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HM: Deerhunter - Why Hasn't Everything Already Disappeared James Blake - Assume Form Steve Gunn - The Unseen In Between White Fence - I Have to Feed Larry's Hawk William Tyler - Goes West
Assuming you're still talking about the James Blake record, I'll take the bait here.
I did share your sentiments for a minute. Was half interested in checking it out pre release (not historically big into Blake), saw the praise, popped it on, was becoming increasingly testy with how insistent it is on its meandering croon-ness, decided it to call it boring, and moved on with my life. However, some little bug from the record hopped in my ear and just sat for a few days, spitting back a vocal swell here, or a synth shimmer there. On second (and immediately after, third) listen, I did a 180. Couple reasons why.
1) Mainly, it's interesting to hear this kind of sonic palette paired with such optimistic and puppy-eyed love. Not that the album is mere sunshine and rainbows through and through, but that Blake's (and contemporaries) sound usually serves up a dish more concerned with heartbreak, resentment, and depression. This is not a rule but a common practice that I observed to segue right into the whole "sad boy music" debacle he got into with Pitchfork and other critics previously. This round, there's a lot Blake has to celebrate personally. One can't help but feel the genuine euphoria behind the majority of these tunes he's put together. "Can't Believe The Way We Flow". "I'll Come Too". Why waste time convincing us how great she is? Just be in it. Because she's just that good. Not something as simple as "La la love ya" mind you. He has his doubts and worries for sure, which makes the album more interesting than your average shmoop goop (Are You In Love, Where's The Catch). However, just the fact that James Blake felt elated enough to put out this content feels me up inside and it's near impossible to hear hallow sentiment anywhere ont his album at the very least.
2) Yeah it's instrumentally pretty spacey. But that spaciness, when welcomed in, is merely a vehicle to help the listener glide on their back for a little bit. Spend some time looking at the stars you haven't noticed yet and maybe you can capitalize on some of the emotional ecstasy Blake is sharing. Songs like "Barefoot In the Park" "Into the Red" and "Can't Believe the Way We Flow" practically arrive timeless despite trendy production. Across the board, the instrumental is constantly way too preoccupied with just feeling elated to try and scream for your attention. Lushness fills every corner of the mix. Not tight and forward, not in a rush. But purposefully so. And all of this somehow walks this often tumbled over tightrope in similar production schemes which is to not drown the listener in layers and allow room for the instrumental to mesh like a recipe but not turn the layers into straight reverb soup either. Just dim the lights and let the album's last track crawl around your brain for a second is all I have to say. Those ghostly moans hanging over you. Sheesh.
3) Most importantly - Andre 3000
It also probably didn't help that I was using the album to score a session of GTA: San Andres on first listen. Not optimal to getting the full experience I've since been told.
All that being said....it's a free country. Throw it in the waste bin if you must. At least there's new Panda Bear on Friday to listen to instead.
Assuming you're still talking about the James Blake record, I'll take the bait here.
I did share your sentiments for a minute. Was half interested in checking it out pre release (not historically big into Blake), saw the praise, popped it on, was becoming increasingly testy with how insistent it is on its meandering croon-ness, decided it to call it boring, and moved on with my life. However, some little bug from the record hopped in my ear and just sat for a few days, spitting back a vocal swell here, or a synth shimmer there. On second (and immediately after, third) listen, I did a 180. Couple reasons why.
1) Mainly, it's interesting to hear this kind of sonic palette paired with such optimistic and puppy-eyed love. Not that the album is mere sunshine and rainbows through and through, but that Blake's (and contemporaries) sound usually serves up a dish more concerned with heartbreak, resentment, and depression. This is not a rule but a common practice that I observed to segue right into the whole "sad boy music" debacle he got into with Pitchfork and other critics previously. This round, there's a lot Blake has to celebrate personally. One can't help but feel the genuine euphoria behind the majority of these tunes he's put together. "Can't Believe The Way We Flow". "I'll Come Too". Why waste time convincing us how great she is? Just be in it. Because she's just that good. Not something as simple as "La la love ya" mind you. He has his doubts and worries for sure, which makes the album more interesting than your average shmoop goop (Are You In Love, Where's The Catch). However, just the fact that James Blake felt elated enough to put out this content feels me up inside and it's near impossible to hear hallow sentiment anywhere ont his album at the very least.
2) Yeah it's instrumentally pretty spacey. But that spaciness, when welcomed in, is merely a vehicle to help the listener glide on their back for a little bit. Spend some time looking at the stars you haven't noticed yet and maybe you can capitalize on some of the emotional ecstasy Blake is sharing. Songs like "Barefoot In the Park" "Into the Red" and "Can't Believe the Way We Flow" practically arrive timeless despite trendy production. Across the board, the instrumental is constantly way too preoccupied with just feeling elated to try and scream for your attention. Lushness fills every corner of the mix. Not tight and forward, not in a rush. But purposefully so. And all of this somehow walks this often tumbled over tightrope in similar production schemes which is to not drown the listener in layers and allow room for the instrumental to mesh like a recipe but not turn the layers into straight reverb soup either. Just dim the lights and let the album's last track crawl around your brain for a second is all I have to say. Those ghostly moans hanging over you. Sheesh.
3) Most importantly - Andre 3000
It also probably didn't help that I was using the album to score a session of GTA: San Andres on first listen. Not optimal to getting the full experience I've since been told.
All that being said....it's a free country. Throw it in the waste bin if you must. At least there's new Panda Bear on Friday to listen to instead.
Assuming you're still talking about the James Blake record, I'll take the bait here.
