Hi, I am the album that killed British rock music
Hi, I am the album that killed British rock music
Evan Martin
Camden Wright
It's actually their best. Only soyboy nu-male cucks hate it.
Nicholas Rodriguez
After them came cold play, muse, and thom and the radioheads.
Then after them came the arctic monkeys, franz ferdinand, bloc party, Kasabian, The Libertines.
Then after that i think british music in general just died.
Like what have they produced, adele and one dierction?
Grime lol?
Fuck off. Man the brits really have dropped the ball
Cooper Scott
british electronic music has also been stagnating since the 2010's
grime basically became ironic trap
Easton Wright
America really took over electronic music whether it was mainstream big house bro step or trap garbage or like underground weird shit like vaporwave or witchhouse, etc.
Oh i think king kruel is probably the most interesting thing they have produced in ages.
Juan Cooper
>Such was the anticipation and build-up to the release of Oasis’s third album, its release was a full-scale event. The music within seemed oh-so aware of its own importance. The opening track, ‘D’You Know What I Mean?’ begins with the sound of a helicopter and lasts for eight minutes. It’s like the opening scene of an action movie. It must have been a ‘90s thing.
>But back to ‘Be Here Now’, critics were given preview copies on cassettes that they had to sign for – at the time, this was maximum security for new music. Having been caught out by the success of ‘(What’s The Story) Morning Glory?’, many raved about ‘Be Here Now’. There was a collective will for them to deliver a masterpiece, a collective delusion that the album was better than it really was. The normally tight-fisted Q magazine awarded it a very rare five stars. Others wished they didn’t like it so much. “Halfway through the epic ablutions of ‘All Around The World’, you realise that every single hair on your arms and neck is standing erect,” wrote NME’s reviewer. “And you think, defiantly, but very, very quietly, “Bugger”.”
>Yet over time, peoples’ perceptions of the album began to change. It began to be seen as a rock folly, a coke-fuelled monument to ‘90s excess. There was mass backtracking. It was the emperor’s new clothes, and we were all blind to the reality. Even the most hardened fan would struggle to put ‘Be Here Now’ before B-sides compilation ‘The Masterplan’ in their mental list of the best Oasis albums.
It ruined everything
Jose Mitchell
only anglos are stupid enough to believe this lol
Germany has been dominating the techno scene for the last decades, pioneered minimal house, probably has the best clubs in the world
Eastern Europe has a great underground electronic scene and even better festival scene
America was the shit when techno and house were first getting popular. Britain was the shit when jungle hit the scene. Now they're both complete ass.
Americas most popular Djs are Skrillex and Diplo. Murrican popular music is fucked in the head.
Neither Vaporwave nor Witchhouse are exclusively American
William Fisher
i still like magic pie
Sebastian Price
Ogaysis is soyboy core
Owen Allen
All the good guitar music in the UK comes from the northeast now, which means it never gets the marketing to take off properly because of anti-north prejudice
There's been a solid new wave / prog-pop scene there since around 2004, it's more of an 80s throwback than the classic rock/heavier sound of 90s groups like Oasis but it's a damn sight better than 00s landfill indie
youtu.be
youtu.be
youtu.be
youtu.be
youtu.be
youtu.be
Isaac Gutierrez
Reminder that if they had just made a studio album out of "The Masterplan" rock music would still be relevant
Connor Gray
fascinating new info. thank you
Ethan Ross
germany is a fucking non country no one cares about.
List of countries based on musical superiority
1. america
2. britan
3.japan
9999999. germany
Jace Martin
You know what i would like to see a british folk punk scene. Something to counteract the american andrew jackson jihad johny hobo american folk punk.
The brits also need to get in on the whole blackgaze hipster metal shit
Tyler Turner
How?
Lucas Morris
>Brits should play genres of music that are proven to be awful
But why
Gabriel Torres
>i have an opinion that must mean everyone thinks like me
Kevin Taylor
>Krautrock meant nothing
Evan Rivera
clearly you plebians don't understand the artistic magnitude of five guitar tracks playing at once with a coke fuelled harmonic that doesn't even work
Aiden Gomez
Hi, I’m the album that saved rock music and I came out the same year
Oliver Fisher
Oasis are low test whiney acoustic pop crap.
