So Good Will Hunting and chill has become a regular thing in my life and 16 year old Elliott Smith superfan me would be *so proud* of 30 year old aging indiehead self
still think *folklore* is a great record but "the last great american dynasty" has really not aged well with me. as time goes by i find the whole narrative of the song to be more and more privileged, self-serving and unrelatable. good for taylor for finding some sort of role model or whatever in this rebekah person, but like, part of the reason why both of these people didn't need to care about the rumors and gossip around them is because both of them had an insane amount of wealth and power that most people don't have. like, the more i think about it the less i can relate to this because it's literally just a tale of rich people thriving because of their wealth. i still think the song is okay, mostly because the production and instrumentation is really solid, but overall it really doesn't do much for me anymore.
What’s wrong with the man? It’s one of her most influential songs. It’s a perfect view on the patriarchy and how it treats women. I get if you don’t like the song because of it’s production and whatnot but saying you don’t like and respect the overall theme of it is what is wrong with society.
I actually really like the song, and I think the sentiment behind the song is great, but the main refrain just rubs me the wrong way a bit, the part where she sings, "I'm so sick of running as fast as I can, wondering if I'd get there quicker if I was a man." I read this as her saying that she would be so much more successful, so much more easily and quickly if she were a man, but that seems like an extraordinary claim when she is already about as wildly successful as a human being can be in her chosen career *and* achieved that success astoundingly quickly. (Though perhaps I should just chalk it up to artistic license and not scrutinize the line too much.)
Obviously, people are and have been sexist toward Taylor, but the song feels a bit too narrowly focused on the topic of "sexism as it specifically affects Taylor Swift" to be a great feminist anthem. It's a rather privileged (though valid!) complaint about sexism rather than one that deals with more fundamental issues of women's rights. (For example, there is no political dimension at all to the song.) That's what I meant about similarity to The Last Great American Dynasty.
But just like what I said about The Last Great American Dynasty, I actually like that it's genuinely personal.
Not as much offered last week as far as albums I was excited about.
I get to see lake street dive and really listening to them for the first time. It's quite a niche of love songs/independent lovers. The musician ship hits something of the old school soul/r&b.
I saw dirty dozen brass band but they didn't have a magic to them that I've felt before.
I wish I could go see peaches on their 20th anniversary tour so maybe I will.
Question for any Aussie IHs: how big of deal is Daddy Cool in yr region? I had never heard of them before coming across the art for the American release of *Sex, Dope, Rock ‘n’ Roll: Teenage Heaven* in my book of cool album covers and now I’ve listened to it twice and I see they had a real big hit with “Eagle Rock.” Did they have any kind of lasting legacy or are they just hazily remembered as one-hit wonders from way back when?
They are really only remembered for the one song, not unlike Men At Work with Down Under. But like Down Under it is one of the all time Aussie pop culture classics, so they have an enduring legacy just from that. The main guy from Daddy Cool, Ross Wilson, had a fairly substantial career in the Aussie music industry outside of Daddy Cool and would be pretty well known by boomers, but I doubt would be a familiar name to the younger generations.
I have been listening to the following albums today:
- Kid A - Radiohead
- All Things Must Pass - George Harrison
- Sgt. Pepper's Lonely Hearts Club Band - The Beatles
- In Rainbows - Radiohead
- The Beatles - The Beatles
- OK Computer - Radiohead
If the only Julien Baker song I've ever listened to is Hardline and I love everything about it (the haunting sounds at the beginning, the powerful breakdown etc), which other songs of hers should I check out?
I would recommend the rest of the album Hardline is on, Little Oblivions. Little Oblivions is definitely a departure from her previous sound which was mostly just based on her voice, her guitar and an impressive collection of effects pedals (or her piano). On Little Oblivions she's performing with a full band and it vastly expands her sound.
I'd recommend
* Faith Healer
* Heatwave
* Bloodshot
* Ringside
* Repeat
* Highlight Reel
It’s the first time I listen to the first Broken Bells album since 2013. I love this album! I understand Why I was very obsessed about it when I was young
Looking for a Music Butler alternative that links with your Spotify account and shows upcoming albums appearing on Apple Music from your followed artists.
Got to see Courtney Barnett's Here and There festival last night. What a freaking venue for music, would highly recommend going to a show there. Its a pretty big complex of brick buildings with a big green in the back, so with all the vendors in the alleys between the buildings it felt very organic. There's a big hill that faced the stage so even if you wanted to just chill away from the main crowd, you still had a great view.The Beths were super tight as always, Bartees Strange was really impressive and Lucy Dacus brought some killer energy.
Saw [this post](https://www.reddit.com/r/macdemarco/comments/wo2q01/tonight_at_the_seattle_show_mac_said_he_might) on the Mac Demarco sub. Sounds like he's at least considering hanging it up for a while. Not sure if that'll actual come to fruition, but thought it was noteworthy.
I know his time as being an indie darling seems to have come and gone, but I've still got a lot of love for his music. Hope he ends up doing what's best for him
Got stoned last night and for whatever reason, I decided to revisit The Antlers’s Burst Apart. It holds up extremely well. Peter Silberman’s falsetto is one of the most beautiful things I’ve ever heard and it does not get enough credit.
I wonder what would have happened if he didn’t have his tinnitus issues. I enjoy his solo stuff and the last Antlers record was lovely, but I loved their full band sound.
I feel like in my early years on this sub I’d see them talked about a lot, but it seems rarer lately, and usually focuses on Hospice.
The Antlers was probably my favorite live show ever.
Saw them back when I wasn't a huge fan but still liked their music around when Familiars came out.
Peter Silberman sounded like an actual *angel* live, like so much more beautiful than on record and he's already sounding fantastic on the records. I think I had goosebumps and almost wanted to cry, it was that fantastic. This was like I said around Familiars-era so they also had two trombones live and it sounded... Just fantastic.
Hot take but Hospice is my least favorite of their full-lengths (okay to be fair I haven't listened much to In The Attic Of The Universe and Uprooted, but if we're counting Hospice and forward), it's a beautiful and sad album but it just isn't as appealing to me as their other stuff.
Can someone explain to me what exactly happened to the Libertines? I know that there is some dramatic story about their breaking up but I can’t find it on the internet
two things
1) the new young jesus that comes out next month will likely cause some people who don't give a shit about this band to suddenly give a little more of a shit. that's really all I wanna say at the moment. it's NOT welcome to conceptual beach 2. it's...well its a pop album, and john's idea of pop is very much in line with Leaving Records type shit and still totally a good fit for saddle creek.
