P4K 2K13

[Byron The Bulb]

#1 song Drake, #1 album Vampire Weekend. I don't even know what's cool anymore.

 

[Byron The Bulb]

http://www.youtube.com/watch?v=93ASUImTedo

This Forever 21 muzak was apparently the seventh best song of the year according to the tastemakers.

 

[Byron The Bulb]

In 2007, music critic Sasha Frere-Jones famously declared Arcade Fire guilty of being white, by using the Montreal sextet as the exemplar of contemporary indie rock’s disavowal of syncopation, groove, and the sort of cross-cultural miscegenation that has traditionally fueled pop music’s greatest evolutions. His piece certainly got the band's attention: member Will Butler even sent Frere-Jones an mp3 containing bits of Arcade Fire songs that betray the direct influence of black music. But with the sultry bottom-end bump of “Reflektor”, Arcade Fire turn in the best possible retort—even if it's six years late.

 

[Byron The Bulb]

In a parallel universe, Ezra Koenig might produce a great American novel, or at least the type of short stories to land him on The New Yorker's 20-Under-40 list. Consider the genesis of "Hannah Hunt": The flesh-and-blood woman behind the name of Modern Vampires of the City’s centerpiece was a college classmate. “We were in the same Buddhism class and we sat next to each other and stuff,” he explained to me nonchalantly. “I loved her name so much and thought it would be a great name for a song.” From those humble beginnings, Koenig crafted a devastating character that won’t leave you. Hannah Hunt is sharp but impulsive, destructively short-sighted in spite of her freakish perceptiveness. She’s nerve-wracking and slippery and large-hearted. She’s the one you want in the passenger’s seat on cross-country road trip, even if she’ll end up in tears at the beach. She won’t stop testing your limits, even when she means better; “If I can’t trust you, then dammit, Hannah!,” Koenig cries, his voice piercing the ballad’s meticulous baby’s-breath arrangement like an outburst at a pristine, Upper West Side dinner table. Hannah Hunt hasn’t won your trust yet, but you’ll give her another chance

 

[Mickey Massuco]

http://www.youtube.com/watch?v=93ASUImTedo

This Forever 21 muzak was apparently the seventh best song of the year according to the tastemakers.

This sounds like the Killers' attempts at EDM, kinda, or maybe it's overly polished stuff from another pop rock act. I don't know, it's okay but if it's one of the best of the year....

 

[Incandenza]

That Sasha Frere-Jones piece inspired one of the the few worthwhile things to ever appear in Slate.

I don't loathe Sa-Jo anymore. Granted, I don't read anything he writes outside of his occasional contributions to the New Yorker, but he appears to have gotten over his white guilt issues.

 

[Incandenza]

Why doesn't Pitchfork do a Best Reissues of the Year thing? Didn't they use to? That's pretty much all I care about these days. Been jamming this these past couple of weeks:

 

[Mickey Massuco]

Do you display that record prominently in your bedroom in order to better coax a Nubian into giving you da goodz?

 

[Sesquipedaliantique]

come on man this is a str8 banger

http://www.youtube.com/watch?v=4nsKDJlpUbA

 

[Incandenza]

Song is hilariously awful.

 

[Incandenza]

"Latch" isn't that bad, though. Feels kinda like an outtake from Discovery

 

[Byron The Bulb]

Discovery came out 12 years ago.

 

[Incandenza]

So? Though I should add when I say "outtake" I mean a song that was definitely not good enough to be on Discovery.

 

[Byron The Bulb]

I just mean that saying a song sounds like something that was cut from an album that's more than a decade old hardly seems like an endorsement of quality.

 

[Incandenza]

Man, I don't feel like going to the mat over a song I said "isn't that bad."