Dirty Projectors

there is a place that we both know
it lives in our hearts, we built it together

He is talking about panera bread here

Koz would have stated it plainly

There's a part of me that wonders if maybe it was a reasonably civil breakup and his brain is going "hmmm, I have to write lyrics for an album, that's an experience that humans have emotions about, let me write about this experience in an emotional way so that the humans will like it" and then went way too far, and in misguided directions.

Obviously I'm projecting here, but thinking of people I know who are long on music theory and short on empathy.

― change display name (Jordan), Thursday, February 23, 2017 2:03 PM (fourteen minutes ago) Bookmark Flag Post Permalink

this makes a lot of sense to me.

also i think the specificity could have worked if there was an ounce of humor to any of this, though we're talking about a guy who crafted an entire hook around the line "we drank a two-liter of orange crush" and didn't even make that seem funny.

iirc most of the lyrics on bitte were just imgaistic non sequitir. do irc? if so, idk why he switched tack

prob telling that my favorite dp album has black flag lyrics

xp yeah the lyrics on Bitte Orca and iirc SLM are not personal at all

even more cynically, maybe some coked out PR dude came up with the idea to have Longstreth and Coffman release solo albums in the same year about their breakup, leading to a full Dirty Projectors reunion in 2018. GREAT FOR THE BRAND!

Longstreth always seemed like a guy deeply invested in scene politics and attuned to the sensitivities of his audience before this.

i don't know him but he doesn't seem like he's particularly attuned to the sensitivities of anything

There's a part of me that wonders if maybe it was a reasonably civil breakup and his brain is going "hmmm, I have to write lyrics for an album, that's an experience that humans have emotions about, let me write about this experience in an emotional way so that the humans will like it" and then went way too far, and in misguided directions.

Obviously I'm projecting here, but thinking of people I know who are long on music theory and short on empathy.

― change display name (Jordan), Thursday, February 23, 2017 2:03 PM (fourteen minutes ago) Bookmark Flag Post Permalink

this seems v plausible, and would feed into the line that DL is proffering about the lyrics not being "autobiographical" when they plainly are - like he's trying to intellectualise this kinda messy work.

some coked out PR dude

I knew Heathcliff Berru would weasel his way back into the industry somehow.

^ ew times a zillion, fp and fuck off

Isn't that Dave Longstreth's backing vocals on Amber Coffman's "All To Myself" ?

Yeah, and he cowrote the track as well.

I listened to the album on headphones today, and musically it's great and inventive. Unlike fgti I think there's plenty that engages with the music of today, much more than on most indie-albums. With it's bass-triplets working against a stuttering 4/4 drumbeat, Work Together is basically a juke tune (and I'd guess the mellotron sounds is stolen from Islam Chipsy). Ascent Through Clouds keeps tumbling into a sorta german schaffel techno groove complete with cut up vocals, while Up In Hudson has that drum outro as well. Most of all it's an r'n'b album, with Death Spiral being a straight up Timbaland homage, and the whole thing playing a bit like Dawn's last few albums. Both Keep Your Name and Winner Takes Nothing has rap breaks, with Winner Takes Nothing trying to do the Migos triplet flow.

And if that sounds unbearably embarrassing, well ok, then this is not for you. But it's not more imperialistic or coopting than Vampire Weekend or Paul Simon or Animal Collective. I get why Dave would long for the days of 2009, because this was basically what indie tried to do back then, to plow through different sounds and incorporate them into their own visions. And it collapsed, mostly because none of GADPY managed to really follow up on their 2009 albums with something equally succesful. So it's sorta an oldfashioned way of making music, but I loved it back then, and I like it now.

But then there's the lyrics... yeah... It's not as if it becomes redeemed, but I See You does try. He ends with saying that 'the projection is fading away / and in it's place / I see you' which, keeping in mind the band was called Dirty Projectors, could sorta mean that he tried to turn Amber into something she was not, and now will let her be herself. But... that's not enough...

Vampire Weekend and Paul Simon.

Really.

Sigh

I think this is good:

It always hurts, and sometimes turning that hurt into a meaningful piece of art is a balm. But other times, trying to convert your pain into something that will publicly redeem you comes across just as selfishly as it sounds.

http://uproxx.com/music/dirty-projectors-break-up-album/4/

Occurred to me today that the closest analogue to this record is Robin Thicke's Paula, the record he made after "Blurred Lines" and his wife left him for cheating and being drunk and zonked out on Vicodin.

Yeah, because that's the only breakup record ever made.

Dude, there's a difference btwn Blood on the Tracks, Sea Change, Vulnicura, and For Emma Forever Ago etc. and this DP record. They're not grounded in specific details or about public people. Good breakup albums take a common and uninteresting personal experience and make it universal/abstract. "You're Gonna Make Me Lonesome When You Go" vs. "You'd sell out the waterfront for condos" and "what I want from art is truth / what you want is fame" etc etc

Good breakup albums are spiritual salve. There's no room for anyone but Longstreth here.

