make our mistakes And if there's a reason I'm still alive When so many have died Then I'm willin' to- Wait for it
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Post by pantsgoblin on Jan 2, 2024 11:07:29 GMT -5
My plans tonight got scuttled as two of my friends are sick, one with COVID. I'm sitting at home listening to some Broadway stuff. Lin-Manuel Miranda needs to go back to writing for Broadway. He is great at this. And yeah, I know it took him 7 years to write "Hamilton", but "Wait for It" just came up on my playlist and damn, this is an incredible Broadway villain song. One of the reasons "Hamilton" works so well as a piece of theater is that Miranda truly seems to understand the psychology of the two primary characters. My brother-in-law, a multimedia artist, was a classmate of Miranda's at Wesleyan. You might say there's a bit of professional jealousy.
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LazBro
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Post by LazBro on Jan 3, 2024 9:25:49 GMT -5
My plans tonight got scuttled as two of my friends are sick, one with COVID. I'm sitting at home listening to some Broadway stuff. Lin-Manuel Miranda needs to go back to writing for Broadway. He is great at this. And yeah, I know it took him 7 years to write "Hamilton", but "Wait for It" just came up on my playlist and damn, this is an incredible Broadway villain song. One of the reasons "Hamilton" works so well as a piece of theater is that Miranda truly seems to understand the psychology of the two primary characters. I know I'm not saying anything new here, but damn, this is a great Broadway villain lyric. I gotta see where this will go on my favorite Broadway lyrics list. Maybe top 20? Miranda says this song and the other big villain song in "Hamilton" may be the two best songs he's ever written, and I think that may be right. This song, and Odom Jr.'s performance of it in the film and on the OST, are the highlight of the show for me. From the lyrics to the performance, there is absolute control and purpose. And he really does steal the show again in Act II with "The Room Where It Happens."
I find I lose interest in the back stretch of the show, but everything up through Washington's send off, "One More Time", I think is pretty much perfect. That's the first 105-110 minutes maybe? Not including intermission.
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monodrone
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Post by monodrone on Jan 3, 2024 10:16:41 GMT -5
I'm watching Todd in the Shadows worst songs of 2023 (a couple days early on Patreon) and I must conclude, based on this, Needledrop's video, and my own paltry 'best of' list for the year, that this was the year that everybody in music just gave up. Like: congratulations, Taylor Swift, you made "Fetch" happen and boygenius IS exciting...somehow. The National put out TWO releases this year FFS. What a DULL DULL lackluster year. Hey come one, King Gizzard and the Lizard Wizard put out two albums too! Cherry Glazerr! Dean Johnson! I'm listening to the first of those albums (PetroDragonic Apocalypse; or, Dawn of Eternal Night: An Annihilation of Planet Earth and the Beginning of Merciless Damnation) right now having not been much of a fan in the past of their output and I'm enjoying it a lot. That said, it feels like it's been playing forever already and I'm only on track 3 so who knows if I'll manage to see it through without getting bored.
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Dellarigg
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Post by Dellarigg on Jan 4, 2024 9:43:59 GMT -5
Artists I Can't Seem To Make My Mind Up About, No.1:
Lana Del Rey.
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Post by pantsgoblin on Jan 4, 2024 16:25:35 GMT -5
No one ever talks about Suicide's discography past the first 2 records but 1988's A Way of Life is actually pretty good.
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Post by Desert Dweller on Jan 5, 2024 2:24:06 GMT -5
My plans tonight got scuttled as two of my friends are sick, one with COVID. I'm sitting at home listening to some Broadway stuff. Lin-Manuel Miranda needs to go back to writing for Broadway. He is great at this. And yeah, I know it took him 7 years to write "Hamilton", but "Wait for It" just came up on my playlist and damn, this is an incredible Broadway villain song. One of the reasons "Hamilton" works so well as a piece of theater is that Miranda truly seems to understand the psychology of the two primary characters. This song, and Odom Jr.'s performance of it in the film and on the OST, are the highlight of the show for me. From the lyrics to the performance, there is absolute control and purpose. And he really does steal the show again in Act II with "The Room Where It Happens."
Yes, Leslie Odom Jr is absolutely phenomenal in "Hamilton". He earned every ounce of that Tony Award. This role is incredibly difficult. Miranda did a very smart thing here and made Burr the narrator of the show. I love how he, as the narrator, gets to describe Hamilton several times over the show, and this description changes over time, and gets so bitter and nasty at the end. And the way he slowly starts to manipulate the audience's perception of what is happening. Ah, such a great decision to make him the narrator. And then Miranda made that role the best one in the show. He deliberately gave the two best songs in the show to that character. Odom Jr's vocal performance is great. And his physical performance in the show is beyond great. I love how still and controlled he is through the first half, and you see him slowly (physically) unravel over the second half.