I did share your sentiments for a minute. Was half interested in checking it out pre release (not historically big into Blake), saw the praise, popped it on, was becoming increasingly testy with how insistent it is on its meandering croon-ness, decided it to call it boring, and moved on with my life. However, some little bug from the record hopped in my ear and just sat for a few days, spitting back a vocal swell here, or a synth shimmer there. On second (and immediately after, third) listen, I did a 180. Couple reasons why.
1) Mainly, it's interesting to hear this kind of sonic palette paired with such optimistic and puppy-eyed love. Not that the album is mere sunshine and rainbows through and through, but that Blake's (and contemporaries) sound usually serves up a dish more concerned with heartbreak, resentment, and depression. This is not a rule but a common practice that I observed to segue right into the whole "sad boy music" debacle he got into with Pitchfork and other critics previously. This round, there's a lot Blake has to celebrate personally. One can't help but feel the genuine euphoria behind the majority of these tunes he's put together. "Can't Believe The Way We Flow". "I'll Come Too". Why waste time convincing us how great she is? Just be in it. Because she's just that good. Not something as simple as "La la love ya" mind you. He has his doubts and worries for sure, which makes the album more interesting than your average shmoop goop (Are You In Love, Where's The Catch). However, just the fact that James Blake felt elated enough to put out this content feels me up inside and it's near impossible to hear hallow sentiment anywhere ont his album at the very least.
2) Yeah it's instrumentally pretty spacey. But that spaciness, when welcomed in, is merely a vehicle to help the listener glide on their back for a little bit. Spend some time looking at the stars you haven't noticed yet and maybe you can capitalize on some of the emotional ecstasy Blake is sharing. Songs like "Barefoot In the Park" "Into the Red" and "Can't Believe the Way We Flow" practically arrive timeless despite trendy production. Across the board, the instrumental is constantly way too preoccupied with just feeling elated to try and scream for your attention. Lushness fills every corner of the mix. Not tight and forward, not in a rush. But purposefully so. And all of this somehow walks this often tumbled over tightrope in similar production schemes which is to not drown the listener in layers and allow room for the instrumental to mesh like a recipe but not turn the layers into straight reverb soup either. Just dim the lights and let the album's last track crawl around your brain for a second is all I have to say. Those ghostly moans hanging over you. Sheesh.
3) Most importantly - Andre 3000
It also probably didn't help that I was using the album to score a session of GTA: San Andres on first listen. Not optimal to getting the full experience I've since been told.
All that being said....it's a free country. Throw it in the waste bin if you must. At least there's new Panda Bear on Friday to listen to instead.
James Blake’s publicist.
Ah, but it wasn't even my favorite last month, so checkmate. I preferred Malibu Ken. Would you like me to DM you my extended thoughts on it?
Made an account just to post that, perhaps. j/k poptomist. We know you're not Jame Blake's publicist, but actually James Blake. Welcome to Inforoo - you're pretty well liked here.
Made an account just to post that, perhaps. j/k poptomist . We know you're not Jame Blake's publicist, but actually James Blake. Welcome to Inforoo - you're pretty well liked here.
Pretty well liked here? On inforoo? Christ, I'm killing this already.
At least there's new Panda Bear on Friday to listen to instead.
If you haven't heard it yet, Bouys slays.
I'm happy to hear that you like it. Is there a way to stream it yet in a semi-mainstream/fully legal way, or do I need to wait until tomorrow for Spotify to pick it up?
I'm happy to hear that you like it. Is there a way to stream it yet in a semi-mainstream/fully legal way, or do I need to wait until tomorrow for Spotify to pick it up?
I didn't get my promo till late Wednesday so I'm guessing probably not but you never know.
These are my favorites so far this year. What have I missed?
Sharon Van Etten- Remind Me Tomorrow Mono- Nowhere Now Here Better Oblivion Community Center- Steve Gunn- The Unseen In Between Cherry Glazerr- Stuffed And Ready Lip Talk- Days William Tyler- Goes West Girlpool- What Chaos Is Imaginary Maggie Rogers- Heard It In A Past Life Deerhunter- Why Hasn't Everything Already Disappeared? James Blake- Assume Form
These are my favorites so far this year. What have I missed?
Sharon Van Etten- Remind Me Tomorrow Mono- Nowhere Now Here Better Oblivion Community Center- Steve Gunn- The Unseen In Between Cherry Glazerr- Stuffed And Ready Lip Talk- Days William Tyler- Goes West Girlpool- What Chaos Is Imaginary Maggie Rogers- Heard It In A Past Life Deerhunter- Why Hasn't Everything Already Disappeared? James Blake- Assume Form
These are my favorites so far this year. What have I missed?
Sharon Van Etten- Remind Me Tomorrow Mono- Nowhere Now Here Better Oblivion Community Center- Steve Gunn- The Unseen In Between Cherry Glazerr- Stuffed And Ready Lip Talk- Days William Tyler- Goes West Girlpool- What Chaos Is Imaginary Maggie Rogers- Heard It In A Past Life Deerhunter- Why Hasn't Everything Already Disappeared? James Blake- Assume Form
New Panda Bear is amazing. I love all of his albums like a lot and his vinyl only EP last year was so dope, but just after a few listens Buoys is one of my most favorite things he's done.
Jessica Pratt's album is the one to beat for me so far this month, but I'm also really looking forward to the new Sunwatchers album which is sure to have some wild psych-jazz freakouts
Only listened to Panda Bear's new one once, and the new Cherry Glazerr twice. Not a Panda Bear fan (too much LaZerZ and echo), but a couple songs caught my attention, Master for one. Cherry Glazerr's Stuffed And Ready is my fave Feb release so far. Only two listens and not much competition yet, but that's my front runner.