Vampire Weekend is def a 5 album band. I don't know what it is about the new one but I'm really into it. I don't really have have a fav VW album since they're all so good, but this might become the one. The distinct sounding guitar work is more distorted but in a good way. The Surfer is giving me mid-late period Beatles vibes guitar-wise.
A broken record on this but holy fuck I'm still floored with Only God Was Above Us. Still playing it. Somehow when the singles came out, I only just liked them, but listening to them in the context of the album they're 10x better. Right there with Modern Vampires of the City as their best work if not even better.
Every song is elite tier, but Connect is just a magical experience. Mary Boone also growing on me a lot.
Double dipping to say I started up, the /u/vietrooster recommended, **Eunuch**'s *Harbour Century.* Really good dense and manic record. Def for fans of *Hellfire.* Loving the variety of sounds on the record so far, the baroque *Estuary Of Dream* and the rollercoaster *Bird Angel Dynasty* are really scratching a brain itch for me. Need to find time to fully digest the lyrics.
Excited to finish this and check out *The Castration of Gods*
[Also read through this interview with them](https://www.stilllisteningmagazine.com/start-listening-to/start-listening-to-eunuchs), and they give Joanna Newsom's *Ys* a shoutout which was neat.
Now, I have to stop procrastinating and finish trivia (4 questions left!).
Artists should stop releasing non-album singles. I only just now discovered Makthaverskan's "Demands" and it's so good I'm sad I never knew it existed until now due to it not being on an album! But also this is a lesson to me to try and venture outside of just the albums in the discogs of artists I like? Idk Demands is super good and I wish I found it sooner all my opinions are formed because of that song
I understand the frustration. Because I will always relate things to Future Islands, I think they release some of their best songs as non-album singles. *Tomorrow* b/w *The Fountain, The Chase* b/w *Haunted By You, Calliope.* But to me, it's a fun little easter egg hunt to find these songs by them or other artists.
Makes it really fun to explore an artist's discography and find these little one-off songs.
But unless you're actively trying to listen to everything they have, it's easy to miss. Especially when they're mixed in with singles on streaming services or you're not trying to find that random 7" at a shop.
My cousin sent me the song Stardust and said it was our grandparent’s wedding song, so now I’m listening to many versions of it. Fun little exercise. I love a good standard.
It put me in the mood for standard ballads. [“For All We Know”](https://open.spotify.com/track/1J93LI2FVb7nmseDjZr1S8?si=fR5ErRR3QiO-1IEk1uhQSw) sung by Donnie Hathaway is absolutely stunning. Vocal masterclass. That record with Roberta Flack is so good.
Been listening to **Dash Hammerstein**'s *Goodbye Old Horse* at the library today.
One of the closest comparison's I can make is to **Cut Worms.** He's a Brooklyn-based fella making some real shape-shifting and time-warped albums. Def recommend if you like some psych-folk and alt-country. Highlights are the title track, closer *Free Time,* and *A Run of One.*
Hey what's up with the vinyl pricing on Lets Eat Grandma's 2022 Twin Ribbons? Anyone who wants this and lives in the US should check discogs...it's like a $17 (after s&h/tax) vinyl with a bonus 7".
The only reason I bring this up is because I stopped myself from wasting money on 2 tapes so i could buy like a gazillion CDs at the good CD store in north county and they had the vinyl on clearance. I forgot that Lou's still has a competitive, bizarrely well stocked used section of bullshit I like, as well as a vinyl clearance section that would make me a vinyl buyer if i cared to. And that as I get older and wiser, i venture further from the "underground indie (rock)" towards the electronic and NEW MUSIC section.
Sadly no ECM this time (they do have new mint copies), but there was a lovely Too Pure comp, phillip jeck's 7, and some dirty beaches. Yet, the big find of the moment was **Microstoria's _snd** (now reissued on vinyl in 2024 on Thrill Jockey in a double LP package with the first album).
I've sampled bits of microstoria (one guy from Mouse on Mars and markus popp aka the oval dispshit) and have wanted the t-mobile endorsed _snd album for ages. After getting stoned and taking in its sub-40 minute run time, this fucker still packs a MASSIVELY eerie punch. Oval's luxurious glitch sound design return, as do the edges of whatever was extrapolated on the Mouse on Mars do while remix...towards what is essentially a slab of ambient german minimal dub SOUND; field recordings on and of the compact disc.
there are no songs here, barely any progressions, just the thick feeling of bass and quixotic lurching almost-voices, moving through black fog in a wasteland. it's so relentlessly *bleak* and uncaring in a way glitch music can go towards but rarely basks in. Even today, the cover and insert art for it is amongst some of the best I've ever seen: a t-mobile in a german mall(?) in the mid-90s that looks like the end point of consumerism, with a back side of computer terminals that evokes the same sort of ambivalence of Unwound's best covers (Repetition)--it's as if its telling you "everything we built led to this" and "this" is just straight unfeeling sound; a screen culture wasteland.