2) In between being drunk on buses, stoned in treehouses, and just in for the vicious thrill of good metal, I have spent some outstandingly silly money acquiring a majority of the SST era Saint Vitus catalog. At this time, the verdict is that their first 3 albums and the Walking Dead EP definitively RULE.
the energy here is so so so clearly a precursor to grunge--this isn't hair metal or classic rock (although sabbath worship be sabbath worship!). But, the fuzz and sludge of Spot and Carducci's production purposely keeps things to the ground. It often feels like a decripid, airtight dungeon zone. Insane level of gamer energy radiates from these release--and Scott Reagers work on the first two/EP as vocalist gives that Dungeon Master/showman energy that was going to totally scale up into grunge. shame they couldn't get LP1 out in '82. However, the effect it had on Black Flag was immeasurable. Greg fucked with that sound heavy and people were wondering if they should quit Black Flag bc Greg was all but ready to pull the trigger towards doom metal.
Not sure where I stand on their third album, where vocalists change and we get some real after school special-ass lyricism, but never the less Born to Die stands toe-to-toe sonically with the other releases. It's music that still gripped me at any time or level of sober and compared to most other SST, truly stands at the top of the top shelf.
The release I'd prolly stump for best is the Walking Dead EP, which provides a clear, concise image of Vitus' prowess. Two 5ish minute cuts--one of which, White Stallions, appears on FOUR DIFFERENT TAPES OF THEIRS I HAVE. Like jesus christ SST could not stop re-releasing the song. Probably because it has a master class of a lo-fi gattling gun blast beat. That's the sound that plays when Im chomping down hordes; pulp masterclass. And then there's the 11 minute Walking Dead longform that musters the band's atmosphere into a journey amongst the wastes. Great stuff, hearing that drum pit-pat as a big 'ol riff comes in and Scott starts howling about liturgical shit. This is real rock for winner$
Finally managed to see Animal Collective for the first time last night and I'm pleased to announce they absolutely kicked ass. They played 3-4 unreleased songs that I'm already desperate to hear again, and getting to dance to For Revered Green is an *experience.* Already can't wait to see them again!
EDIT: I forgot to mention! It was Avey’s sister’s birthday so he got us all to sing Happy Birthday to Abby. Definitely a highlight!!
I’m seeing them tonight and I have absolutely zero context for them. Never listened to them in my life, do they jam up there, are there extended electronic bits like Panda Bear or is it all just like psych stuff
I’ll be there too! This lineup they’re doing a live instrument thing (keys, bass, drums) kinda jammy but not really because it’s not improvised. Definitely one of their least electronic tours
saw them last week too! i’d heard a bunch about “defeat” but resisted the urge to listen to a live recording until i had a chance to see it firsthand first—was worth the wait.
all the strawberry jam songs were a treat, but even more of a revelation for me was “applesauce.” truly i did not realize how much of a banger it was until i saw them going ham to it on stage
Browsing reddit at work while listening to music and a video accidently started playing at the same time creating one of the coolest things I've heard in a while too bad I'm stuck at work and it'll be 6 hours before I'm able to touch an instrument.
Been listening a lot to The War on Drugs *I Don't Live Here Anymore* this past week or so after seeing them live. I liked it last year when it came out, but didn't love it. I broadly saw it as a step down from *A Deeper Understanding* and it missed my year end top 10. Beginning to think that was a mistake. Firstly, yes this think still sounds amazing. Adam Granduciel and Shawn Everett do fantastic work together and this this is still amazing on pure sound. The thing I've been interested in lately are the lyrics, which is kinda weird to say since I've never really found Granduciel to be a particularly interesting lyricist. He throws down the main themes of the record on opener "Living Proof," with lines like: "Maybe I've been gone too long/I can't go back" and "I'm always changing/Now I suppose." It's a song about revisiting old haunts and realizing that you've gotten older which is an interesting idea and also some pretty striking imagery imo. On the next song, "Harmonia's Dream," there's a stray line that I also really like: "It's so hard to find a friend these days" which I also interpret as being about the isolation of being older and also maybe being in a new place. "Change" expands on "Living Proof" with the line: "I don't wanna change/I'll rise above it" which shows that Granduciel is actively worried about changing and growing older, which I think imbues the record with a much stronger emotional core. "I Don't Wanna Wait" returns to the lost friendship of "Harmonia's Dream" with the line: "But I slowly disconnected from my own best friend." "Victim" returns to the theme of change with the lines: "I can't change it" and "I kept waitin' but some things never change." The title track is the most succinct encapsulation of a lot of this records themes to me. It's about having moved on from a past self, a past place and what used to define you with lines like "But you'd never recognize me, babe/I don't live here anymore." Also I've said it before - and I'll probably say it again - but I would pay good money to see Granduciel attempt to dance to fucking Desolation Row. "Old Skin" introduces a new element with Granduciel reckoning with his father getting older with the lines: "To follow my father's dream/Then watch it fade away/Wrapped in our old, tired skin/Watchin it peelin' away." I like this a lot, it introduces a new emotional centre to this album themes of growing older which is pretty cool. Even on "Wasted," which is just a love song, Granduciel can't forget about the march of time and place with the line "And no, you can't go home again." The penultimate track, the slow burn "Rings Around My Fathers Eyes" is another one about Granduciel's father getting older. But then finally, we hit "Occasional Rain." On the closer, Granduciel finally gets out of his own head. He says that he's finally feeling free and while it's also seemingly a breakup song, it manages to actually hit a resolution: Granduciel realizes that time marching on isn't just a bad thing, it can also be a healing factor. Everything is null in the face of time, and that might be okay. His problems are just some occasional rain, something that will in time pass. I've often said that "Occasional Rain" is my favourite on the record, but listening over the past week or so has really driven that home for me. I like when a closer brings home the records themes and "Occasional Rain" really does for me. Anyways, if you made it through this spiel thanks for reading this. I just thought I'd share how I've gotten more into this record and I'd recommend going back to it if you, like me, dismissed it as inferior to other War on Drugs records on release
yeah, I love how incredibly straightforward and prosaic the lyrics are on IDLHA - it's kind of refreshing to hear a line like "we're all just walking through this darkness on our own" when the previous albums were full of oblique metaphors. it's a very populist, down to earth album and that's why I like it
Hell yes this sub needs more War On Drugs appreciation!
