― musically, Thursday, 10 May 2007 21:11 (sixteen years ago) link
Look at the 17 minute "Only Skin" (which is I think is the climax of the album): I cannot think of one other artist who has treaded the ambitious grounds of this song, the twisting and turning of the lyrical cycle, the slow evolutions from crescendo to naked statement, and made it fit so perfectly in one piece without disintegrating...as far as extreme rock music goes, this goes far behind something like Gogol Bordello, Black Dice or even the No New York scene, becuase its able to hold to together enough to make it timeless (those bands are admired because of their similar ambition, but its ambition that self-destructs on purpose)..YS such an honest projection of her longing and worries that is scares people, like Joni Mitchell's Blue probably scared people at first with its nakedness....the closest I can think from the female perspective is Kate Bush (going back to Joni Mitchell) but this is much less flawed...I think if you sit with it long enough even the certain lines that might of made you cringe are now endearing...it wasn't like this on the first album, some stories just didn't work, some melodies were annoying over time...but the machine is running flawless this time -Space Is the Place
― musically, Thursday, 10 May 2007 21:14 (sixteen years ago) link
The lyrics on this album are often really painfully generic (to be fair, they're not singing or writing words in their native tongue), but there are so many incredibly rich melodies on this album. Still, it's quintessential indie, which means it's not going to be terribly ILM-friendly. Not as bad as the average Belle & Sebastian mimic; not as good as something similarly Nordic like Herman Dune, which is a bit more adventurous. But "The Chills," "Paris 2004," "Amsterdam," "Up Against the Wall," "Young Folks," and "Let's Call it Off" are jam packed with hooks - the verses are as catchy as the choruses, which is one of the things I love about the New Pornographers. From a purely pop perspective, they are incredibly talented. Hearing the Concretes-singer verses on "Young Folks," you wonder how they would do writing songs for other people, too. -Tiki Theater Xymposium
― musically, Thursday, 10 May 2007 21:19 (sixteen years ago) link
― The Brainwasher, Thursday, 10 May 2007 21:21 (sixteen years ago) link
The future of music - rip it up and steal all the good parts. People complain that downloaders gut albums for singles. Girl Talk guts singles for the 3-5 seconds that make pop music worthwhile. -Mordechai Shinefield
― musically, Thursday, 10 May 2007 21:29 (sixteen years ago) link
― musically, Thursday, 10 May 2007 21:38 (sixteen years ago) link
When I first heard the album, it sounded refreshingly linear to me -- the songs seemed to be refusing to come back around in identifiable patterns. On further listen, I think that impression maybe wasn't accurate... it's more elliptical, I guess. In any case, it was nice to be surprised, to listen to this album without having any idea where it was going, fully convinced that the band knew where it was going. Now that I know the album much better, it continues to be very gratifying -- I'm still hearing things that I missed before. Also nice to have lyrics that don't actively prevent me from enjoying an album -- that's been a real deal breaker for me lately. -belle haleine
― musically, Thursday, 10 May 2007 21:41 (sixteen years ago) link
― lex pretend, Thursday, 10 May 2007 22:57 (sixteen years ago) link
― Gukbe, Thursday, 10 May 2007 23:07 (sixteen years ago) link
― Matt Armstrong, Friday, 11 May 2007 00:51 (sixteen years ago) link
― Mordechai Shinefield, Friday, 11 May 2007 01:22 (sixteen years ago) link
― Drooone, Friday, 11 May 2007 01:26 (sixteen years ago) link
― musically, Friday, 11 May 2007 02:01 (sixteen years ago) link
― Mordechai Shinefield, Friday, 11 May 2007 02:04 (sixteen years ago) link
― Z S, Friday, 11 May 2007 02:36 (sixteen years ago) link
― I eat cannibals, Friday, 11 May 2007 02:58 (sixteen years ago) link
― M.V., Friday, 11 May 2007 03:18 (sixteen years ago) link
― poortheatre, Friday, 11 May 2007 07:04 (sixteen years ago) link
― musically, Friday, 11 May 2007 08:11 (sixteen years ago) link
― musically, Friday, 11 May 2007 08:19 (sixteen years ago) link
― The Wayward Johnny B, Friday, 11 May 2007 08:28 (sixteen years ago) link
― Rockist Scientist, Friday, 11 May 2007 10:55 (sixteen years ago) link
― djmartian, Friday, 11 May 2007 11:51 (sixteen years ago) link
― The Reverend, Friday, 11 May 2007 15:49 (sixteen years ago) link
― Gukbe, Friday, 11 May 2007 17:17 (sixteen years ago) link