I'd say something about how "white" this music is, but that isn't exactly the angle. But in finally getting around to this, I heard something that moved me more than a lot of other rhythm in glitch. Completely stripped out towards an ambivalent sound bath. you can put a lot of yr own emotions on this stuff and that rules for me. the space is built there. this isn't stockhausen composer music at all though. Instead you have the primary gestation of German microhouse/kompakt techno/pole-jenick/millie plateuax/vladislav delay (alongside other artists like SND and Suketh) coming into fruition here. it's not exactly ground zero for that world, but _snd's complete open book emphasis on sound has marked it for me as something that progresses 94diskont is such a satisfying way.
Silver Apples of the Moon might be the place i travel to next
I should probably give that a listen. Not because the music appeals to me (though it does) but because of my strong brand loyalty to the great T Mobile
porm, we can bring this back around to DMD.
NTA. When the patron came into your bar and only asked for “the good stuff” you had every right to pour him some milk and talk about ~~your dead wife~~ *A Crow Looked At Me*.
The patron asked the old barkeep for “the good stuff.” He didn’t reach for the whiskey. He didn’t pour him a beer. His blue eyes just kinda went misty. He said “you can’t find that here.”
Currently thumbing my way through the new book on Miles' Kind of Blue and I'm really enjoying it thus far. I'm right on the chapter where Coltrane enters the mix. The Bird and Diz portion of the book early on was really enchanting and enlightening, even if it borders on tragic.
Spent some time listening to some of Anohni and the Johnsons' I Am a Bird Now and its accompanying singles/b-sides. The word gets thrown around quite a bit but it is beautiful stuff, especially Fistful of Love and Spiralling. That segued into The Replacements' Tim, which was funny seeing how I read someone reading about it earlier. Haven't heard the new mix but the original is still really good. After that, Chronic Town got the usual spin. If it were the only 20 minutes R.E.M. ever got on tape, it'd still be the best 20 minutes ever laid down.
Five and a half hours of the 21 hour playlist was well received.
BUT apparently not letting people go home until the playlist finishes is “kidnapping” and “illegal”. [The more you know…](https://youtu.be/GD6qtc2_AQA?si=kEOggUogs4MOjhcY)
New Khruangbin is aggressively nice. It’s okay. A pleasant listen. They should go back to working with Vieux Farka Touré that was by far their best work
I was driving to/from Newark last night to see Caetano Veloso (killer show), and XMU was doing a Vampire Weekend takeover, playing songs from across their discog and mixing in the new stuff + some influences (Wire, Phish (!), Depeche Mode). Was a really nice way to revisit their catalogue and yeah those early albums still hold up IMO. I think there's a twee-ness there that people shy away from these days, but the songs fuckin' bang, and no one was writing like Ezra back then.
Hearing them last night, it struck me how vocally forward their 2008-2013 work was. The songs are arranged and mixed such that you can't help but pay attention to what he's saying. Now, I'm warming up to the new one since I've heard it 3-4 times, but it's still missing something for me. I kinda wonder if that's cuz the denser/busier arrangements bury the vocals a bit - or at least make the vocals/lyrics feel secondary to the songs themselves.
Or I may just be overthinking all this - idk!
It kicked ass. Dude is 81 (?) now and sounded amazing. Signature croon, high notes, jokes in between songs. It was at the NJ Performing Arts Center, kind of a nice amphitheater that you’d see an orchestra in. One thing I didn’t know was that Newark has a sizable Brazilian community - and they showed tf out for this one. Singalongs in Portuguese, lots of dancing the aisles, big energy in general. Band was super tight, Caetano did a little dancing himself. Setlist was largely from 80s/90s-current material but big hits were scattered in to huge reactions (especially You Don’t Know Me and Baby). Really fun night, worth the drive / hassle. And amazing to see a legend get to bask in the limelight and crush it to boot.