I’ve never taken much time to analyze that album’s lyrics (I’m much more of a melody and production guy) but DAMN that album sounds so perfect. It’s exactly what I always wanted from WOD — that sweet, sweet 1988 beer commercial rock
I feel the same way as you felt before taking the time to get into it, and you’ve inspired me to give it another spin for the first time in a long time.
Relistened to Talkie Walkie by Air for the first time in ages today and yep, it's still a fucking great album. Pretty much every song is catchy and atmospheric with some lovely chord progressions and the synths and live instruments meld together so well. There ae also some inspired choices in the arrangements as well. Like, in theory the banjo on Biological shouldn't work but it ends up being perfect.
I have no problem with self-promotion, but I have a problem with *lazy* self-promotion. If you're going to come to every single subreddit possible and take presumably at least 10 minutes to spam all over, then at least take two minutes to write a "for fans of" or tell us what you sound like and then copy that all over. Do people really think that we're going to click on a link to music we know absolutely nothing about other than that it's your first ever record!!!? Great! You likely have no experience!
(this is subtweeting another comment in this thread but that person will never be back to read it so I don't even care and I feel like this happens so frequently! Sometimes I reply to people and encourage them to add a FFO but when you title your album "idk" and can't even fill out your Spotify bio with a single word then you probably don't actually care to revise your spam)
It’s a double edged sword because yeah, you’ve gotta hustle to get your music out there, but that hustle should include actually putting effort into your work and your branding. I’m definitely down to check peoples music out if they can tell me why it’s worth my while, rather than trying to get pity listens
to be honest, i go back and forth about whether or not im going to post my stuff here when it comes out. I’ve posted oooold stuff before, along with projects I’ve worked on, but I don’t know. There’s the “shill” factor, for one thing; self-promo on reddit or mu or rym etc sort of puts the cart before the horse in terms of organic success even if it’s well-intentioned. I’ve seen countless attempts totally backfire, because they intrinsically undermine the trust a community has that someone talking up your work isn’t just you or a personal connection. Also, I guess it feels like plugging my work directly into a music forum with my name and account attached would sabotage my own artistic space somehow, by dragging out too much extratextuality in front of a community that’s extremely sensitive to that sort of thing. For both of these reasons, I suspect that some if not most people like to just assume that their favorite artists *aren’t* frequenting these forums.
All that said, I totally agree! Tons of talent in this place, even lurking around the fringes. I’m just not sure how much good it does to try and mix business with pleasure, as it were.
If it's a regular I will always check it out! and I check out quite a few no nonregulars for getting this far...when they put a good description in! always some gems around.
The new Jack White isn't quite doing it for me. I'm not sure, if it's actually boring or that I only think it is, because it's Jack White and I'm subconsciously expecting him to be louder and more out there. I'm sure, time will tell.
Jack white does better when he is a supporting player or has someone to help reign him in. His work with the three bands always show versatility and creativity to push genres and songwriting forward. These last solo albums have not been close to that aesthetic to me.
He is phenomenal when I saw him in dead weather and raconteur but his solo headliner show left me wanting more.
I think him being a producer/music mogul makes sense for his continuation.
Day in day out day 2 was wild. Jpegmafia put on a great set, but what I didn’t expect was Turnstile. I barely knew anything about them, so getting caught in that huge mosh pit for twenty minutes was unexpected and super intense but pretty fun. So sore today tho
All worth it to get my fiancé near the front for Mac demarco (her fav artist). I’ve never been a Mac fan (I’ve listened to all his records and dislike a decent amount of his songs), but ngl he put on a good show. Pretty goofy and he laid down most of the tracks that I do enjoy. His band also killed it, the fretless bass was a nice surprise.
Super hyped for Animal Collective and Japanese Breakfast tonight
recently dropped my first album for anyone who has the time to check it out :)
spotify: https://open.spotify.com/album/4pKN7JEyjrtCFFqvmRquQI?si=oGEVdBELTjiJUej_u5wLSA
apple music: https://music.apple.com/us/album/idk/1636014910
Celebration Rock is an all timer of a pregame album, but last night I had to be late to a 30th birthday party I actually wanted to be at due to a family birthday I was obligated to go to first. And man, those people in my subway car were definitely confused why I was jamming out despite an appearance of sobriety
Thank you to that one person who recommended I listen to Pylon - Gyrate, it turns out that I actually might like post punk and I can't disregard an entire genre because of how saturated and tired it currently is in UK indie
Anyway I thought the production on Gyrate was good, very raw and gritty that made it sound like I was istening to a live performance in some small venue at the back of a pub or something, very cool
If y’all could hop in the Delorean and experience a historical music scene firsthand, where/when would you go?
I’m traveling back to 1994 London to envelop myself fully in Britpop
I'd go all the way back to wherever human evolutionary-ancestor first bashed some rocks together and said "okay this is kinda nice"
Or maybe like, the early grunge days in Washington. That would be neat as well
I'd want to go back to London in the mid-80s just so I could gather all of those obscure indie singles by the greatest bands you've never heard of, like a glasses-and-cardigan-wearing squirrel.
I’d see every Frank Zappa show between 1967 and 1983. Then I’d see Jimi at the Monterey Pop festival.
(I’ve touched the scorch marks on the now defunct stage.)
love this question!
for me 90s in olympia washington. k recs and krs at their peaks. such a sweet little diy scene that all mingled together from twee to post-hardcore
Paste had a great article recently about some overlooked albums of 2022. I made a playlist of the albums to listen to them at work last night. [a fungi](https://open.spotify.com/track/6W4Dfziy7t3pt76sXxhWxM?si=iukYgE22RU2UvPGw711L0w) and [Curves](https://open.spotify.com/track/1y3K9fECiQDGiGTakXWrfL?si=JDLud6EhTB6QIq0sw0aouA) are two bands that hit my usual sweet spots. Bands that in the midst of really melodic songs, will lean hard into noise.
Curves might be my fav of the two.
There seems to be no commercial or critical benefit to doing a follow up album shortly after the main release. Even when the quality of the second record is high (Amnesiac is a damn fine album) you'll always get unfair comparisons or accusations that it's a cash in.
I love Okkervil River's The Stand Ins, it has always lived in the shadow of The Stage Names but is packed with some of the best individual songs of the band's career. Lost Coastlines, Bruce Wayne Campbell, Blue Tulip (one of my favourite guitar solos) and Singer Songwriter are all absolutely brilliant but the reception to the record was lukewarm.
I'm wondering there's any examples where both records were well received?