And yes, the control and purpose in "Wait For It" is wonderful. Miranda says in his book, "How do you dramatize stasis? You give the audience a glimpse of the immense self-control that makes it possible." The lyrics and the physical performance reveal everything you need to know about the character. The lyrics are so well-crafted for this theatrical purpose. It kills me that Miranda says he got the idea for the song while riding on the train to get to another part of NYC for a party. He says the chorus came to him in a rush. "Death doesn't discriminate..." Got to the party, and turned right back around, and basically finished this whole song on the train ride back. It took about 3 hours total.
And yes "The Room Where It Happens" is also a fantastic performance by Odom Jr. Another great song by Miranda. It is here that you see how Burr is starting to manipulate the narrative to win himself sympathy from the audience. This one is so great to see, because of the way the ensemble is used. The choreography adds so much to this, the way Burr almost seems to fade into being part of the ensemble at first, but as it goes on, he seizes control and seems almost like he is controlling the dancers like they're his puppets by the end. I also love how Hamilton scolds Burr for being passive, you see how jealous Burr is of Hamilton and when Burr finally tells us what he really wants.... it is power for its own sake.
Ugh, these are two ridiculously great villain songs.
Definitely the show is front-loaded, in terms of the songs. (Miranda spent 5 years on Act 1 and 2 years on Act II.) However, Odom Jr's performance is so good in the final section that I find it quite compelling. I also love how Miranda achieves the dramatic irony of the finale, where Burr doesn't wait for it, and Hamilton throws away his shot. Dear God, that is perfectly set up. Such great theater writing.
So yeah, I'm sure that writing songs for Disney films, and probably even directing "Tick Tick Boom" were easier than writing a Broadway show, Miranda's Broadway writing is so great, and I wish he would go back to this.
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Post by King Charles’s Butterfly on Jan 8, 2024 18:06:28 GMT -5
There’s a monthly record fair here in Los Angeles that’s mainly sponsored by the dublab and an NY-based record store that recently lost its local storefront. I found out about it in November and really enjoyed that month’s event: got some young Susumu Yokota (didn’t know about it) and a mid-eighties Yukuhiro Takahashi album (knew about—has a picture of his little dog on it—but couldn’t find the whole album streaming on youtube last time I looked).
Those were reasonable because they wasn’t City Pop, of course. I usually can’t do uncut City Pop—I really only like it when ot’s carefully compiled but someone else, mixed with something else (e.g. remixed with MF DOOM lyrics) or stuff that’s adjacent to its edges.
November’s event was fun, convivial, and in a small bar patio/parking lot Chinatown, though. This month it was a pop-up in a proper storefront, though, and in a development called ROW DTLA. It’s in the former produce market, and still in an active warehouse district. It’s also close to Skid Row, so despite being a massive site criss-crossed by roads and alleys it’s all fenced off, with only one entrance on the far side of the development. It’s true island of gentrification, complete with island dwarfism in the size of the (permanent) boutiques and island gigantism in terms of their prices.
I didn’t have as good a time. Even though, being indoors, the music was louder, it just felt less music-centric: lots of clothes for sale, a wine bar instead of skewers and dumplings, and furniture, how to better display your quarry. There was a lot more City Pop, too, in both relative and absolute terms. Again, not my thing so I usually don’t care, but that shit is expensive, and that expense really threw the whole vibe off for me because everything about the event was driven by that price point of collecting.
That whole area is odd, even past ROW, into the more purely industrial area. I’ve been there before—there’s a (very nice but now quasi-inactive) theater where I saw an In the Mood for Love/2046 double feature. It makes sense as an area for that sort of thing in the sense that rents are low (good for up-and-coming brands), it has good highway access, but it’s strange to have these islets of high-end coffee (which I admittedly have a weakness for), luxury retail (and I mean luxury retail). At the same time there are no sidewalks, the big creative class office space is somewhat distant, and no one lives nearby. It was an off-putting day.