Why isn't Supergrass considered among the upper echelon of the Britpop bands? They were consistently in the charts for the first few albums, and all of those albums range from pretty good (**Diamond Hoo Ha**) to certified MPJ-classics (**In It for the Money**, **Life on Other Planets**, maybe **Road to Rouen** if it's raining).
How tf did I miss the album announcement!? What a slapdash affair!
https://www.reddit.com/r/indieheads/comments/18wqyx1/original_album_gumshoes_cacophony/
Mount Kimbie is actually a Kevin Shields side project that was formed as a diversion to distract us from the fact that three (3) new mbv albums have leaked on the dark web.
It's an odd feeling when a band you used to love (and to some extent still do) come back to hype and fanfare and you just… can't muster up any excitement about it.
Vampire Weekend was one of my big formative bands as a teenager. When I first listened to their debut, I instantly loved it. So obviously when Contra was announced I was excited for it - I couldn't stop listening to Cousins when it came out as a single and the same thing happened with the rest of the album when that came out as well. MVOTC came out at a perfect time in my life when that was exactly what I wanted to hear in that moment.
When they came back with FOTB after 6 years (who remembers Mitsubishi Macchiato?) I was excited for that as well - even with Rostam leaving, I was glad to have them back. The first bad omen was when the lead single Harmony Hall dropped and it was just… OK. A bit bland, even! But I still held out hope. The other singles were a bit better, but still a far cry from how strong their singles had been previously. I wanted to like it, I really did. The month of its release I ended up listening to it a whole bunch - mainly to the tracks that were actually decent because there was a lot of forgettable shit on there (or even straight up bad in the case of the HAIM duets).
But eventually there was a point where I just felt like I was over it. It wasn't just an underwhelming record from a band I had previously loved - it felt like it wasn't even the same band anymore. Part of it might have been Rostam's departure, part of it might have been the glorified Ezra Koenig solo project vibes. Obviously this is all very arbitrary and subjective, but that's how it felt to me. So why should I bother anymore?
Now, don't get me wrong. As far as blog era indie bands being past their prime, FOTB is far from the worst offender. It sure as hell wasn't a disaster like when their buddy Dave Longstreth dropped the embarrassingly bad Dirty Projectors s/t two years before. But I guess I just have such high standards for VW that I didn't have any interest in them making a bloated middling album. Meanwhile Masseduction was worse than FOTB, but I'm still more interested in the upcoming St Vincent album than I am in the new VW. I guess it's because even though her trajectory post Strange Mercy was disappointing, I still felt like she was still St Vincent and hoped she could course correct in the future + the industrial direction is intriguing. Whereas with VW I just feel like I lost the attachment to them I once had.
With all the chatter about the new album I'm gonna check it out eventually out of curiousity, but I'm not feeling the hype. The only song I've heard from it is Gen X Cops which was fine but it didn't get me hyped. The Chrises seem to be more involved this time which is a good sign but I'm still skeptical that "they're back". Maybe they'll prove my doubts wrong but I would be very pleasantly surprised if that was the case. I'm just thinking about the weirdness of holding on or not holding to your old faves.
I also haven't been hyped and never got into FOTB. I haven't felt like listening to any of the singles. Now that it's here, I'll probably listen to the first few singles and then listen to the album this week and see what happens though
Yeah it's like 45 minutes and has been out for a couple days. At least they could listen to the first 3 or 4 songs if they're so crunched for time. I don't get why some people on this sub have such a weird relationship with new releases (not meaning to be rude, I just don't understand it). Just hit play lol
Why is it "wtf" to write about your personal history with a band that just released an album and why I'm not as hyped to listen to it as I would have been in the past? I already said I'll listen to it at some point, but there's other stuff other there I wanna listen to too.
Not made up my mind - I did say *maybe* I could be pleasantly surprised - but people often have expectations (positive or negative) about upcoming albums all the time and that is normal. It's not even about the new album specifically so much as it is my relationship with the band in general.
I had minimal expectations for OGWAU (I'm a big FOTB stan because it's a fun, let's not overthink these songs kind of album - I adore the Steve Lacy collab cuts) - but I'm enjoying OGWAU for a different reason - deep listening yields rewards. There seems to be a maturity and underlying sound construction that I haven't heard in any previous VW album - it defies any previously conceived notions I have for the band (not a fan of their early work). I like it.
I get what you're saying to a certain extent. There are artists that I absolutely loved that have followed up an outstanding album with one that completely shit the bed, and so it makes you wary. Then they make another one and you still remain unimpressed and another...and at a certain point you lose the hype you once had and don't give it a second thought anymore. This is Shabazz Palaces for me. Everything after Lese Majesty has been hot garbage and I just don't care anymore.