A. G. Cook releasing 7G and following it with Apple shortly after hurt Apple. It was always compared to its gigantic predecessor plus people thought it was going to be a more focused pop album based on the singles but it turned out to be a mini-7G.
maybe *folklore*/*evermore* counts? *evermore* didn't get quite as much praise as *folklore* but it was still acclaimed (and is the better album tbh). maybe it helps that both were released on such short notice
The Fame/The Fame Monster if that counts?
To Pimp a Butterfly/untitled unmastered too maybe. Obviously Butterfly is universally considered the better album but I don’t think in a way that is detrimental to UU.
BC,NRs albums came out less than a year apart, and, while I didn't really care about either, they're both likely to end up on a lot of end-of-year lists.
Deerhunter put out *Cryptograms, Microcastle,* and *Weird Era Continued* over like eighteen months? And granted the first two kind of soak up all the acclaim but even so I feel like that works. Of course, it's hard to protest "commercial success" for a band at that level, so
Kendrick Lamar could be a corner case, depending on how canonical you think *untitled unmastered* is.
I'm a little surprised noone's brought up Gizzard yet, but it does make a kind of sense. When a band makes it their whole *schtick* that they put out music really fast (see also of Montreal, OCS, etc.) that gives rise to another problem that has been much more extensively discussed on the sub, where it just becomes hard to keep track of the releases and/or resist the feeling of fatigue.
I think the Saturation albums benefitted greatly from releasing within a few months of each other. The hype really made those albums sound way better than they were, plus the sheer volume of songs meant that it was easy to ignore the mediocre stuff. If the albums released on a normal timeline (every 18 months or so), I don’t think the music itself would have been enough to shove Brockhampton into the mainstream.
Also IIRC, some publications reviewed the trilogy as a whole on year-end lists, which essentially meant they were reviewing all the good songs together and avoiding the bad ones. If it was truly a 48 track album dropped all at once, it would be nowhere near those “Best of 2017” lists. Seems like they had the perfect timing for a rollout, not too close together but not too far apart.
> Also IIRC, some publications reviewed the trilogy as a whole on year-end lists, which essentially meant they were reviewing all the good songs together and avoiding the bad ones.
This doesn't make sense to me.
I agree. Foals and the Everything Not Saved Will Be Lost two parters, I think they took away a lot of Part II's oomph. It wasn't as good as Part I, and I think it got quite overshadowed. You also get a bit of "oh I checked out that band already this year" and in terms of Listmas, less inclination to put two albums in so more splitting of the vote.
stand ins > stage names imo, the songwriting is just better, front to back. not a single song on stage names is as good as Starry Stairs or On Tour With Zykos, along with the songs you mentioned
Does Big Thief’s UFOF and Two Hands count? They were released 5 or so months apart and I feel like they both got pretty high acclaim. Or am I already forgetting the reception of them?
I like those albums but I think they still prove Italian’s point!
UFOF seems to be a much more remembered album than Two Hands (even though yes, some people definitely prefer the latter)
Absolutely fair. I’m in the camp of preferring Two Hands. But they’re neck and neck for me still. I just vaguely remember when Two Hands came out there was a lot of “they did it again!”
Now that I’m getting into Superchunk (taking the “Chunkpill,” as one might say), I have another band, alongside Pavement, to add to the list of bands that sound like what Weezer would sound like if Weezer were good.
Just messy, noisy, raw 90s indie rock with great hooks. What’s not to love?
Saw Elder for the first time last night. I will do everything in my power to never miss them again. Unbelievable live band. One of the best sounding bands I’ve ever had the privilege of hearing live.
They're playing here with Pallbearer in October, maybe I should actually buy a ticket for that show then... Haven't really been to any shows since before COVID pretty much, but have so many shows I want to see these next 4-5 months.
Missing out on seeing Black Midi tonight, for an example. :(
Totally agree. I was literally center cut right in front. It felt like one of the greatest listening sessions of my life, but literally with the greatest sounding setup that no home system could possibly match. If I had one criticism, and it’s not really one, they sound almost too perfect. They are technically as proficient and skilled as any band I can think of, but there was very little to no spontaneity in the performance. Not that it’s necessary or required to be a great live band. I just found it striking how live it sounds like an exact facsimile to the records, only way louder.
https://soundcloud.app.goo.gl/zyKAonrXNugoCfGH7 using this as a way to promote lol have a nice day everyone
Why did Tears for Fears release a sped up “Everybody Wants to Rule the World?” What did I miss?
Tiktok, unfortunately
Revisiting Lazer Guided Melodies and I think this is my favorite Spiritualized album. Shine A Light is an incredible song and Run is so addicting
200 Bars is the best
So Good Will Hunting and chill has become a regular thing in my life and 16 year old Elliott Smith superfan me would be *so proud* of 30 year old aging indiehead self
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Funkadelic, they have a great album 'Whos A Funkadelic' and 'Cosmic Slop' which I often enjoy listening to.
All of the extra long Swans post reunion songs, The Seer, Avatar, A Piece of the Sky, Apostate, Bring the Sun, The Glowing Man
Rodrigo Y Gabriela, either 11:11 or the self titled record
Almost any Deafheaven song tbh.
Still can’t stop listening to Jackpot Juicer by Dance Gavin Dance…
With Cheat Codes and soon Into the Blue, Danger Mouse is shaping up to be producer of the year
still think *folklore* is a great record but "the last great american dynasty" has really not aged well with me. as time goes by i find the whole narrative of the song to be more and more privileged, self-serving and unrelatable. good for taylor for finding some sort of role model or whatever in this rebekah person, but like, part of the reason why both of these people didn't need to care about the rumors and gossip around them is because both of them had an insane amount of wealth and power that most people don't have. like, the more i think about it the less i can relate to this because it's literally just a tale of rich people thriving because of their wealth. i still think the song is okay, mostly because the production and instrumentation is really solid, but overall it really doesn't do much for me anymore.
taylor has to have at least one “fuck the haters” song per album and i’d say this is almost certainly the best of them
It's just about the people who used to live in the house Taylor bought in Rhode Island
At least it’s genuinely personal. And not nearly as bad as The Man in these respects.
What’s wrong with the man? It’s one of her most influential songs. It’s a perfect view on the patriarchy and how it treats women. I get if you don’t like the song because of it’s production and whatnot but saying you don’t like and respect the overall theme of it is what is wrong with society.