Blood on the Tracks had Idiot Wind on it too

I'm really really into that Uproxx review

There's no room for anyone but Longstreth here.

― flappy bird, 24. februar 2017 23:30 (three minutes ago) Bookmark Flag Post Permalink

Yeah, that's pretty much the point of the last song on the album, I See You, as well. That he got lost in 'the projection' and everyone else got crowded out, including Amber.

And there's also a pretty big difference between this breakup and Thicke 'cheating and being drunk and zonked out on Vicodin.' There's nothing on Dirty Projectors as accusatory as comparing Longstreth to what Thicke did. Cool, you don't like it, but if your point is that Longstreth is being a dick, try not to be as big a dick yourself.

I like the uproxx review as well, but think this part is confused:

Instead of finding resonance in these lines, I’m reminded of the times when I valued the power of my own pain over the way weaponizing it might create more pain in others.

That is finding resonance in the lines. They resonate against the shitty parts of her own life. So it's shitty resonance, but it's still resonance.

portajohn reverb

keep counting on portajohn reverb
OK, open your eyes

There are some major failings on this album, and I get if people just won't bother, but most of the songs are without hate (really, the shitty lines are on Keep Your Name, Up In Hudson (although it doesn't say that they cheat on their spouses, that's a misreading) and Winner Takes Nothing) and there's a bunch of good songs with interesting musical ideas. It's not as hateful as Robin Thicke, heck, it's not even as hateful as Like a Rolling Stone. And the problem isn't that it's 'grounded in specific details or about public people', if we didn't like that Lemonade wouldn't have been the best album of 2016. It's tainted with misogynism, and it fails as a narrative, but it's a fine record. Comparing it to Robin Thicke, or saying that it can't resonate, is absurdly overblown.

It is true that "some of these lyrics make me feel like shit just for hearing them" may be a better line of attack

I do think it makes the last two tracks feel even better by comparison to the whole, though.

Also seems like "DL is fucking up in a way that is similar to my fuckups" is a different type of resonance altogether that is at least more separate from the music

It is not like "DL wrote fountain of sorrow but with opposite polarity" resonance. It is different and distracting.

When the 2nd track StArted I thought he was singing over Timberlake's Mirrors

It's tainted with misogynism, and it fails as a narrative, but it's a fine record

sure but is it better or worse than iceage

for the record I am fine with records that are grounded in specific details or about public people, that's hard to avoid if you ever want to broach the subject as an artist; it's the contempt that I'm not fine with

Yes, and the reason the difference is important is that while the whole album is filled with specific details about public people, it's only a few lines that have contempt.

And while that could be enough to dismiss the album, it does not turn Longstreth into Robin Thicke.

Yeah no that Uproxx review is garbage. Isolate the parts where the music is discussed and realize... she has nothing to say that isn't about her.

"Musically, the record is inventive, fascinating, and experimental in the best sense of the word. His ability to fuse R&B, folk, pop and deeply intelligent songwriting with alien electronic sounds is on stunning display here." Like... where are the red pens? Show don't tell??

Also starting off a review with a five-year-old self-retweet of praise is... not the best look

If coming off like as much of a narcissistic egotist as Longstreth is some sort of reviewer performance art, I guess I apologize, but that didn't make it easier to read.

anyway, sorry for getting heated, i just bristle at the abuse of length-trumps-insight "longform" in both personal essays and music crit

"what I want from art is truth / what you want is fame"
hahaha these are actual lyrics w t f

the thing i mainly remember about that uproxx review is the word "regretted"

also "an sh*thead"

iirc most of the lyrics on bitte were just imgaistic non sequitir. do irc? if so, idk why he switched tack
― flopson, Thursday, February 23, 2017 2:23 PM (two days ago) Bookmark Flag Post Permalink

Might be true on the whole, but the only lyrics I remember from Bitte Orca sound like they were lifted from chill gchat convos and are aggressively non-expressionistic / symbolic:

Definitely you can come and live with us
I know there's a space for you in the basement, yeah
All you gotta do is help out with the chores and dishes
And I know you will

/

Maybe I will get a job
Get a job as a waitress
Maybe waiting tables in a diner
In some remote city down the highway

maura otm

xp hm true I was thinking of stuff like this

The renegade feeling satisfied
You blinked and closed your eyes
You like the feeling of Saturday
You love the danger in the night
The restless corpse is collapsed wind
The breath is daffodil
What not become what is lapsing
Into the universal fill
Or maybe just

BO is a great album

that song rules so hard

the elephant in the room here is that the music of the Dirty Projectors is 1000% garbage