>I still don't appreciate The Grateful Dead or Neil Young. If it wasn't for kids being so taken with In the Aeroplane I'd probably spend my time telling people to shut the fuck up about Harvest. Who gives a shit, that record sucks. Neil Young's an absolute cornball. Get over it.
>Honestly Grimes is the most overrated, over-reported musical act of this decade. I love a few of her songs and she is clearly Rated just right as a fashion model and youth celebrity, but as a musician, she doesn't deserve the place she's in. There's not enough to warrant it on a musical basis, it's all "X Factor." And that's fine, but I would rather see music media focus on music and she can be a YouTube star like Rosanna Pansino. There's plenty of room to talk about her fabulous clothing and visual aesthetic. I don't know if I could talk about her music for five minutes.
>I hate Swans. I always have. That guy is a complete fucking waste. Just a total fucking waste of life as an opportunity to accomplish anything. GG Allin had the balls to actually play with his own shit; Gira subjected his audience to the aural equivalent.
>[On Father John Misty] He's just another in a long line of idiot chalants who breeze through life wincing artistically. Jim Morrison was the worst thing to ever happen to American men.
reminder that as an early champion of Grimes, Ott did a complete heel turn when she stopped following his advice wrt how to market herself and her music and has been a bitter campaign ever since
Carter Miller
post the one about mark kozelek
Landon Cook
>I have never liked anything that guy did back to Red House Painters, who I thought were a 4AD album cover with nothing inside. I have no sympathy for him, and none of his social miscues can be cast as "refreshingly un-PC" or "sticking it to wusses." He's just an absolute bore and I've never understood how anyone could like any of his music. I think I liked his cover of a Modest Mouse song at one point, and I hate Modest Mouse, so that was strange. But yeah, just a complete nothing to me. A pretty voice, nowhere to point it.
Nathan Williams
This doesn't really say anything. He's not explaining his opinions at all. Everyone has some controversial opinions like these so who cares?
Liam Campbell
nothing to see here. ott was btfo by p4k (they literally deleted all his shitty contributions) because he's a tool.
>Ott is a notorious crank who uses his Twitter feed to decry the commodification of the independent arts. At his best he can be a necessary check on the capitalist impulses of the music industry and the publications that cover it. At his worst he can be a straight-up asshole who uses his modest platform to hammer away at personal grudges, many of which seem to end up involving women who make and/or write about indie rock. To some he is an anti-hero, to others he is simply a verbal harasser.
>I would say it does, but Pitchfork has deleted plenty of articles before—in some cases, infamously so—and practically speaking, Ott is a unique case. His structural criticism was often a trojan horse for a personal vendetta, and he has gone out of his way to inflame the individuals who work at and run Pitchfork. He probably deserved something. But who exactly was punished?
only a fool (like you, you dumb op) would take this buffoon seriously.
Blake Harris
>gawker opinion discarded
Kayden Sanders
not an argument. facts are facts.
Matthew Ward
you posted an entire article of opinion
Levi Roberts
>hates Neil Young, Swans, and Marky Mark >Gave Hail to the Thief a 9.3/10 Is he just actively contrarian for the attention?
Wyatt Russell
I swear this guy literally only listens to The Cure, like he dosent shut the fuck up about them, everything single video I've seen of him he mentions The Cure at some point as these gods who pioneered pretty much everything.
And I'm a fan of The Cure but christ this guy makes them overrated as fuck
Daniel Kelly
This isn't true at all. He holds up an album in one video and talks about them in another video that's literally about goth. His ranking of the albums all fucked up, though.
1. Kiss Me, Kiss Me, Kiss Me 2. Disintegration 3. Seventeen Seconds 4. Pornography 5. Faith 6. 1983 stuff/the Glove's Blue Sunshine 7. Wish 8. Three Imaginary Boys 9. The Head on the Door 10. Blood flowers 11. The Top 12. The Cure 13. Wild Mood Swings 14. 4:13 Dream
Ayden Martin
Ott is so fucking based. I'm glad people like him still exist in the world.
Noah Gray
Who is he and why should I care?
Elijah Phillips
Nah I've defiantly seen and read him mention them a bunch more times
but to be completely honest, I actually couldn't care less so alright
Samuel Young
t. butthurt Sup Forums drone
Dylan Sanchez
Aside from shitting on MM he's right about everything.