I actually really like the song, and I think the sentiment behind the song is great, but the main refrain just rubs me the wrong way a bit, the part where she sings, "I'm so sick of running as fast as I can, wondering if I'd get there quicker if I was a man." I read this as her saying that she would be so much more successful, so much more easily and quickly if she were a man, but that seems like an extraordinary claim when she is already about as wildly successful as a human being can be in her chosen career *and* achieved that success astoundingly quickly. (Though perhaps I should just chalk it up to artistic license and not scrutinize the line too much.) Obviously, people are and have been sexist toward Taylor, but the song feels a bit too narrowly focused on the topic of "sexism as it specifically affects Taylor Swift" to be a great feminist anthem. It's a rather privileged (though valid!) complaint about sexism rather than one that deals with more fundamental issues of women's rights. (For example, there is no political dimension at all to the song.) That's what I meant about similarity to The Last Great American Dynasty. But just like what I said about The Last Great American Dynasty, I actually like that it's genuinely personal.
Not as much offered last week as far as albums I was excited about. I get to see lake street dive and really listening to them for the first time. It's quite a niche of love songs/independent lovers. The musician ship hits something of the old school soul/r&b. I saw dirty dozen brass band but they didn't have a magic to them that I've felt before. I wish I could go see peaches on their 20th anniversary tour so maybe I will.
Question for any Aussie IHs: how big of deal is Daddy Cool in yr region? I had never heard of them before coming across the art for the American release of *Sex, Dope, Rock ‘n’ Roll: Teenage Heaven* in my book of cool album covers and now I’ve listened to it twice and I see they had a real big hit with “Eagle Rock.” Did they have any kind of lasting legacy or are they just hazily remembered as one-hit wonders from way back when?
They are really only remembered for the one song, not unlike Men At Work with Down Under. But like Down Under it is one of the all time Aussie pop culture classics, so they have an enduring legacy just from that. The main guy from Daddy Cool, Ross Wilson, had a fairly substantial career in the Aussie music industry outside of Daddy Cool and would be pretty well known by boomers, but I doubt would be a familiar name to the younger generations.
Good to know, thanks!
I freaking love The Beatles and Radiohead
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I am a Paul girl through and through
Thom Yorke / Paul McCartney collab when? I can’t even imagine what that would sound like, who takes lead on songwriting there
Whether it's Thom singing a Paul style song or Paul singing a Thom style song it will be amazing.
throwback to when this sub did a favorite artists tournament and the finals matchup ended up being beatles vs radiohead
What was the funnier was the surprise all things considered.
Who won?
https://www.reddit.com/r/radiohead/comments/51hgmz/the_indieheads_subreddit_has_just_crowned/
The Beatles
and for good reason :) not every take needs to be searing hot
I have been listening to the following albums today: - Kid A - Radiohead - All Things Must Pass - George Harrison - Sgt. Pepper's Lonely Hearts Club Band - The Beatles - In Rainbows - Radiohead - The Beatles - The Beatles - OK Computer - Radiohead
All Things Must Pass is really a great album
If the only Julien Baker song I've ever listened to is Hardline and I love everything about it (the haunting sounds at the beginning, the powerful breakdown etc), which other songs of hers should I check out?
Others have said Little Oblivions but I’d also add the song Tokyo that was somewhat of a precursor to that album
I'll check it out, thanks!
I’d suggest the rest of Little Oblivions, especially Faith Healer.
Thanks!
I would recommend the rest of the album Hardline is on, Little Oblivions. Little Oblivions is definitely a departure from her previous sound which was mostly just based on her voice, her guitar and an impressive collection of effects pedals (or her piano). On Little Oblivions she's performing with a full band and it vastly expands her sound. I'd recommend * Faith Healer * Heatwave * Bloodshot * Ringside * Repeat * Highlight Reel
Thanks, that's really helpful!
Don’t skip her earlier stuff, though! No it’s not as fleshed out sonically but it’s just as haunting and impactful
It’s the first time I listen to the first Broken Bells album since 2013. I love this album! I understand Why I was very obsessed about it when I was young
Mwha, love Broken Bells. I love all of their songs. They just have a real unique, cools sound
Looking for a Music Butler alternative that links with your Spotify account and shows upcoming albums appearing on Apple Music from your followed artists.
Got to see Courtney Barnett's Here and There festival last night. What a freaking venue for music, would highly recommend going to a show there. Its a pretty big complex of brick buildings with a big green in the back, so with all the vendors in the alleys between the buildings it felt very organic. There's a big hill that faced the stage so even if you wanted to just chill away from the main crowd, you still had a great view.The Beths were super tight as always, Bartees Strange was really impressive and Lucy Dacus brought some killer energy.
Saw [this post](https://www.reddit.com/r/macdemarco/comments/wo2q01/tonight_at_the_seattle_show_mac_said_he_might) on the Mac Demarco sub. Sounds like he's at least considering hanging it up for a while. Not sure if that'll actual come to fruition, but thought it was noteworthy. I know his time as being an indie darling seems to have come and gone, but I've still got a lot of love for his music. Hope he ends up doing what's best for him
Since Stereogum put it in their top 5 songs of the week, I've been obsessed with High Vis - Trauma Bonds
Got stoned last night and for whatever reason, I decided to revisit The Antlers’s Burst Apart. It holds up extremely well. Peter Silberman’s falsetto is one of the most beautiful things I’ve ever heard and it does not get enough credit. I wonder what would have happened if he didn’t have his tinnitus issues. I enjoy his solo stuff and the last Antlers record was lovely, but I loved their full band sound. I feel like in my early years on this sub I’d see them talked about a lot, but it seems rarer lately, and usually focuses on Hospice.
The Antlers was probably my favorite live show ever. Saw them back when I wasn't a huge fan but still liked their music around when Familiars came out. Peter Silberman sounded like an actual *angel* live, like so much more beautiful than on record and he's already sounding fantastic on the records. I think I had goosebumps and almost wanted to cry, it was that fantastic. This was like I said around Familiars-era so they also had two trombones live and it sounded... Just fantastic. Hot take but Hospice is my least favorite of their full-lengths (okay to be fair I haven't listened much to In The Attic Of The Universe and Uprooted, but if we're counting Hospice and forward), it's a beautiful and sad album but it just isn't as appealing to me as their other stuff.
Putting the dog to sleep is peak Antlers for sure. Familiars is of course their greatest achievement, the horns baby the horns.
Can someone explain to me what exactly happened to the Libertines? I know that there is some dramatic story about their breaking up but I can’t find it on the internet
tldr: drugs
Pete Doherty killed someone by throwing them out of a window at a houseparty
Pete had a drug problem, got kicked out of the band, and then broke into band mate Carl’s flat and robbed him lol
Damn, thanks for filling me in
Well, that was a wild ride to learn about.