Adam Carter
There isn't the interest. People are still really happy with shit music, and the rest are too poor to pick up an instrument. Pubs & clubs that used to host music are closing down so there isn't really such a thing as a local scene any more. Then you've got vast online catalogues of music to listen to that keep people indoors
Sorry but we aren't getting anything fresh for a long time. The 2000s feel like the fucking dark ages, we're just poor, depressed and overloaded with information
Sebastian Morris
>inb4 Muh Grime tho
Daniel Davis
you dont need money to make folk punk.
You just need an acoustic and to dress like a hobo.
Its music made for being poor as shit and performing in front of other hobos and drug addicts
youtube.com
Henry Perry
>I’ve only heard wonderwall
Wyatt Wood
You need money to live bro, good acoustic guitars cost money. With how cost of living has inflated, there is very little left to spend. The UK is in a really shit state, I'd wager as poor as Spain or anywhere similar. And I guarantee anywhere that's poor is not gonna give a shit about hobo music
Brayden Garcia
They're literally a one hit wonder
Ryan Wood
Never heard of any of these bands, will check them out
>Maximo Park
Come on they are the definition of landfill indie
Jose Kelly
>1. america
>3.japan
>9999999. germany
all wrong
Andrew Scott
Only in the US. Outside they were pretty big. Hell, What's The Story (Morning Glory) is the fifth best selling album in the UK to this day and has sold over 20 million copies worldwide.
Charles James
Name another British rock band that had 8 number one singles
Blake Barnes
But best songs are I Hope I Think I Know and Don't Go Away
Liam Edwards
They're not even one hit wonders here. Champagne Supernova was just as big as Wonderwall and Live Forever was huge on rock stations before that too.
Jack Ramirez
Have you ever listened to music made before 1990 you fucking nit.
Also only random fucking weebs on Sup Forums would rate japan that highly.
Alexander Martin
Wrong.
Joshua Martinez
The retrospective reviews are pretty funny
>All of which is to say that this reissue of Be Here Now presents a nice opportunity to reappraise the songs on a record that’s only remembered for the notoriety surrounding it, from the fights in the recording studio to the level of cocaine use that made Tony Montana look moderate in his intake. The drugs weren’t the defining factor in what made the album so half-baked; it was more to do with the fact that, once you’re at the top, the only way is down and you lose all sense of perspective. It’s one thing leaving Noel Gallagher, unheard of and on the dole, to his own devices in a bedsit with a guitar and not much else. It’s another entirely to let him get on with writing songs at Mick Jagger’s villa in Mustique, money coming out of his ears, Kate Moss and Johnny Depp for company and the eyes of the world trained on him.
>He maintains that he only broke out of a months-long, non-productive malaise by forcing himself into a disciplined writing routine that involved locking himself in a room and only coming out at mealtimes, but the key word there is probably ‘force’, because the lazy nature of some of these tracks paint him as a restless schoolkid as he sat in that makeshift studio, gazing longingly for the playground and ready to sprint out of the door the second the bell went. Whatever your opinion of him, there was an endearing honesty and genuine buoyancy to what he wrote on Definitely Maybe; “we didn’t have a pot to piss in, but it was fucking great,” he once said of “Live Forever”. By the time he came to write for Be Here Now, he was no longer an everyman and his attempts to recapture the universal appeal of old fell flat, the “whoa, everybody, come together now, come on, Richard Ashcroft, people, yeah” message behind the likes of “D’You Know What I Mean?”, “All Around the World” and “It’s Getting Better (Man!!)” now sounding awfully hollow.
Camden Flores
It's funny seeing all these middle class white NME reading folks who listened to Shut Up for the first time last week, and now act like Grime is this new musical revolution, when it's been a thing since before The Strokes dropped Is This It?