Santigold

I can see why this album is slightly difficult to place but yikes.

http://img155.imageshack.us/img155/2589/458334849cc2b5293c2bim2.gif

Of course indie is more popular than death metal in Britain, its home country, but if you go to places like Germany or Spain, I'm sure you'll find more Slayer than Smiths fans there.

slayer aren't death metal, tard

Britain has a claim to being the home of death metal as well.

I stayed away from this record for a while because I thought it was like Sublime or something (her name reminds me of "Santeria"), but I picked it up and it's badass. I can see why you'd think it's indie; the first track sounds like Interpol, but the record is all over the place stylistically.[/ obvious]

-- Euler, Tuesday, July 15, 2008 4:45 PM (1 hour ago) Bookmark Link

typically high-quality ILM musical analysis

Another highly influential band, Slayer, formed in 1981. Although the band is a thrash metal act, Slayer's music is more violent than thrash metal contemporaries Metallica, Megadeth or Exodus.[31] Slayer is regarded as one of the most sinister thrash metal bands from the early 1980s[32] and are considered the ancestors of and directly responsible for the rise of death metal.[33][34] Their breakneck speed and instrumental prowess combined with lyrics about death, violence, war and Satanism won Slayer a rabid cult following.[35] According to Allmusic, their third album, Reign in Blood, inspired the entire death metal genre[36] and had a big impact on the genre leaders: Death, Obituary and Morbid Angel.[31]

thank you tuomas

thank you n/a I aim to please

German Music Charts July 11, 2008

1 1 "All Summer Long" Kid Rock
2 2 "Helden 2008" Revolverheld
3 3 "Feel The Rush" Shaggy / Trix & Flix
4 5 "Seven Nation Army" White Stripes, The
5 4 "So Soll Es Bleiben" Ich + Ich
6 9 "Better In Time" Lewis, Leona
7 8 "Take A Bow" Rihanna
8 7 "Mercy" Duffy
9 6 "Bringt Ihn Heim" Pocher, Oliver
10 10 "Love Is You" Godoj, Thomas
11 - "We Made It" Rhymes, Busta Feat.linkin Park
12 11 "Fieber" Stuermer, Christina
13 13 "4 Minutes" Madonna
14 12 "Summer Love" Medlock, Mark
15 19 "No Air" Sparks, Jordin
16 36 "Can You Hear Me" Enrique Iglesias
17 15 "Wenn Nicht Jetzt Wann Dann" Hoehner
18 18 "Valerie" Ronson, Mark Feat. Winehouse
19 14 "Strike The Match" Monrose
20 20 "I'm Yours" Mraz, Jason

One White Stripes song. No Slayer. Indie it is.

Metal is an album genre.

I listening to the "L.E.S. Artistes" remixes and they're this weird mixture of badass and unfulfilling. It's probably not a good thing that my favorite track on the EP is the instrumental of the original track, right?

I like her record. "Creator" and maybe "Unstoppable" are the only songs that resemble MIA though. She's much more new-wave than whatever MIA is.

there's more pre-dancehall reggae in the mix, too

Ah. Well, apart from Bob Marley, I'm not familiar with reggae, so I wouldn't know.

I think I need to clean out my ears or maybe I have another record cause I hear very little MIA in her Santogold. Hmmmmm

lol she is opening act on coldplay tour

well theyve used some of the same producers and have similar fan bases and aesthetics - their vocals dont really sound alike tho

I really wanted to hate her and was really resistant based on some notion that she was an M.I.A. clone and I needed to stay loyal or something. But not only is Creator the only track that is vaguely M.I.A.ish, but it is also not really up there with the best stuff on the album. L.E.S.artistes is like the Police, but with a spacier, bassier feel.

Dig that yelp, too.

I was sure Lights Out being in the beer commercials would wear it out for me eventually, but it's only making me like it more when I hear it every 20 minutes.

She has music in three separate commercials now!

I never complain about this type of shit, but I am v. sick of her Moby tactic.

lights out is incredibly good

Top Ranking is pretty choice, huh.

Yeah it's good stuff.

"Get It Up" is fucking awesome. I want to listen to this one song on repeat forever.

i'm late to this one, but i'm enjoying "Lights Out" best - interesting vocal choice there. Yes she sounds like Gwen Stef and MIA, but it's much more informed by early 80s New York than anything else which is never a bad thing. Do prefer the punky stuff better.

I am v. sick of her Moby tactic.

which would be?

how come no one stands up for "I'm a lady" on this thread?

http://seattlepi.nwsource.com/pop/393802_musicsellingout29.html

I'm sympathetic to Pareles' gripe, but he doesn't seem to realize it's just that, a gripe.

Unlike non-professional music fans who might immerse themselves in a song or album they love, music licensers want a track that's attractive but not too distracting -- just a tease, not a revelation.

So are Beatles songs "a tease, not a revelation?" Cuz I've heard them in plenty of ads. Lots of canonical songs from previous decades wind up in ads, why should we assume that songs from today in ads can't hold a similar stand-alone weight? And while I'm happy to say Moby's Play is some background pleasant-at-best, it won Pazz'n'Jop that year, so a bunch of people must have thought it was revelation.

It's almost enough to make someone miss those former villains of philistinism, the recording companies. Labels had an interest in music that would hold listeners on its own terms; selling it was their meal ticket. Labels, and to some extent radio stations and music television, also had a stake in nurturing stars who would keep fans returning to find out what happened next, allowing their catalogs to be perennially rediscovered.