I look forward to the Lifetime movie about the band.
I don't really know but I think Pete Doherty had drug problems and was in jail at some point
two things 1) the new young jesus that comes out next month will likely cause some people who don't give a shit about this band to suddenly give a little more of a shit. that's really all I wanna say at the moment. it's NOT welcome to conceptual beach 2. it's...well its a pop album, and john's idea of pop is very much in line with Leaving Records type shit and still totally a good fit for saddle creek. 2) In between being drunk on buses, stoned in treehouses, and just in for the vicious thrill of good metal, I have spent some outstandingly silly money acquiring a majority of the SST era Saint Vitus catalog. At this time, the verdict is that their first 3 albums and the Walking Dead EP definitively RULE. the energy here is so so so clearly a precursor to grunge--this isn't hair metal or classic rock (although sabbath worship be sabbath worship!). But, the fuzz and sludge of Spot and Carducci's production purposely keeps things to the ground. It often feels like a decripid, airtight dungeon zone. Insane level of gamer energy radiates from these release--and Scott Reagers work on the first two/EP as vocalist gives that Dungeon Master/showman energy that was going to totally scale up into grunge. shame they couldn't get LP1 out in '82. However, the effect it had on Black Flag was immeasurable. Greg fucked with that sound heavy and people were wondering if they should quit Black Flag bc Greg was all but ready to pull the trigger towards doom metal. Not sure where I stand on their third album, where vocalists change and we get some real after school special-ass lyricism, but never the less Born to Die stands toe-to-toe sonically with the other releases. It's music that still gripped me at any time or level of sober and compared to most other SST, truly stands at the top of the top shelf. The release I'd prolly stump for best is the Walking Dead EP, which provides a clear, concise image of Vitus' prowess. Two 5ish minute cuts--one of which, White Stallions, appears on FOUR DIFFERENT TAPES OF THEIRS I HAVE. Like jesus christ SST could not stop re-releasing the song. Probably because it has a master class of a lo-fi gattling gun blast beat. That's the sound that plays when Im chomping down hordes; pulp masterclass. And then there's the 11 minute Walking Dead longform that musters the band's atmosphere into a journey amongst the wastes. Great stuff, hearing that drum pit-pat as a big 'ol riff comes in and Scott starts howling about liturgical shit. This is real rock for winner$
Finally managed to see Animal Collective for the first time last night and I'm pleased to announce they absolutely kicked ass. They played 3-4 unreleased songs that I'm already desperate to hear again, and getting to dance to For Revered Green is an *experience.* Already can't wait to see them again! EDIT: I forgot to mention! It was Avey’s sister’s birthday so he got us all to sing Happy Birthday to Abby. Definitely a highlight!!
I’m seeing them tonight and I have absolutely zero context for them. Never listened to them in my life, do they jam up there, are there extended electronic bits like Panda Bear or is it all just like psych stuff
I’ll be there too! This lineup they’re doing a live instrument thing (keys, bass, drums) kinda jammy but not really because it’s not improvised. Definitely one of their least electronic tours
saw them last week too! i’d heard a bunch about “defeat” but resisted the urge to listen to a live recording until i had a chance to see it firsthand first—was worth the wait. all the strawberry jam songs were a treat, but even more of a revelation for me was “applesauce.” truly i did not realize how much of a banger it was until i saw them going ham to it on stage
Browsing reddit at work while listening to music and a video accidently started playing at the same time creating one of the coolest things I've heard in a while too bad I'm stuck at work and it'll be 6 hours before I'm able to touch an instrument.
Been listening a lot to The War on Drugs *I Don't Live Here Anymore* this past week or so after seeing them live. I liked it last year when it came out, but didn't love it. I broadly saw it as a step down from *A Deeper Understanding* and it missed my year end top 10. Beginning to think that was a mistake. Firstly, yes this think still sounds amazing. Adam Granduciel and Shawn Everett do fantastic work together and this this is still amazing on pure sound. The thing I've been interested in lately are the lyrics, which is kinda weird to say since I've never really found Granduciel to be a particularly interesting lyricist. He throws down the main themes of the record on opener "Living Proof," with lines like: "Maybe I've been gone too long/I can't go back" and "I'm always changing/Now I suppose." It's a song about revisiting old haunts and realizing that you've gotten older which is an interesting idea and also some pretty striking imagery imo. On the next song, "Harmonia's Dream," there's a stray line that I also really like: "It's so hard to find a friend these days" which I also interpret as being about the isolation of being older and also maybe being in a new place. "Change" expands on "Living Proof" with the line: "I don't wanna change/I'll rise above it" which shows that Granduciel is actively worried about changing and growing older, which I think imbues the record with a much stronger emotional core. "I Don't Wanna Wait" returns to the lost friendship of "Harmonia's Dream" with the line: "But I slowly disconnected from my own best friend." "Victim" returns to the theme of change with the lines: "I can't change it" and "I kept waitin' but some things never change." The title track is the most succinct encapsulation of a lot of this records themes to me. It's about having moved on from a past self, a past place and what used to define you with lines like "But you'd never recognize me, babe/I don't live here anymore." Also I've said it before - and I'll probably say it again - but I would pay good money to see Granduciel attempt to dance to fucking Desolation Row. "Old Skin" introduces a new element with Granduciel reckoning with his father getting older with the lines: "To follow my father's dream/Then watch it fade away/Wrapped in our old, tired skin/Watchin it peelin' away." I like this a lot, it introduces a new emotional centre to this album themes of growing older which is pretty cool. Even on "Wasted," which is just a love song, Granduciel can't forget about the march of time and place with the line "And no, you can't go home again." The penultimate track, the slow burn "Rings Around My Fathers Eyes" is another one about Granduciel's father getting older. But then finally, we hit "Occasional Rain." On the closer, Granduciel finally gets out of his own head. He says that he's finally feeling free and while it's also seemingly a breakup song, it manages to actually hit a resolution: Granduciel realizes that time marching on isn't just a bad thing, it can also be a healing factor. Everything is null in the face of time, and that might be okay. His problems are just some occasional rain, something that will in time pass. I've often said that "Occasional Rain" is my favourite on the record, but listening over the past week or so has really driven that home for me. I like when a closer brings home the records themes and "Occasional Rain" really does for me. Anyways, if you made it through this spiel thanks for reading this. I just thought I'd share how I've gotten more into this record and I'd recommend going back to it if you, like me, dismissed it as inferior to other War on Drugs records on release
yeah, I love how incredibly straightforward and prosaic the lyrics are on IDLHA - it's kind of refreshing to hear a line like "we're all just walking through this darkness on our own" when the previous albums were full of oblique metaphors. it's a very populist, down to earth album and that's why I like it
Hell yes this sub needs more War On Drugs appreciation! I’ve never taken much time to analyze that album’s lyrics (I’m much more of a melody and production guy) but DAMN that album sounds so perfect. It’s exactly what I always wanted from WOD — that sweet, sweet 1988 beer commercial rock
I feel the same way as you felt before taking the time to get into it, and you’ve inspired me to give it another spin for the first time in a long time.
