What score will pitchfork give this?

what score will pitchfork give this?

i say 8.9 bnm

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10
famous prophets (stars) is the runaway of indie music

10

that's the 2011 version

i kinda expect them to give it 9+
but who knows maybe they will actually pan it
or maybe they will just review it as a reissue though i doubt that

what time does p4k update? 1 am EST?

also my guess is 9.1.

I'd say roughly a 9, it held up I enjoy the new version alot

9.2

Listening to it right now. Not sure if I like it.

The super clean sound kinda takes away a big part of the messy, foggy appeal the original has that made Will's weirdly constructed (in a good way) songs work so well.

8.0. This album sucks faggots. Will is a shitty narcissistic human being too who has ran out of ideas.

>the album sucks
>the artist sucks
>8.0

His newer version will always, 100%, be worse than the originals.

Thing is, Will did the originals all by himself, so the perfect timing/layering, the voices, the reverb, all of that was only possible because he edited it all together on a computer.

When he started playing live he found a lot of the songs would be "destroyed" or impossible to perform by a normal band, so instead he started recording these versions so he has something to play on his shows.

They are literally meant to be watered down.

6.1 because it isn't rap and isn't made by a racial minority. maybe a 7 because he isn't straight.

they will give it a 7.2 and the original a 9.1

nah this will be best new reissue, pretty sure pitchfork are angling at cupcakke being bnm all year

10. Gotta give credit where credit is due. He's done it, folks, like it or not.

Why, motherfucking WHY add the robotic lady voice doing a cringy speech in the end

Goddamnit will, you've gone too pretentious

hi will, gotten your twink ass pounded lately?

I can't even go to IKEA anymore!

Some of it's pretentious - the Bodys rap and Nervous Young Man outro are pretty bad. The rest of its good

>bodys rap
Oh god what

It all sounds pretty limp-dicked compared to the originals. I'm guessing this is because there was a fundamental change in the sound.

The first time I heard Twin Fantasy, I couldn't make out half of what he was saying, I had to download the lyric book and read while listening. The focus was much more instrumental and on the aesthetic of the sound. Now, Wil's voice is by far the loudest instrument and at the forefront always. As a result everything else seems... muffled.

What is the new Famous Prophets about? I Heard it once but I'm too lazy to interpret it, anyone willing to?

A 15 second...interlude?...at the end of Bodys, between it and Cute Thing. It's intentionally-low-effort, just-joking-around-with-the-guys rapping. I have no idea why it was included except to let the audience see that the record is more lighthearted (which it obviously is, the entire sound is reflective of that, so this is just plain unnecessary).
I made a version of Bodys with it edited out because I thought it was that awful. People on Reddit seem to think its fine so I'll let you be the judge.

It's definitely a purposeful choice. Whether this is because Will is more confident in his voice or because the want to be able to "tour as a band" more easily without creating a listener-unfriendly wall of sound at concerts isn't really known. Like I said above, the overall sound of the albums is totally different, but I can definitely enjoy this one as straight hype-up, more explosive indie rock while the other one would definitely be more conceptual. Definitely proper for different occasions.

This probably doesn't help much but I have a feeling that looking at the lyrics for (Minds) and (Stars) at the same time will reveal more obvious changes in meaning, especially with the reference with "mirror to mirror / face to face". Haven't gotten around to this yet, though.

CUUUUUUUTE THING
DON'T BE RUDE THIIIIIIIIIIING

>Whether this is because Will is more confident in his voice or because the want to be able to "tour as a band" more easily without creating a listener-unfriendly wall of sound at concerts isn't really known.

Will has stated himself on Tumblr that he both couldn't play older songs because of the way they were constructed AND wanted to make music that was poppier (at the time ToD was still in concept phase/even before the signing) and less intricate.

This is definitely, definitely reflected in his work in the past few years, and it's no wonder a lot of people object to it.

Hey, fair enough. It does lose intricacy which is frankly disappointing, and Face to Face is definitely NOT a perfect album. Is it good? In my opinion, still, yes. Does it scratch the same itches as the original album? Hell no.
Which one's "better"? I don't have a full opinion on this one yet, but I am listening to both even while the hype for Face to Face is in full swing in my mind, so probably the original if I had to choose.

the little rap section was just included as a memoir of messing around in the studio during the recording process. it has no real relevance to the album.

he's white and pitchfork will say that the original release was better

I'd be surprised if it gets higher than a 7

You can still be BNM material as a white guy if you're a faggot or if a family member has recently died.

6.7.
This will be the true casual filter--do you trust Pitchfork, or do you trust yourself?

King Krule just got a BNM, you trog

8.7 BNM my dad works at Pitchfork

not really white desu

HE''S GOTTA GOOOOO BAAAAACK

To the "rap" thing, do you mean the need-to-know basis part?

