Mentioned this in a thread somewhere, but one thing I think is important to mention about this record - it doesn't 'replace' Separation for me in any way. I love both records, for different reasons.
The opposite is true of Thrice's final LPs. I really enjoyed Beggars - but when Major/Minor released, Beggars became...less. The latter record stayed within the world of the former, so much so that it almost made Beggars irrelevant to me (that's an exaggeration, but I certainly listen to it much less now).
Separation and The Things We Think We're Missing hit different notes for me. The earlier album is more raw and unrefined, while the new is more polished and explores the more bombastic sides of B&C. Both will continually receive regular plays, and I'm not sure I have a favorite between them.
Hopefully that made sense.
Yeah i can see where you're going with this and agree with it.
I think "When I Come Undone" should have been a B-side...really my only major gripe with the album. In context it's whatever and as a standalone it's not very worthwhile.
I loved Separation; but this album decimates it in my book. I'm always nervous when Will Yip produces something; he's been hit or miss this year, leading Pity Sex, Citizen, and Daylight to capitalize on just about everything except for what I actually loved about their sounds. Thankfully, the opposite is true here. Everything I've loved about their past releases is focused tenfold on this record.
Great review. Should have given some attention to Jeremy Bolm's guest spot in Notice Me, it's definitely one of the high points of the thirteen songs.
I think Will Yip is the best producer around right now....and unless I am mistaken, Jeremy Bolm is not on this record at all.
I want to backtrack on the word "positive", its really the hyperbole bothers me. BUT, if hes only writing 6-8 reviews a year, why is he getting the "high profile" reviews? i know a lot of people (including myself) that want to hear this record, and these reviews are the ones going into metacritic and the like. so why isint a more experienced reviewer (like yourself) taking the lead on these? i get that hes passionate about what he writes, i wouldn't expect an unpaid contributor to write about crap he dosent want to listen to, but it seems strange that someone who takes only 6-8 reviews a year to write the only staff review about the most anticipated records of the year (including Generation). I get everyone has their biases (i dont think ill ever read a negative ETID review from drew, even if they did a faithful Katy Perry cover album) but some times it feels too much.
i love this site, been my #1 source for years, but when i see you guys in all the major review places, i just wish the reviews were taken more seriously.
EDIT: And how can you call TGG a N/A score? He would that record a 12 if he could of. Its my favorite album this year by far, but come on, i get when he did that with Ocean Avenue, but to do that for TGG is nonsense.
I believe I have more reviews than all active staff that aren't Drew, Blake or Greg Robson. I feel that makes me fine in terms of experience. Plenty of the 200+ reviews I've written have been negative. In the apparently short time you've been reading me, I've already given an extremely negative review to a high-profile release in Transit. Yellowcard's acoustic thing I don't consider a real review and I say that in the piece. But as Jack mentioned, now that I can't write 60-100 reviews a year, I choose my most anticipated albums or the ones that strike me hardest. I feel that's fair of me at this point. I also reviewed Balance's last LP, for what it's worth.
Sorry that you found it to be hyperbole, it happens, but I figured that I'd explain that for ya!
It isn't at all a shot toward the limitations of the music – but in terms of lyricism, rock and roll songs tell stories that live on forever, hence the extreme lasting value of musicians like The Beatles or Bruce Springsteen or even the countless artists that influenced them. This happens in blues, soul, etc., too. Dance music, electronic music and to a lesser extent, radio pop, are much more likely to have lyricism that throws away a timelessness in exchange for a "live in the moment" type freedom. Absolutely not a bad thing – obviously there is a place for that. I think it's pretty well noted that the cultures of these genres are different, and I'm not at all saying that I made some sort of big revelation there, but that's what I was going for in that closing paragraph.
That's pretty dismissive as a whole, regardless of how you intended the sentiment, and I'd rather have the lyricism of a handful of electronic artists over the trite offerings here.
I don't think it's dismissive at all. I never said that "all dance music is about the present time" or "all rock music is timeless" you know? I'm not speaking in absolutes and therefore I'm not dismissing anything.
I'm pretty sure I explained myself fairly thoroughly and backed up my statement. If you were to pick out your favorite lyricism from electronic artists – I know you listened to so much of that music when we were roommates – I'm sure there would be plenty of lyrics that might be better than the ones on this album. There would probably be plenty of lyrics that explore timeless issues. Like I said, I was not dealing in any sort of absolute thought nor should that ever be assumed – in what genre is there literally only one type of thought, idea, tone or message?
I feel as though my general point of electronic music being more about "living in the moment" still stands strong, especially when you consider the amount of remixes / dance music made mainly for club settings....and the amount of such music that is created with no lyricism at all.
Simmons is no Springsteen or Dylan. I think you're unfairly lumping dance and pop in together, and ignoring the universality of the lyrical content. There's a very good reason songs about fun and dancing and love have always topped the charts.
Certainly did not compare Simmons to either of those songwriters in my review. I used them to explain in more depth what the message meant. Like I said in my comment to Pat, "to a lesser extent, radio pop" ... also I am pretty sure I read an article last year about how "sad songs" were topping the singles charts ... trying to search for it now.
which is an ignorant line of thinking because those people probably dont understand or like the genre. which is fine if they prefer rock to electronic music, but making the assertive statement that it isnt as timeless is just completely unnecessary, especially in an album review
predictably, you're picking it apart too much. but that's fine. i do think that my statement is valid. soul and blues and rock and roll have a lengthy history of exploring the themes i wrote about. electronic and dance music have a tendency to be more "of the moment." like i already said quite a few times – it's not an absolute statement. which, apparently, you're taking it very seriously as. again...not unexpected coming from you.
how typical for a review to get sidetracked by one sentence and a discussion about the score. not sure what the point is to put an album review on this website anymore. same thing every time with the same people.