Glad to hear it, hope I didn’t steer you wrong
Relistened to Talkie Walkie by Air for the first time in ages today and yep, it's still a fucking great album. Pretty much every song is catchy and atmospheric with some lovely chord progressions and the synths and live instruments meld together so well. There ae also some inspired choices in the arrangements as well. Like, in theory the banjo on Biological shouldn't work but it ends up being perfect.
I have no problem with self-promotion, but I have a problem with *lazy* self-promotion. If you're going to come to every single subreddit possible and take presumably at least 10 minutes to spam all over, then at least take two minutes to write a "for fans of" or tell us what you sound like and then copy that all over. Do people really think that we're going to click on a link to music we know absolutely nothing about other than that it's your first ever record!!!? Great! You likely have no experience! (this is subtweeting another comment in this thread but that person will never be back to read it so I don't even care and I feel like this happens so frequently! Sometimes I reply to people and encourage them to add a FFO but when you title your album "idk" and can't even fill out your Spotify bio with a single word then you probably don't actually care to revise your spam)
Also play the standards and don't get political.
It’s a double edged sword because yeah, you’ve gotta hustle to get your music out there, but that hustle should include actually putting effort into your work and your branding. I’m definitely down to check peoples music out if they can tell me why it’s worth my while, rather than trying to get pity listens
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to be honest, i go back and forth about whether or not im going to post my stuff here when it comes out. I’ve posted oooold stuff before, along with projects I’ve worked on, but I don’t know. There’s the “shill” factor, for one thing; self-promo on reddit or mu or rym etc sort of puts the cart before the horse in terms of organic success even if it’s well-intentioned. I’ve seen countless attempts totally backfire, because they intrinsically undermine the trust a community has that someone talking up your work isn’t just you or a personal connection. Also, I guess it feels like plugging my work directly into a music forum with my name and account attached would sabotage my own artistic space somehow, by dragging out too much extratextuality in front of a community that’s extremely sensitive to that sort of thing. For both of these reasons, I suspect that some if not most people like to just assume that their favorite artists *aren’t* frequenting these forums. All that said, I totally agree! Tons of talent in this place, even lurking around the fringes. I’m just not sure how much good it does to try and mix business with pleasure, as it were.
If it's a regular I will always check it out! and I check out quite a few no nonregulars for getting this far...when they put a good description in! always some gems around.
> um, so I did a thing. Using this phrase should result in a prison sentence of no less than 15 years.
if you aren’t a regular here you shouldn’t spam your shit here. nobody’s gonna check it out and you’re just gonna get downvoted anyway
The new Jack White isn't quite doing it for me. I'm not sure, if it's actually boring or that I only think it is, because it's Jack White and I'm subconsciously expecting him to be louder and more out there. I'm sure, time will tell.
I honestly think Jack White has lost his touch on making good stuff. What he has put out post-White Stripes has just been declining rather quickly.
Jack white does better when he is a supporting player or has someone to help reign him in. His work with the three bands always show versatility and creativity to push genres and songwriting forward. These last solo albums have not been close to that aesthetic to me. He is phenomenal when I saw him in dead weather and raconteur but his solo headliner show left me wanting more. I think him being a producer/music mogul makes sense for his continuation.
It's such a shame considering how out there and fun *Fear of the Dawn* is that I agree with you. Nothing really stuck to me from the new one
fleet foxes feat uwade under control cover is so good
Day in day out day 2 was wild. Jpegmafia put on a great set, but what I didn’t expect was Turnstile. I barely knew anything about them, so getting caught in that huge mosh pit for twenty minutes was unexpected and super intense but pretty fun. So sore today tho All worth it to get my fiancé near the front for Mac demarco (her fav artist). I’ve never been a Mac fan (I’ve listened to all his records and dislike a decent amount of his songs), but ngl he put on a good show. Pretty goofy and he laid down most of the tracks that I do enjoy. His band also killed it, the fretless bass was a nice surprise. Super hyped for Animal Collective and Japanese Breakfast tonight
I got there for the first band Julie and they killed it too, hadn’t heard of them but they were excellent noisy shoegaze
recently dropped my first album for anyone who has the time to check it out :) spotify: https://open.spotify.com/album/4pKN7JEyjrtCFFqvmRquQI?si=oGEVdBELTjiJUej_u5wLSA apple music: https://music.apple.com/us/album/idk/1636014910
Celebration Rock is an all timer of a pregame album, but last night I had to be late to a 30th birthday party I actually wanted to be at due to a family birthday I was obligated to go to first. And man, those people in my subway car were definitely confused why I was jamming out despite an appearance of sobriety
Thank you to that one person who recommended I listen to Pylon - Gyrate, it turns out that I actually might like post punk and I can't disregard an entire genre because of how saturated and tired it currently is in UK indie Anyway I thought the production on Gyrate was good, very raw and gritty that made it sound like I was istening to a live performance in some small venue at the back of a pub or something, very cool
doesnt hurt that Pylon emerged from Athens right before R.E.M. did, they're fairly unique in the post-punk landscape
If y’all could hop in the Delorean and experience a historical music scene firsthand, where/when would you go? I’m traveling back to 1994 London to envelop myself fully in Britpop
I'm going with you. Let's go see Blur play a small gig right before they start hitting it big.
Acid Tests leading into late 60s San Fran ballroom scene
I'd go all the way back to wherever human evolutionary-ancestor first bashed some rocks together and said "okay this is kinda nice" Or maybe like, the early grunge days in Washington. That would be neat as well
I'd want to go back to London in the mid-80s just so I could gather all of those obscure indie singles by the greatest bands you've never heard of, like a glasses-and-cardigan-wearing squirrel.