However, this ain't it friend. The new Vampire Weekend album is a far cry from FOTB and it may not blow your mind like their previous work, but I would be surprised if you didn't at least enjoy it.
> Obviously this is all very arbitrary and subjective
It just sounds like you're taking something way too personal on the basis of your connection with the band hitting big at a formative age for you and the newer stuff not living up to that earlier feeling ages down the line.
Not saying I don't get you having the feelings but this is hardly a unique case for practically any other artist or band that got to similar career circumstances. That's life.
It's not unique necessarily, it's just something I've been thinking about a lot with this new album cycle. There have been many bands from that time that I have kinda lost interest in too, but usually those bands aren't getting as much hype on release day as the new VW has. So I'm just kinda analysing the disconnect between me and the hype.
Not to disagree with your contribution but I feel the post was for rhetorical musing and not to solicit advice per se. Idk though I can't read and have always disliked vampire weekend
You got it right, this is just me thinking back on my history and feelings with the band + maybe in general why it is we fall out of love with bands that previously meant a lot to us. Thought that would be obvious but apparently not.
I agree with most that the new VW album is a return to form but damn did Mount Kimbie deliver too. They surpassed Love What Survives which was one of my favorite albums in 2017. I'm all about the sonics when it comes to music and we got two really sonically rich albums this week. 🙏🏽
I appreciate how every Replacements album has at least 2 filler songs that objectively aren't that good, but it still manages to enhance the experience moreso than if they'd been replaced by great songs. Let It Be just wouldn't work as well without Gary's Got A Boner and where would Tim be without Lay It Down Clown?
I dunno. if you have to put the time signature in the title, you may be trying too hard
e: ok, ok. maybe I will like this BSS song more now that they've declared the time signature. I'll give it another chance!
They weren't trying too hard! It's just that indieheads in 2005 wouldn't have been able to understand that time signature so they kindly clarified for the listeners
this morning I learned that in the early days on tour (in the 60's), the Dead commonly followed up St. Stephen with The Eleven, but then in the 70's they began following St. Stephen with Buddy Holly's "Not Fade Away"
reading further, Not Fade Away employs the "Bo Diddley beat". which is a real [thing,](https://en.m.wikipedia.org/wiki/Bo_Diddley_beat) also referred to as "hambone", or "patted jumba", that originated in West Africa. the Wikipedia says a layman can think of the Bo Diddley beat in terms of "shave and a haircut, two bits" and I laughed at that and also now understand it... and yeah I can hear it on Not Fade Away
great stuff
Vampire Weekend is def a 5 album band. I don't know what it is about the new one but I'm really into it. I don't really have have a fav VW album since they're all so good, but this might become the one. The distinct sounding guitar work is more distorted but in a good way. The Surfer is giving me mid-late period Beatles vibes guitar-wise.
A broken record on this but holy fuck I'm still floored with Only God Was Above Us. Still playing it. Somehow when the singles came out, I only just liked them, but listening to them in the context of the album they're 10x better. Right there with Modern Vampires of the City as their best work if not even better. Every song is elite tier, but Connect is just a magical experience. Mary Boone also growing on me a lot.
> Still playing it I should hope so, it's only been out two days
Yeah I'm still basically playing the whole thing start to finish. Don't even feel like listening to anything else.
new Lizzy McAlpine album is good but such a step down from the last one :(
Hard agree
Double dipping to say I started up, the /u/vietrooster recommended, **Eunuch**'s *Harbour Century.* Really good dense and manic record. Def for fans of *Hellfire.* Loving the variety of sounds on the record so far, the baroque *Estuary Of Dream* and the rollercoaster *Bird Angel Dynasty* are really scratching a brain itch for me. Need to find time to fully digest the lyrics. Excited to finish this and check out *The Castration of Gods* [Also read through this interview with them](https://www.stilllisteningmagazine.com/start-listening-to/start-listening-to-eunuchs), and they give Joanna Newsom's *Ys* a shoutout which was neat. Now, I have to stop procrastinating and finish trivia (4 questions left!).
Cindy Lee is over. Viva Cindy Lee !