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moimoi
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Post by moimoi on Jan 8, 2024 22:43:25 GMT -5
There’s a monthly record fair here in Los Angeles that’s mainly sponsored by the dublab and an NY-based record store that recently lost its local storefront. I found out about it in November and really enjoyed that month’s event: got some young Susumu Yokota (didn’t know about it) and a mid-eighties Yukuhiro Takahashi album (knew about—has a picture of his little dog on it—but couldn’t find the whole album streaming on youtube last time I looked). Those were reasonable because they wasn’t City Pop, of course. I usually can’t do uncut City Pop—I really only like it when ot’s carefully compiled but someone else, mixed with something else (e.g. remixed with MF DOOM lyrics) or stuff that’s adjacent to its edges. November’s event was fun, convivial, and in a small bar patio/parking lot Chinatown, though. This month it was a pop-up in a proper storefront, though, and in a development called ROW DTLA. It’s in the former produce market, and still in an active warehouse district. It’s also close to Skid Row, so despite being a massive site criss-crossed by roads and alleys it’s all fenced off, with only one entrance on the far side of the development. It’s true island of gentrification, complete with island dwarfism in the size of the (permanent) boutiques and island gigantism in terms of their prices. I didn’t have as good a time. Even though, being indoors, the music was louder, it just felt less music-centric: lots of clothes for sale, a wine bar instead of skewers and dumplings, and furniture, how to better display your quarry. There was a lot more City Pop, too, in both relative and absolute terms. Again, not my thing so I usually don’t care, but that shit is expensive, and that expense really threw the whole vibe off for me because everything about the event was driven by that price point of collecting. That whole area is odd, even past ROW, into the more purely industrial area. I’ve been there before—there’s a (very nice but now quasi-inactive) theater where I saw an In the Mood for Love/2046 double feature. It makes sense as an area for that sort of thing in the sense that rents are low (good for up-and-coming brands), it has good highway access, but it’s strange to have these islets of high-end coffee (which I admittedly have a weakness for), luxury retail (and I mean luxury retail). At the same time there are no sidewalks, the big creative class office space is somewhat distant, and no one lives nearby. It was an off-putting day. Anything going down in LA between February 17-20? I'm coming to visit!
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Post by William T. Goat, Esq. on Jan 9, 2024 23:30:36 GMT -5
Skadoosh.
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Dellarigg
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Post by Dellarigg on Jan 12, 2024 6:53:33 GMT -5
Mid-90s, I was a fairly enthusiastic Oasis fan (while keen to point out their shortcomings) and a very enthusiastic Stone Roses fan (first album only, though I should probably revisit the second one). Now Liam Gallagher and John Squire have collaborated on an album, the first track of which has been released. I think I can say I'm pleasantly surprised. Squire is currently noodling perhaps a little too much, as he did on the second album, but Liam sounds good, and over all it has the tone I like about the Roses (and Two Of Us by The Beatles) - it sounds happy if you're in a good mood, melancholy if you're not.
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Post by Some Kind of Munster on Jan 12, 2024 9:23:37 GMT -5
Mid-90s, I was a fairly enthusiastic Oasis fan (while keen to point out their shortcomings) and a very enthusiastic Stone Roses fan (first album only, though I should probably revisit the second one). Now Liam Gallagher and John Squire have collaborated on an album, the first track of which has been released. I think I can say I'm pleasantly surprised. Squire is currently noodling perhaps a little too much, as he did on the second album, but Liam sounds good, and over all it has the tone I like about the Roses (and Two Of Us by The Beatles) - it sounds happy if you're in a good mood, melancholy if you're not. I don't think I actually heard the Stone Roses until the 2nd album so I guess by going in with lower expectations than most I've never really thought it was all that bad. That said, the noodling is my favourite part of this song (which I quite like overall even though I've never cared for Oasis) so you can take my opinion with a grain of salt
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Rainbow Rosa
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Post by Rainbow Rosa on Jan 12, 2024 14:27:09 GMT -5
I've only heard the second Stone Roses album, and for years was confused that this B-tier blues rock band was considered one of the most important British acts of the era. Don't think I could recall any of the tracks on the album other than "Love Spreads" lol.
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Dellarigg
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Post by Dellarigg on Jan 12, 2024 14:56:48 GMT -5
I've only heard the second Stone Roses album, and for years was confused that this B-tier blues rock band was considered one of the most important British acts of the era. Don't think I could recall any of the tracks on the album other than "Love Spreads" lol. The first album is nothing like the second, though maybe all the bands it influenced will have dulled its impact to those hearing it for the first time in January 2024. Still, I would give it a go - it’s right up there with the best debut albums by anyone. (There was also Turns Into Stone, a follow up compilation of non-album singles and b-sides that is well worth your time. (If you like the first album, that is; otherwise it'd just be more of the same.)) After all this chatter, I did indeed listen to the second album again earlier, and it remains a baffling disappointment. They are not suited in the slightest to blues workouts. The excellent rhythm section makes the funkier tracks salvageable, but they’re still nothing special. And the tuneful indie stylings that echo the debut are just that, pale echoes.
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moimoi
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Post by moimoi on Jan 12, 2024 19:02:40 GMT -5
I've only heard the second Stone Roses album, and for years was confused that this B-tier blues rock band was considered one of the most important British acts of the era. Don't think I could recall any of the tracks on the album other than "Love Spreads" lol. I may have some good news for you about Primal Scream.
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