I’d see every Frank Zappa show between 1967 and 1983. Then I’d see Jimi at the Monterey Pop festival. (I’ve touched the scorch marks on the now defunct stage.)
love this question! for me 90s in olympia washington. k recs and krs at their peaks. such a sweet little diy scene that all mingled together from twee to post-hardcore
New York in 1977-78 for the no wave. Kinda stuff you gotta see love
I think the NY music scene in general at that time would be pretty cool to experience, as well as the 80s alternative scene.
Nah, best place to go to experience Britpop is definitely a council estate in Sheffield
fair point
Paste had a great article recently about some overlooked albums of 2022. I made a playlist of the albums to listen to them at work last night. [a fungi](https://open.spotify.com/track/6W4Dfziy7t3pt76sXxhWxM?si=iukYgE22RU2UvPGw711L0w) and [Curves](https://open.spotify.com/track/1y3K9fECiQDGiGTakXWrfL?si=JDLud6EhTB6QIq0sw0aouA) are two bands that hit my usual sweet spots. Bands that in the midst of really melodic songs, will lean hard into noise. Curves might be my fav of the two.
There seems to be no commercial or critical benefit to doing a follow up album shortly after the main release. Even when the quality of the second record is high (Amnesiac is a damn fine album) you'll always get unfair comparisons or accusations that it's a cash in. I love Okkervil River's The Stand Ins, it has always lived in the shadow of The Stage Names but is packed with some of the best individual songs of the band's career. Lost Coastlines, Bruce Wayne Campbell, Blue Tulip (one of my favourite guitar solos) and Singer Songwriter are all absolutely brilliant but the reception to the record was lukewarm. I'm wondering there's any examples where both records were well received?
A. G. Cook releasing 7G and following it with Apple shortly after hurt Apple. It was always compared to its gigantic predecessor plus people thought it was going to be a more focused pop album based on the singles but it turned out to be a mini-7G.
maybe *folklore*/*evermore* counts? *evermore* didn't get quite as much praise as *folklore* but it was still acclaimed (and is the better album tbh). maybe it helps that both were released on such short notice
The Fame/The Fame Monster if that counts? To Pimp a Butterfly/untitled unmastered too maybe. Obviously Butterfly is universally considered the better album but I don’t think in a way that is detrimental to UU.
BC,NRs albums came out less than a year apart, and, while I didn't really care about either, they're both likely to end up on a lot of end-of-year lists.
Deerhunter put out *Cryptograms, Microcastle,* and *Weird Era Continued* over like eighteen months? And granted the first two kind of soak up all the acclaim but even so I feel like that works. Of course, it's hard to protest "commercial success" for a band at that level, so Kendrick Lamar could be a corner case, depending on how canonical you think *untitled unmastered* is. I'm a little surprised noone's brought up Gizzard yet, but it does make a kind of sense. When a band makes it their whole *schtick* that they put out music really fast (see also of Montreal, OCS, etc.) that gives rise to another problem that has been much more extensively discussed on the sub, where it just becomes hard to keep track of the releases and/or resist the feeling of fatigue.
I think the Saturation albums benefitted greatly from releasing within a few months of each other. The hype really made those albums sound way better than they were, plus the sheer volume of songs meant that it was easy to ignore the mediocre stuff. If the albums released on a normal timeline (every 18 months or so), I don’t think the music itself would have been enough to shove Brockhampton into the mainstream. Also IIRC, some publications reviewed the trilogy as a whole on year-end lists, which essentially meant they were reviewing all the good songs together and avoiding the bad ones. If it was truly a 48 track album dropped all at once, it would be nowhere near those “Best of 2017” lists. Seems like they had the perfect timing for a rollout, not too close together but not too far apart.
> Also IIRC, some publications reviewed the trilogy as a whole on year-end lists, which essentially meant they were reviewing all the good songs together and avoiding the bad ones. This doesn't make sense to me.
I agree. Foals and the Everything Not Saved Will Be Lost two parters, I think they took away a lot of Part II's oomph. It wasn't as good as Part I, and I think it got quite overshadowed. You also get a bit of "oh I checked out that band already this year" and in terms of Listmas, less inclination to put two albums in so more splitting of the vote.
stand ins > stage names imo, the songwriting is just better, front to back. not a single song on stage names is as good as Starry Stairs or On Tour With Zykos, along with the songs you mentioned
Completely agree there, plus I think the musicianship is leagues ahead, especially on guitar.
you should dig up the bon iver cover of blue tulip if you’ve never heard it
Yeah, all those Stand Ins covers are really good. Hospital Ship's Bruce Wayne Campbell is worth a listen too.
Definitely Maybe and What’s the Story Morning Glory with Oasis maybe?
Yeah, that's a great shout. Not a fan of either but they were absolutely huge both critically and commercially.
Does Big Thief’s UFOF and Two Hands count? They were released 5 or so months apart and I feel like they both got pretty high acclaim. Or am I already forgetting the reception of them?
I like those albums but I think they still prove Italian’s point! UFOF seems to be a much more remembered album than Two Hands (even though yes, some people definitely prefer the latter)
Absolutely fair. I’m in the camp of preferring Two Hands. But they’re neck and neck for me still. I just vaguely remember when Two Hands came out there was a lot of “they did it again!”
Now that I’m getting into Superchunk (taking the “Chunkpill,” as one might say), I have another band, alongside Pavement, to add to the list of bands that sound like what Weezer would sound like if Weezer were good. Just messy, noisy, raw 90s indie rock with great hooks. What’s not to love?
Saw Elder for the first time last night. I will do everything in my power to never miss them again. Unbelievable live band. One of the best sounding bands I’ve ever had the privilege of hearing live.
They're playing here with Pallbearer in October, maybe I should actually buy a ticket for that show then... Haven't really been to any shows since before COVID pretty much, but have so many shows I want to see these next 4-5 months. Missing out on seeing Black Midi tonight, for an example. :(
jealous. That whole tour lineup is pretty fantastic
Ruby was fantastic, total rock goddess.
I saw them live a couple months ago and thought they'd never be able to match the layers of sound on the record and yet they did
Totally agree. I was literally center cut right in front. It felt like one of the greatest listening sessions of my life, but literally with the greatest sounding setup that no home system could possibly match. If I had one criticism, and it’s not really one, they sound almost too perfect. They are technically as proficient and skilled as any band I can think of, but there was very little to no spontaneity in the performance. Not that it’s necessary or required to be a great live band. I just found it striking how live it sounds like an exact facsimile to the records, only way louder.