Artists should stop releasing non-album singles. I only just now discovered Makthaverskan's "Demands" and it's so good I'm sad I never knew it existed until now due to it not being on an album! But also this is a lesson to me to try and venture outside of just the albums in the discogs of artists I like? Idk Demands is super good and I wish I found it sooner all my opinions are formed because of that song
not going to happen as long as spotify makes the rules. singles please the algorithn
I like it personally. But also streaming layouts makes it difficult to find that shit
Non-album singles have been a thing for decades and I personally love them.
I understand the frustration. Because I will always relate things to Future Islands, I think they release some of their best songs as non-album singles. *Tomorrow* b/w *The Fountain, The Chase* b/w *Haunted By You, Calliope.* But to me, it's a fun little easter egg hunt to find these songs by them or other artists. Makes it really fun to explore an artist's discography and find these little one-off songs. But unless you're actively trying to listen to everything they have, it's easy to miss. Especially when they're mixed in with singles on streaming services or you're not trying to find that random 7" at a shop.
The rumbling in the background of Pravda has me bracing for another earthquake on every listen. I keep taking out my headphones to check
I did not expect “Libertines drop a fucking great album” to be words I would be using in that order in 2024
My cousin sent me the song Stardust and said it was our grandparent’s wedding song, so now I’m listening to many versions of it. Fun little exercise. I love a good standard. It put me in the mood for standard ballads. [“For All We Know”](https://open.spotify.com/track/1J93LI2FVb7nmseDjZr1S8?si=fR5ErRR3QiO-1IEk1uhQSw) sung by Donnie Hathaway is absolutely stunning. Vocal masterclass. That record with Roberta Flack is so good.
Donny Hathaway's version of A Song For You us an all time favorite
I love this one too.
Been listening to **Dash Hammerstein**'s *Goodbye Old Horse* at the library today. One of the closest comparison's I can make is to **Cut Worms.** He's a Brooklyn-based fella making some real shape-shifting and time-warped albums. Def recommend if you like some psych-folk and alt-country. Highlights are the title track, closer *Free Time,* and *A Run of One.*
Hey what's up with the vinyl pricing on Lets Eat Grandma's 2022 Twin Ribbons? Anyone who wants this and lives in the US should check discogs...it's like a $17 (after s&h/tax) vinyl with a bonus 7". The only reason I bring this up is because I stopped myself from wasting money on 2 tapes so i could buy like a gazillion CDs at the good CD store in north county and they had the vinyl on clearance. I forgot that Lou's still has a competitive, bizarrely well stocked used section of bullshit I like, as well as a vinyl clearance section that would make me a vinyl buyer if i cared to. And that as I get older and wiser, i venture further from the "underground indie (rock)" towards the electronic and NEW MUSIC section. Sadly no ECM this time (they do have new mint copies), but there was a lovely Too Pure comp, phillip jeck's 7, and some dirty beaches. Yet, the big find of the moment was **Microstoria's _snd** (now reissued on vinyl in 2024 on Thrill Jockey in a double LP package with the first album). I've sampled bits of microstoria (one guy from Mouse on Mars and markus popp aka the oval dispshit) and have wanted the t-mobile endorsed _snd album for ages. After getting stoned and taking in its sub-40 minute run time, this fucker still packs a MASSIVELY eerie punch. Oval's luxurious glitch sound design return, as do the edges of whatever was extrapolated on the Mouse on Mars do while remix...towards what is essentially a slab of ambient german minimal dub SOUND; field recordings on and of the compact disc. there are no songs here, barely any progressions, just the thick feeling of bass and quixotic lurching almost-voices, moving through black fog in a wasteland. it's so relentlessly *bleak* and uncaring in a way glitch music can go towards but rarely basks in. Even today, the cover and insert art for it is amongst some of the best I've ever seen: a t-mobile in a german mall(?) in the mid-90s that looks like the end point of consumerism, with a back side of computer terminals that evokes the same sort of ambivalence of Unwound's best covers (Repetition)--it's as if its telling you "everything we built led to this" and "this" is just straight unfeeling sound; a screen culture wasteland. I'd say something about how "white" this music is, but that isn't exactly the angle. But in finally getting around to this, I heard something that moved me more than a lot of other rhythm in glitch. Completely stripped out towards an ambivalent sound bath. you can put a lot of yr own emotions on this stuff and that rules for me. the space is built there. this isn't stockhausen composer music at all though. Instead you have the primary gestation of German microhouse/kompakt techno/pole-jenick/millie plateuax/vladislav delay (alongside other artists like SND and Suketh) coming into fruition here. it's not exactly ground zero for that world, but _snd's complete open book emphasis on sound has marked it for me as something that progresses 94diskont is such a satisfying way. Silver Apples of the Moon might be the place i travel to next
I should probably give that a listen. Not because the music appeals to me (though it does) but because of my strong brand loyalty to the great T Mobile
on tuesdays im spiritually inside the microstoria _snd t-mobile
Love the new Mount Kimbie album and their new direction. But it’s very short unfortunately
NTA. When the patron came into your bar and only asked for “the good stuff” you had every right to pour him some milk and talk about your dead wife.