The lady talking at least added context to some of the changes Will made. Other changes like the rap were pretty awful

>the Bodys rap and Nervous Young Man outro are pretty bad

The Bodys rap is fucking funny, and prevents a quirky segue into the awkward love on display in Cute Thing

The Nervous Young Man outro introduces the concept of the Painstar into the album, which makes its use as part of the album's climax in Famous Prophets carry more weight. Also, the shift from the anxious loneliness of Mirror to Mirror's "galvanistic" section to the self-realized and conversational tone of the new outro helps to solidify the theme of growth and healing in Face to Face

im trying to figure out what the newer lyrics for famous prophets are supposed to mean in context to the fantasy. somebody dumb it down for my stupid ass

my dad works at p4k too its actually 9.2 BNM asshole.

Haven't listened to any of it yet, but I know it has something to do with this cut song that was originally supposed to be on the album back then, but it ended up not fitting. I'm guessing maybe he worked part of it into Famous Prophets? youtube.com/watch?v=K5mHnNKlxSg

I'm listening in album order from beginning to end, so far I'm halfway through Beach Life-in-Death and it's a fucking JAMMER. Just speaking as a musician, Will's improved a lot with moving the dynamics more drastically, and I have to say I might actually prefer the new version, at least just for this song so far. The original My Boy is miles better just for the sake of the reverb. That's one song where the overbearing amount of the reverb sorta just MADE the song. There wasn't enough in the new version.

>that new "We're too scared to do SHIT" line
Doesn't have the original glitchy sound, but the way he yells that is fucking dope.

Original Stop Smoking is definitely better imo. It's basically the same thing, but the lofi quality makes the song actually more interesting rather than a generic campfire jam

Maybe it’s because I never liked Twin Fantasy much one way or the other, but this doesn’t ever feel like finally completed songs the way the Teens Of Style re-recordings did. It’s just the same songs but louder and “more”

It hurts that he’s never going to go back to the How To Leave Town style of sloppy sprawling bedroom studio songs.

TAKE YOUR HANDS OFF YOUR NECK AND HOLD
ONTO THE GHOST OF MY BODY
YOU KNOW THAT GOOD LIVE MAKE BAD STORIES

Just as good as I remember. Think I might like how much easier of a listen Will made this one. That may be a bit more of a normie opinion there, but I'm excited to show this song to a normie friend and have them like it on their first listen rather than their fifth listen.

DON'T WORRY
YOU AND ME WON'T BE ALONE NO MORE

>he actually does the original back and forth acoustic/ full-band crashing feel
The actual fucking madman. I thought for sure he'd drop that or find a different way to do it.

>it actually kind of sounds like shit without the lo-fi mudding it out, but I'm proud of him for actually doing it

The fuck happened to Nervous Young Inhumans?

It's actually kind of palpable though. I can see a first time listener liking this one instead of scrunching their nose and skipping it. The original version is definitely an acquired taste that requires a few listens.

This is definitely the new Killer Whales though 100%. He's counting on this one being the go-to single. That's gotta be why he simplified the chorus too.

I actually like the more electronic-sounding vibe he went for with the new approach though, it gave it a more "epic" feel.

I don't know what the shit he's talking about at the end there though, he's kinda tripping balls with that one. Nothing of value's really added. Heard him mention "Painstar" though right now, little bit of hype. Shit's going to go down.

>I CAN'T EVEN GO TO IKEA ANYMORE ;-;

9.0 screencap this

iirc the monologue is basically a stream of consciousness one

WHAT IN THE GODDAMN

Holy SHIT. Bodys got me by surprise there. I had a feeling it'd have to get a more electronic update, since it's the mirror of Nervous Young Inhumans.

>Is it the chorus yet? NO.
the fucking madman. Glad Will isn't afraid of those GOAT lines from the original. I was expecting a lot of lyric changes to make it more "mature" or normie-palpable.

I don't know if I really like this more than the original though actually. The original is a lot more dancey/ mosh-pitty.

>DO YOU REALIZE OUR BODIES COULD FALLLLLLLL APART AT ANYYYYY SECONDD

Not bad. He's actually doing some muffled vocals there. Cool reference to the lo-fi origin. It isn't totally abandoned. And I like how he's increasing the dynamic from that to the "shoulders" portion of the chorus.

>Sober twingy acoustic
Iffy but sounds okay. The boop boops are kinda dope though.

>WHEN WE DAAAAAAAAAAAAAAAAAAAAAAAA

Was worried how he was gonna do it, but this is feeling pretty fun. Wish he screamed the line a little more.

The song still felt fun though, that's what's important.

Could do without the "rap" at the end but I'm glad they're not taking themselves too seriously. It's easily skippable right there.