Nathan Hughes
he's right about the disintegration loops as well
Jose Brown
Does Ott like anything besides shoegaze or is he the ultimate contrarian?
Eli Turner
>Radiohead, the most hyped and probably the most over-rated band of the decade, upped the ante for studio trickery. They had begun as third-rate disciples of the Smiths, and albums such as Pablo Honey (1993) and The Bends (1995) that were cauldrons of Brit-pop cliches. Then OK Computer (1997) happened and the word "chic" took on a new meaning. The album was a masterpiece of faux avantgarde (of pretending to be avantgarde while playing mellow pop music). It was, more properly, a new link in the chain of production artifices that changed the way pop music "sounds": the Beatles' Sgt Pepper, Pink Floyd's Dark Side Of The Moon, Fleetwood Mac's Tusk, Michael Jackson's Thriller. Despite the massive doses of magniloquent epos a` la U2 and of facile pathos a` la David Bowie, the album's mannerism led to the same excesses that detracted from late Pink Floyd's albums (lush textures, languid melodies, drowsy chanting). Since thee production aspects of music were beginning to prevail over the music itself, it was just about natural to make them "the" music. The sound of Kid A (2000) had decomposed and absorbed countless new perfumes, like a carcass in the woods. All sounds were processed and mixed, including the vocals. Radiohead moved as close to electronica as possible without actually endorsing it. Radiohead became masters of the artificial, masters of minimizing the emotional content of very complex structures. Amnesiac (2001) replaced "music" with a barrage of semi-mechanical loops, warped instruments and digital noises, while bending Thom Yorke's baritone to a subhuman register and stranding it in the midst of hostile arrangements, sounding more and more like an alienated psychopath. Their limit was that they were more form than content, more "hype" than message, more nothing than everything.
Ryder Diaz
Bowie was a protagonist of his times, although a poor musician: to say that Bowie is a musician is like saying that Nero was a harp player (a fact that is technically true, but misleading). Bowie embodies the quintessence of artificial art, raises futulity to paradigm, focuses on the phenomenon rather than the content, makes irrelevant the relevant, and, thus, is the epitome of everything that went wrong with rock music.
Each element of his art is the emblem of a true artistic movement; however, the ensemble of those emblems constitutes no more than a puzzle, no matter how intriguing, of symbols, a roll of incoherent images projected against the wall at twice the speed, a dictionary of terms rather than a poem, and, in the best of hypotheses, a documentary of the cultural fads of his era.
Reading the chronicles of his times, it is clear that what caused sensation was the show, not the music. The show that Bowie set up was undoubtedly in sync with the avantgarde, as it fused theater, mime, cinema, visual art, literature and music. However, Bowie merely recycled what had been going on for years in the British underground, in particular what had been popularized by the psychedelic bands of 1967. And he turned it into a commodity: whichever way you look at his oeuvre, this is the real merit of it.
Surprisingly, he resurrected his career in the 1990s with a trio of experimental works that suddenly showed he had become a musician, not just the pretense of being a musician.
Austin Bennett
Ott is not this unbiased, objective critic people on her make him out to be. He has his own political narrative, his own axe to grind. He's cynical without any of the hard-broiled scepticism that comes along with great cynics.
Ayden Fisher
I agree with most of this but that characterization of Swans doesn't make sense for their last few albums. Gira isn't trying to scare/shock people or be edgy anymore; that was like 20 years ago. Maybe it's an old quote idk
Nicholas Morgan
Everything that comes out of Chris Ott's mouth is farts
Eli Gutierrez
And this summary of Radiohead is laughably stupid. By all means, tear apart Radiohead for how shitty their music is, but don't completely mischaracterise their entire discography in an attempt to seem above the masses. That's like the definition of a pleb trying to disguise themselves as patrician via contrarianism.
Xavier Carter
>I hate Swans. I always have. That guy is a complete fucking waste. Just a total fucking waste of life as an opportunity to accomplish anything. GG Allin had the balls to actually play with his own shit; Gira subjected his audience to the aural equivalent. This is the best
Liam Bailey
I'm lmaoing at his life
John Scott
>implies a radiohead album isn't very good >"he's a Sup Forums drone" ok user
Anthony Miller
Jessie Lacey being a fucked up pedophile actually made his music better.