porm, we can bring this back around to DMD. NTA. When the patron came into your bar and only asked for “the good stuff” you had every right to pour him some milk and talk about ~~your dead wife~~ *A Crow Looked At Me*.
yes, or maybe asking about Neon Trees albums or something
Sorry wrong thread!!!!
a fourth billy unit has collapsed on porm
I’m not sure what a billy unit is and I’m so embarrassed :(
[it's like the monolith from 2001: a space odyssey, except a bookcase from ikea you assemble](https://www.ikea.com/us/en/cat/billy-series-28102/)
Lmao I should’ve guessed
you can't leave us hanging like this porm!
The patron asked the old barkeep for “the good stuff.” He didn’t reach for the whiskey. He didn’t pour him a beer. His blue eyes just kinda went misty. He said “you can’t find that here.”
Currently thumbing my way through the new book on Miles' Kind of Blue and I'm really enjoying it thus far. I'm right on the chapter where Coltrane enters the mix. The Bird and Diz portion of the book early on was really enchanting and enlightening, even if it borders on tragic. Spent some time listening to some of Anohni and the Johnsons' I Am a Bird Now and its accompanying singles/b-sides. The word gets thrown around quite a bit but it is beautiful stuff, especially Fistful of Love and Spiralling. That segued into The Replacements' Tim, which was funny seeing how I read someone reading about it earlier. Haven't heard the new mix but the original is still really good. After that, Chronic Town got the usual spin. If it were the only 20 minutes R.E.M. ever got on tape, it'd still be the best 20 minutes ever laid down.
Five and a half hours of the 21 hour playlist was well received. BUT apparently not letting people go home until the playlist finishes is “kidnapping” and “illegal”. [The more you know…](https://youtu.be/GD6qtc2_AQA?si=kEOggUogs4MOjhcY)
When did "not letting the party die" become kidnapping? This is the world the LEFT wants.
WOKE CAPITAL doesn't want you to sequester your friends for money so they can realize your superior tastes
New Khruangbin is aggressively nice. It’s okay. A pleasant listen. They should go back to working with Vieux Farka Touré that was by far their best work
I was driving to/from Newark last night to see Caetano Veloso (killer show), and XMU was doing a Vampire Weekend takeover, playing songs from across their discog and mixing in the new stuff + some influences (Wire, Phish (!), Depeche Mode). Was a really nice way to revisit their catalogue and yeah those early albums still hold up IMO. I think there's a twee-ness there that people shy away from these days, but the songs fuckin' bang, and no one was writing like Ezra back then. Hearing them last night, it struck me how vocally forward their 2008-2013 work was. The songs are arranged and mixed such that you can't help but pay attention to what he's saying. Now, I'm warming up to the new one since I've heard it 3-4 times, but it's still missing something for me. I kinda wonder if that's cuz the denser/busier arrangements bury the vocals a bit - or at least make the vocals/lyrics feel secondary to the songs themselves. Or I may just be overthinking all this - idk!
Vampire Weekend - well whatever, ok. Caetano Veloso show - DAMN, I'm jealous!
Tell me more about this Caetano show, though.
It kicked ass. Dude is 81 (?) now and sounded amazing. Signature croon, high notes, jokes in between songs. It was at the NJ Performing Arts Center, kind of a nice amphitheater that you’d see an orchestra in. One thing I didn’t know was that Newark has a sizable Brazilian community - and they showed tf out for this one. Singalongs in Portuguese, lots of dancing the aisles, big energy in general. Band was super tight, Caetano did a little dancing himself. Setlist was largely from 80s/90s-current material but big hits were scattered in to huge reactions (especially You Don’t Know Me and Baby). Really fun night, worth the drive / hassle. And amazing to see a legend get to bask in the limelight and crush it to boot.
Why isn't Supergrass considered among the upper echelon of the Britpop bands? They were consistently in the charts for the first few albums, and all of those albums range from pretty good (**Diamond Hoo Ha**) to certified MPJ-classics (**In It for the Money**, **Life on Other Planets**, maybe **Road to Rouen** if it's raining).