I wonder if Pareles, in his long-ass career, has ever bitched about record labels ignoring idiosyncratic artists and spending their money promoting faceless schmaltz factories that sound more pleasing on the radio.

Now there's an incentive for a song to have only 30 seconds of good stuff. It's already happening: Chris Brown's hit "Forever" is wrapped around a jingle for chewing gum.

While the incentive was for Chris to incorporate a jingle, if you didn't know the Doublemint tag, you wouldn't know which part of the song was "the good stuff." It's not a good example of a song that's only good for 30 seconds, like say, "Who Let The Dogs Out?"

Put on a song with no commercial attachments. Turn it up. Close your eyes. And listen.

And if you don't watch ads, you won't know which songs have them.

Actually, since he called them "former villains of philistinism," maybe he's suggesting that advertisers are going to bring about a stream of bands worse than Toto.

O noes, we've lost another critic. And Toto had a buch of awesome singles dammit.

Now we'll have to settle for bands that are only as good as Toto...for 30 seconds! For the rest of the song they'll just kinda stand around wondering what to do.

But how soon will it be before musicians, perhaps unconsciously, start conceiving songs as potential television spots, or energy jolts during video games, or ringtones?

Also, Pareles should be old enough to realize that anybody who says "I break the rules!" in a chorus probably isn't much of an "insurgent, quirky rule-breaker" at heart.

I loved the Santogold album until I realized that. Actually it might have been the song where she told Barack Obama to fuck himself first, but yeah, real punks don't wear black so ostentatiously, or vomit gold either.

this seems otm though, and would explain so much popular modern music:

"That creates pressure, subtle but genuine, for music to recede: to embrace the element of vacancy that makes a good soundtrack so unobtrusive, to edit a lyric to be less specific or private, to leave blanks for the image or message the music now serves. "

avant-rockers Battles are heard accompanying an Australian vodka ad.

The question is: What happens to the music itself when the way to build a career shifts from recording songs that ordinary listeners want to buy to making music that marketers can use?

Yeah I'm pretty sure that their ability to sell vodka in australia is really going to figure in to what battles does in the future. Even if there is a single example of the downstream effect he is describing (where music "recedes") good luck actually finding it.

It's almost enough to make someone miss those former villains of philistinism, the recording companies. Labels had an interest in music that would hold listeners on its own terms; selling it was their meal ticket. Labels, and to some extent radio stations and music television, also had a stake in nurturing stars who would keep fans returning to find out what happened next, allowing their catalogs to be perennially rediscovered.

This is just gauzy memory-filter nonsense.

Actually it might have been the song where she told Barack Obama to fuck himself first

hang on which one is this? i have literally paid no attn to santogold's lyrics other than 'l.e.s. artistes' and the line "brooklyn we go hard" - she doesn't enunciate at all - it's amazing that i like her songs as much as i do without a lyrical entry point. the 'l.e.s. artistes' lyrics are really great, though.

this seems otm though, and would explain so much popular modern music:

"That creates pressure, subtle but genuine, for music to recede: to embrace the element of vacancy that makes a good soundtrack so unobtrusive, to edit a lyric to be less specific or private, to leave blanks for the image or message the music now serves. "

yeah, in the future music will be nothing but generalities and repetitive, obvious hooks! OMG POP HOW WILL I RECOGNIZE YOU?

in the sense that artists are prob now thinking of what advertisers will like in the same way they once thought of what radio playlisters would like.

Labels, and to some extent radio stations and music television, also had a stake in nurturing stars who would keep fans returning to find out what happened next, allowing their catalogs to be perennially rediscovered.

This is especially LOL, as in the '80s the bitch would be that labels were nurturing stars instead of supporting artists. Now no one's going to mind the factory! They'll just take your jingle and leave you to your own devices! Gasp!

in the sense that artists are prob now thinking of what advertisers will like in the same way they once thought of what radio playlisters would like.

which is the latest fashions, obvious hooks and unchallenging lyrical sentiments in both cases.

xpost to Lex: Maybe I (willfully) misinterpreted the chorus "We think you're a joke / Shove your hope where it don't shine" but it seemed pretty pointed to me.

hmm i've just looked at the lyrics to 'shove it' for the first time and the entire song makes literally not a jot of sense - obama doesn't own the word "hope", and nothing else in the song suggests that she's referring to him, or to anything much. she's never expressed any political views as such, has she? i suspect she's a bit of a div so i've never paid attention to what she says too much.

Brooklyn we go hard
We on the look for the advantage, we work hard
And if we seem to rough it up a bit
We broke but we rich at heart
Pull ourselves up now we won't choke
It's our time, put the lights on us

War tactics they make me sick
reel your heart in run away with it
Smile in your face, undermine your back
got guns for the strength they lack
So if you know another way
you can't look the other way
if you know another way,
tell them so right to their face

We think you're a joke
Shove your hope where it don't shine (4x)

I pay for what's called
eccentricity and my will to evolve
I hear them all say
that I got heart
but not everything that it takes

Taint my mind but not my soul
Tell you I got fire
I wont sell it for no payroll
Let 'em hold me down
I know if I know another way
I can't look the other way
I know another way
I'll tell them so right to their face

We think you're a joke
Shove your hope where it don't shine (4x)

This reads like a generic "fight the system" song; the only link to Obama is the word "hope".