― groovemaaan, Friday, 11 May 2007 17:21 (sixteen years ago) link
― musically, Saturday, 12 May 2007 01:47 (sixteen years ago) link
― Clay, Saturday, 12 May 2007 02:04 (sixteen years ago) link
― musically, Saturday, 12 May 2007 20:28 (sixteen years ago) link
― musically, Saturday, 12 May 2007 20:30 (sixteen years ago) link
― Spencer Chow, Saturday, 12 May 2007 20:31 (sixteen years ago) link
― musically, Saturday, 12 May 2007 20:32 (sixteen years ago) link
― lex pretend, Saturday, 12 May 2007 20:32 (sixteen years ago) link
― lex pretend, Saturday, 12 May 2007 20:33 (sixteen years ago) link
― Tape Store, Saturday, 12 May 2007 20:34 (sixteen years ago) link
― Tape Store, Saturday, 12 May 2007 20:35 (sixteen years ago) link
― musically, Saturday, 12 May 2007 20:36 (sixteen years ago) link
― lex pretend, Saturday, 12 May 2007 20:36 (sixteen years ago) link
This should be higher on the list but it's physically impossible for me to run longer than thirty minutes. -The Macallan 18 Year
― musically, Saturday, 12 May 2007 20:37 (sixteen years ago) link
― lex pretend, Saturday, 12 May 2007 20:38 (sixteen years ago) link
― The Reverend, Saturday, 12 May 2007 20:39 (sixteen years ago) link
Christ almighty is this ever good. I really didn't like Coming On Strong, but this one's just so breathtakingly easy to listen to that it's almost alarming. Maybe they beefed up the low end? I remember Coming On Strong sounding kinda artlessly chintzy, like they were sufficiently satisfied with making a blindingly ahead-of-the-curve R&B album that they didn't bother to make a GOOD blindingly ahead-of-the-etc., but this is just relentlessly dance-y. And WOW does "Over & Over" trump anything on the first album. -James.Cobo
― musically, Saturday, 12 May 2007 20:40 (sixteen years ago) link
― lex pretend, Saturday, 12 May 2007 20:42 (sixteen years ago) link
― The Reverend, Saturday, 12 May 2007 20:42 (sixteen years ago) link
― whatever, Saturday, 12 May 2007 20:43 (sixteen years ago) link
― Tape Store, Saturday, 12 May 2007 20:43 (sixteen years ago) link
Ok, my reaction to "Justified": Man, this is pretty great, the Neptunes rule, I want to hug JT My reaction to "FutureSex/LoveSounds": God, this is really amazing, Timbaland is today's best producer, I want to make out with JT, take him up to the bedroom, etc. What makes "FS/LS" so great is its consistency. Rather than setting out to make a few great singles, Justin really tried to create a great pop-forward album. With the help of Timbaland, he succeeded. From the steamy title track to "My Love," FS/LS is, to lift a phrase from Paris Hilton, really fucking hot. -Tape Store
― musically, Saturday, 12 May 2007 20:45 (sixteen years ago) link
― The Reverend, Saturday, 12 May 2007 20:47 (sixteen years ago) link
― danzig, Saturday, 12 May 2007 20:50 (sixteen years ago) link
After several weeks of finding this pleasant but slightly underwhelming, it all slotted into place perfectly at the weekend. Now I think it's better the first album, certainly more consistent (and Like A Child and FM are easily the equal of Teach Me How To Fight and Last Exit). A couple of things really strike me about it. The first is that it initially seems so similar to Last Exit in mood and tone, but on closer listening they're constructed in totally different ways. I like the greater emphasis on loops this time round (and arpeggios, wow!), the way you can follow a thread through a song while barely listening to the vocals or the main melody. I can envisage some remixes of So This Is Goodbye, Double Shadow or The Equaliser that would sound amazing in the middle of a really hypnotic minimal set. The second is that the removal of the Johnny Dark rhythmic tricksiness has left other elements of the sound to blossom. This is every bit as complex and detailed a record as Last Exit, possibly more so. It's not really the rhythms as such (and it's not exactly rhythmnically simple). It's the meticulous attention to detail that's been given to the tone and timbre of every sound. No note that's held for more than a fraction of a beat sounds the same from start to finish - especially on When No One Cares, which consists of little other than these big open chords, but virtually every single one of them sounds different. There's so much depth and subtlety of texture there that only really hit me when I listened to it very loud on headphones. Also, the swell two third of the way through Like A Child sends a shiver down my spine like no other moment in music this year. -Matt DC
― musically, Saturday, 12 May 2007 20:51 (sixteen years ago) link