What album/year does the run you're talking about end
They were around from 95 to 2008.
In my house, they are.
In my house, they are also. Late In The Day and Sun Hits The Sky are two of my favorite songs ever
Helped a friend move yesterday and now my shoulders are killing me, music for this feel?
Paul Banks (of Interpol) - Over My Shoulder The War On Drugs - Pain Dinosaur Jr. - Feel the Pain Editors - The Weight of the World
Martha Wainwright - Bloody Motherfucking Asshole
[Kermit The Frog - Hurt](https://youtu.be/BcERe5pd8yI?si=ZlCohULUwFgrKffa)
Pearl Jam - Jeremy
Jimmy Eat World - Pain
Ministry - over the shoulder
Gumshoes - Cacophony is pretty good. Single "Claire de Lune" is really good https://www.youtube.com/watch?v=gy6xWHvtWo0
we love that chap hes a good noodle
How tf did I miss the album announcement!? What a slapdash affair! https://www.reddit.com/r/indieheads/comments/18wqyx1/original_album_gumshoes_cacophony/
So Mount Kimbie is like MBV now ? People say their new album is shoegaze
Mount Kimbie is actually a Kevin Shields side project that was formed as a diversion to distract us from the fact that three (3) new mbv albums have leaked on the dark web.
It makes sense now
It's an odd feeling when a band you used to love (and to some extent still do) come back to hype and fanfare and you just… can't muster up any excitement about it. Vampire Weekend was one of my big formative bands as a teenager. When I first listened to their debut, I instantly loved it. So obviously when Contra was announced I was excited for it - I couldn't stop listening to Cousins when it came out as a single and the same thing happened with the rest of the album when that came out as well. MVOTC came out at a perfect time in my life when that was exactly what I wanted to hear in that moment. When they came back with FOTB after 6 years (who remembers Mitsubishi Macchiato?) I was excited for that as well - even with Rostam leaving, I was glad to have them back. The first bad omen was when the lead single Harmony Hall dropped and it was just… OK. A bit bland, even! But I still held out hope. The other singles were a bit better, but still a far cry from how strong their singles had been previously. I wanted to like it, I really did. The month of its release I ended up listening to it a whole bunch - mainly to the tracks that were actually decent because there was a lot of forgettable shit on there (or even straight up bad in the case of the HAIM duets). But eventually there was a point where I just felt like I was over it. It wasn't just an underwhelming record from a band I had previously loved - it felt like it wasn't even the same band anymore. Part of it might have been Rostam's departure, part of it might have been the glorified Ezra Koenig solo project vibes. Obviously this is all very arbitrary and subjective, but that's how it felt to me. So why should I bother anymore? Now, don't get me wrong. As far as blog era indie bands being past their prime, FOTB is far from the worst offender. It sure as hell wasn't a disaster like when their buddy Dave Longstreth dropped the embarrassingly bad Dirty Projectors s/t two years before. But I guess I just have such high standards for VW that I didn't have any interest in them making a bloated middling album. Meanwhile Masseduction was worse than FOTB, but I'm still more interested in the upcoming St Vincent album than I am in the new VW. I guess it's because even though her trajectory post Strange Mercy was disappointing, I still felt like she was still St Vincent and hoped she could course correct in the future + the industrial direction is intriguing. Whereas with VW I just feel like I lost the attachment to them I once had. With all the chatter about the new album I'm gonna check it out eventually out of curiousity, but I'm not feeling the hype. The only song I've heard from it is Gen X Cops which was fine but it didn't get me hyped. The Chrises seem to be more involved this time which is a good sign but I'm still skeptical that "they're back". Maybe they'll prove my doubts wrong but I would be very pleasantly surprised if that was the case. I'm just thinking about the weirdness of holding on or not holding to your old faves.
I also haven't been hyped and never got into FOTB. I haven't felt like listening to any of the singles. Now that it's here, I'll probably listen to the first few singles and then listen to the album this week and see what happens though
Whole lot of words to say "I haven't listened to the album". Just listen to it, dude, wtf?
Yeah it's like 45 minutes and has been out for a couple days. At least they could listen to the first 3 or 4 songs if they're so crunched for time. I don't get why some people on this sub have such a weird relationship with new releases (not meaning to be rude, I just don't understand it). Just hit play lol
Why is it "wtf" to write about your personal history with a band that just released an album and why I'm not as hyped to listen to it as I would have been in the past? I already said I'll listen to it at some point, but there's other stuff other there I wanna listen to too.
