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no sleeep

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no sleeep last won the day on February 25

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  1. For better or worse the album isn’t at all ambient (Santa Teresa was not even included). It’s more like ‘90s style alternative rock, so you get crunchy grungy riffs and softer folkie moments all with a fussy and ethereal Eno/Lanois inspired production. There are a couple of dutiful and dated dance beats as well, so it’s a slightly more electronic Bends in its soundscape.
  2. https://ra.co/podcast/760
  3. https://www.theguardian.com/music/2021/feb/08/european-touring-radiohead-brexit-colin-greenwood Seems like a convincing argument and The Guardian is an improvement on his usual, The Spectator. I can’t figure out why Colin ever wrote for them if he feels so strongly opposed to Conservative Party policies, as they’re the Tories’ official magazine, and editing the Spectator served as a career launch for many future party leaders like Johnson and Cameron...
  4. Sophistipop can be expanded to include City pop and ‘80s post disco funk pop/R&B pop styles
  5. She hasn’t slowed down any more than Radiohead in terms of release schedule though. If anything she’s flooding the market right now with reissues of every album’s demos at the same time. Hope Six was very underrated, I think it’s one of her best albums musically, much better than Let England Shake, although both have a few lyrics that don’t work (Medicinals is a fucking disaster). I’ve been relistening to a lot of the older stuff and I especially love A Woman a Man Walked By and Is This Desire.
  6. Yeah it’s weird how rarely they seem to come up in discussions of “best bands.” You even see Massive Attack come up in those discussions and they were never a band at all. Sade maintained the same lineup for decades.
  7. Sade is better than both but they only made one album in the ‘90s and for mysterious reasons they are seen as an R&B solo artist rather than an indie “guitar band” even though almost all their stuff has guitar.
  8. Nick Hornby? https://www.newyorker.com/magazine/2000/10/30/beyond-the-pale He’s not super interesting, just the dude who wrote (the original) High Fidelity, but it’s weird how true some of his observations feel. I think one reason people go off edgy music isn’t necessarily that they become more conservative, but maybe they become more committed to left wing beliefs and they start to realize edgelordism, particularly by white dudes, is rarely a challenge to the established order it pretends to oppose, more often ends up feeding into the right, and is therefore neither ideologically ad
  9. Don’t you change your own tastes over time as well? I love Radiohead(‘s music, not the people in the band apart from maybe Ed) because it seems like the band themselves always grow to see flaws of their old stuff and that spurs them toward new directions and creativity. I don’t agree with the way Radiohead stans treat Kid A, which is the same way these same stans once objected to older gen x stans like Hornby talking about how The Bends or OKC. The attitude that the band’s best work was in the past and could never be topped was rightly scorned when that was how their ‘90s work was viewed, but
  10. Wow I agree with almost every word in that Nick Hornby shit now. It is indeed weird reading because the entire worldview of me and other 2000s Radiohead stans was built on rejecting Nick Hornby’s views there (then again we were, um, 16). The couple of things I’d still take issue with is the defense of Tony Blair’s Kosovo policy (which, granted, pretty much all mainstream US media were praising until the Iraq War caused us to rethink these kinds of colonial “interventions”) and the conflation of being less pop with switching from guitar to synths. Even on the latter point, Hornby doesn’t seem p
  11. Weird Fishes is up there as the best Radiohead cover with Toots and the Maytals’ Let Down (RIP. a cover Radiohead themselves said they liked better than their original).
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