…speaks for itself.
Category Archives: radiohead
Someone turn this into a mix tape or something.
I posted this on OTD yesterday:
We were gonna post a Journey video but we just couldn’t bring ourselves to do it.
Oh, listmania, you’re like Paris Hilton holding a plate of Oreos: contradictory, slightly off-putting, and yet fascinatingly addictive. Just when we think we’re listed out, we find ourselves reading another one, and nodding enthusiastically or wondering why anyone thinks the new Band of Horses album is Top 10-worthy. The best list-related reading of the week is undoubtedly Slate’s ongoing documentation of a musical conversation between Robert Christgau, Jody Rosen, and Ann Powers. If you’ve got an hour, it’s worth reading through, but if not, here’s our favorite part: On Sunday Rosen praised Journey’s “Don’t Stop Believin’” as the song of the year, thanks to boosts from The Sopranos and drunken karaoke-ing college kids across the US (Rosen notes that “Don’t Stop Believin’” wasn’t critically acclaimed in 1981, leading him to deduce “There’s a “Don’t Stop Believin'” of 2007 out there somewhere; it’s probably some Nickelback song. Or maybe it’s Mims”). Powers agreed (“Journey is so relevant now”), and just our heads began to spin Christgau verbally smacked some sense into everyone, via his post on Monday: “Journey sucks. They sucked in 1981, they’ll suck in 2033, and they suck now. Who gives a fuck what Tony Soprano thinks?” Xgau, we love you, even though we have no idea how Soulja Boy’s Souljaboytellumdotcom ended up on your Top 30 albums of ‘07 list.
List-related blog item #2: Flipping through our roommate’s copy of Blender recently and we spotted Animal Collective’s Strawberry Jam at number 90 of the mag’s list of the 100 Greatest Indie-Rock albums Ever. “Way to go AC!” we thought. We might’ve picked Feels instead, but whatevs. Then we checked out Blender’s Best 25 Albums of 2007 and, amazingly, Animal Collective is not on there. Like, at all. WTF? Is Strawberry Jam so great and influential that we’re supposed to just feel it’s presence on there? Or is this a reality check that these lists – all of them, not just Blender’s – are kinda BS because (duh) it’s all a matter of (sometimes dissenting, even at the same publication) opinion. We’re not pointing fingers here – we just put the finishing touches on our best album lists, look for ‘em on the Internets soonish – but maybe Slate’s got the right idea in turning listmania into a friendly debate about musical happenings within the past year, rather than a set-in-stone, these are the best albums period, kind of thing. Or maybe that’s what Idolator’s comment section is for.
So now, my own best of list, which is in no way set in stone – in fact, I spent weeks debating it, and am still not positive about my choices. But, deadlines demanded I make a decision – you can also find the list, along with other Phoenix-contributor Top 10’s, here.
A few stipulations: 1) These are not in any order, 2) I’m counting Peter Bjorn and John’s Writer’s Block as 2006, even though Rolling Stone doesn’t think so, and 3) I would’ve put Grizzly Bear’s Friend EP, which I simply adore, on the list in a heartbeat if EPs were allowed.
M.I.A. – Kala
Deerhoof – Friend Opportunity
Radiohead – In Rainbows
Animal Collective – Strawberry Jam
Yeasayer – All Hour Cymbals
Of Montreal – Hissing Fauna Are You the Destroyer?
Les Savy Fav – Let’s Stay Friends
The Besnard Lakes – The Besnard Lakes A re the Dark Horse
LCD Soundsystem – Sound of Silver
Andrew Bird – Armchair Apocrypha
Courtesy of ICHC:
Courtesy of Radiohead (and Will):
Just to let you know…
Your “In Rainbows” discbox has now left w.a.s.t.e. in the UK
You can expect delivery of your discbox in the following estimated times.
UK 1-8 days
Europe 1-14 days
Rest of World 5-18 days
Wherever possible (especially to customers in the USA), we’ve sent these by road and sea.
December is a busy time of year for postal services globally, so please be patient.
We thank you for your custom and hope you enjoy your discbox when you receive it.
us @ w.a.s.t.e.
There we were, just sitting around the office on a rainy Monday, debating the In Rainbows controversy (here’s the backstory… also here, and here), and arguing over whether London is 5 hours or 6 hours ahead, when it dawned on us – why not organize a kick-ass Radiohead listening party tomorrow, to coincide with the official Radiohead-sanctioned leak day and time? A few e-mails later, and it was all set up – Great Scott, tomorrow night, 7 pm sharp. Come listen and have a PBR or two – but don’t bring any Chatty Cathys. Or Thom Yorke haters. Read more about it here or here.
Yesterday, Stereogum set the blogosphere and Radiohead fan base abuzz with OKX: A Tribute to OK Computer, a humble attempt by musicians such as Mobius Band, Cold War Kids and Marissa Nadler to pay homage to a seminal ten-year-old album (this generation’s Dark Side of the Moon, according to some people). It’s a free download – no leaking or desperate pleas with OiNK members necessary – and a bold leap from bloggers as self-appointed musical commentators, to self-appointed musical producers, one that makes us if blog-run record labels are the next logical stop, and this is Stereogum’s way of sneaking in the back door. And they aren’t the only ones – there’s speculation that iTunes may have similar ambitions. How long before the role of blogger, music retailer, and record label congeal into one all-powerful force?
This is all speculative, of course – OKX is not dynamic enough to be the catalyst in terms of blog-label unity, though it’s already attracting attention with both it’s roster of buzz bands, both up-and-coming and already past, and choice of musical material. As an AP writer Mark Kennedy put it in his recent review of Mark Ronson’s latest album, which includes a funked-up version of “Just,” “It takes a certain audacity to cover a Radiohead song.” If that’s true, audacity abounds in the modern music world, because everyone’s covered a Radiohead song at some point – ask Wikipedia. And most of the covers – OKX included – make you want to do the same thing: listen to the real Radiohead, not some crappy cover version. Still, Radiohead’s stoned melancholy and labyrinthine musical arrangements continually invite imitation – we’ve seen everything from nightmare-inducing Radiohead lullabies to bad electronica – and only in certain cases do the covers succeed im making us not want to throw something – Radiohead reggae, for example, is a lot better than it sounds. OKX lacks any dreadlocked contributors – instead, the women are in control. Marissa Nadler and My Brightest Diamond provide the most worthwhile tracks on the album. “No Surprises” retains it’s comfortable creepiness set in a sparse folk frame, controlled by Nadler’s breathy over-dubbed vocals, while My Brightest Diamond’s quivering alto gives “Lucky” a new sense of gravity. Still, the OKX women are nowhere near the same realm as Gillian Welch’s unspeakably awesome cover of “Black Star” (which has been circulating the internet for the past few years), the only Radiohead cover that hasn’t made us immediately want to rush to the original.