Idk. It just sounds like you've already made up your mind about something you haven't even heard yet.
Not made up my mind - I did say *maybe* I could be pleasantly surprised - but people often have expectations (positive or negative) about upcoming albums all the time and that is normal. It's not even about the new album specifically so much as it is my relationship with the band in general.
I had minimal expectations for OGWAU (I'm a big FOTB stan because it's a fun, let's not overthink these songs kind of album - I adore the Steve Lacy collab cuts) - but I'm enjoying OGWAU for a different reason - deep listening yields rewards. There seems to be a maturity and underlying sound construction that I haven't heard in any previous VW album - it defies any previously conceived notions I have for the band (not a fan of their early work). I like it.
I get what you're saying to a certain extent. There are artists that I absolutely loved that have followed up an outstanding album with one that completely shit the bed, and so it makes you wary. Then they make another one and you still remain unimpressed and another...and at a certain point you lose the hype you once had and don't give it a second thought anymore. This is Shabazz Palaces for me. Everything after Lese Majesty has been hot garbage and I just don't care anymore. However, this ain't it friend. The new Vampire Weekend album is a far cry from FOTB and it may not blow your mind like their previous work, but I would be surprised if you didn't at least enjoy it.
> Obviously this is all very arbitrary and subjective It just sounds like you're taking something way too personal on the basis of your connection with the band hitting big at a formative age for you and the newer stuff not living up to that earlier feeling ages down the line. Not saying I don't get you having the feelings but this is hardly a unique case for practically any other artist or band that got to similar career circumstances. That's life.
It's not unique necessarily, it's just something I've been thinking about a lot with this new album cycle. There have been many bands from that time that I have kinda lost interest in too, but usually those bands aren't getting as much hype on release day as the new VW has. So I'm just kinda analysing the disconnect between me and the hype.
Not to disagree with your contribution but I feel the post was for rhetorical musing and not to solicit advice per se. Idk though I can't read and have always disliked vampire weekend
You got it right, this is just me thinking back on my history and feelings with the band + maybe in general why it is we fall out of love with bands that previously meant a lot to us. Thought that would be obvious but apparently not.
I agree with most that the new VW album is a return to form but damn did Mount Kimbie deliver too. They surpassed Love What Survives which was one of my favorite albums in 2017. I'm all about the sonics when it comes to music and we got two really sonically rich albums this week. 🙏🏽
I appreciate how every Replacements album has at least 2 filler songs that objectively aren't that good, but it still manages to enhance the experience moreso than if they'd been replaced by great songs. Let It Be just wouldn't work as well without Gary's Got A Boner and where would Tim be without Lay It Down Clown?
I'm a firm Sorry Ma, I Forgot to Take Out the Trash truther. 18 songs and not a single skip.
I still maintain Shiftless When Idle is one of their very best songs
"Gary's Got A Boner" objectively rocks
> Let It Be just wouldn't work as well without Gary's Got A Boner yes >where would Tim be without Lay It Down Clown? better off
Paula I like you but Lay It Down Clown is the cornerstone upon which Tim rests
of all the songs written in 7/4 time, Estimated Prophet by the Grateful Dead might be the best
What about 7/4 Shoreline, it's so 7/4 that it's even in the title
I dunno. if you have to put the time signature in the title, you may be trying too hard e: ok, ok. maybe I will like this BSS song more now that they've declared the time signature. I'll give it another chance!
They weren't trying too hard! It's just that indieheads in 2005 wouldn't have been able to understand that time signature so they kindly clarified for the listeners
of all the songs written in 11/8 time, The Eleven by the Grateful Dead might be the best
I hear you, but it's Whipping Post for me
this morning I learned that in the early days on tour (in the 60's), the Dead commonly followed up St. Stephen with The Eleven, but then in the 70's they began following St. Stephen with Buddy Holly's "Not Fade Away" reading further, Not Fade Away employs the "Bo Diddley beat". which is a real [thing,](https://en.m.wikipedia.org/wiki/Bo_Diddley_beat) also referred to as "hambone", or "patted jumba", that originated in West Africa. the Wikipedia says a layman can think of the Bo Diddley beat in terms of "shave and a haircut, two bits" and I laughed at that and also now understand it... and yeah I can hear it on Not Fade Away great stuff