>Cute Thing
Pretty much in the same boat as Beach Life-in-Death. It's so fucking punky that it's actually improved quite a bit by being "HD".

>Frank Ocean's voice, James Brown's stage prescence
Why though? To identify with the normies? I have a feeling this might actually reflect the nature of the few lyric changes he's done though. The new album is supposed to have a new theme to it a bit, so I can forgive it.

>the duhduhduhduh harmonic-y synth thing during the interludes
Fucking sick. Really nice touch there.

>GET BACKKKKKKKKKKKKKKKK
Glad Will's belting some lines now. He's not sitting in the comfort zone with this one. Wish he did that a little more for Bodys, but it's fine. Original Bodys was unironically my favorite from the Original album. But I think Cute Thing might actually be my favorite off the new album so far. It feels so fucking good in "HD"

>that's some pretty good shit man
Liked the way he delivered that one.

Shit, nice one Will. You can actually listen to High to Death for once. I always wondered what he said.

This is fucking fantastic so far. Definitely the most improved song on the album overall. The original had appeal in the fact that it was so muddy and reverby that it disoriented you and made you feel like you were high as shit, so it had immersion that way.

>Keep smoking, I love you
I think he could've dynamically changed that portion a little bit more but it's okay.

>voices of kids
>music builds
oh shit, I know this feel. I know what he's going for. When you're high as fuck and disappointed in yourself, and you remember your childhood (the context of Stop Smoking in relation to Sober to Death, which is the mirror of that song) and everything just wells up.

While this one was more of an improvement musically and turned into an actual fleshed out song, I have to say I think it's a bit boring most of the way through.

>The glitches, the Lady
Okay, okay. I'm feeling the hype. The fuck are you onto here Will? Getting some horror vibes.
>"Different form the the intensity takes"
OH SHIIIIIIIIIIIIIT PAINSTAR'S HERE MY DUDES

I dislike the first half of My Boy, the rap fill, and a lot of Bodys, but Famous Prophets is so much better that it almost makes up for it

I don’t get CSH, they seem to me to just be a duller more monotonous version of music from 25 years ago. Nothing special about it, and I love stuff like GBV.

Appreciate the Ana Ng reference though, I guess part of the issue for me is that I don’t consider lyrics that important in general, except when they’re either really memorable or really shitty (which can ruin a song). It seems like with CSH actually paying close attention to them is a requisite for finding anything interesting about the music

8.6 guys

the main things for me with csh are will's lyrics and how he make long songs with multiple sections and concepts and shit

Will's voice sound kinda boneless and less passionate in this album. Compare Bodys' original and new outro and you'll see what I'm talking about. Will's screams feel way too forced to be honest. Looks like Will has come to hate this and wanted to get a rocker, more alternative approach to his music. Teens of Denial is really passionless (opener is great though).

I can't deny instrumentation and composition being far better, though.

Replace Beach Life-In-Death, Sober to Death and Bodys with the originals and this is a 10/10 period.

Compared to the stuff you record at a young age, often in the wake of your first romantic relationship, most things will sound passion-less.

Nah man it's good

Anybody got a link to the leak?

Starting out, Famous Stars sounds exactly the same but just with the lo-fi taken out. Pretty gud.

>no sour note PEW, PEW PEW PEW
I'm noticing a theme of Will removing the memorable guitar lines from the original. Don't know why. Maybe to make it its own thing. Or to let the original keep some redeemable. When you don't hear those specific parts, it definitely makes you want to go back and listen to the original to satisfy that "itch". So it's probably intentional on Will's part.

>In the morning, when I wake up
AND ONTO THE NEW STUFF. GODDAMN THAT GOSPEL FEEL.

I was worried that Will adding new stuff to the album would ruin it, but this is a HUGE improvement. Definitely the quintessential version of the song 100%.

I tend to expect to be disappointed by modern Will, so this is a pleasant surprise. I think /our guy/ might be coming back to his roots in being good at music stuff? Am I getting too excited too early?

>WE GOTTA GO BAAAAAAACCCKKKKK
>the dope lead line is there in the background
yup he's back

>this instrumental
it feels SO FUCKING GOOD.
>this bass
OH HELL YEAH.
>electric drumpads coming in, eerily similar of Ending of Dramamine
Goddamn good stuff
>New leadline over "ocean washed over your grave"

NEW LYRICS NOW

Just fucking everything about this is so good. Not to mention it's like 6 minutes longer than the original, making it comparable in length to BL-I-D, which is the mirror of this song.

>Piano
Kekkles but it fits
>PAIN STAR
HOLD ON A SEC BRO, THIS IS IT. THAT PROGRESSION. THE ACTUAL MADMAN.

I'm getting way too hype at the moment, but it's cool to see what we were meant to hear originally all this time. It took Will 7 years to figure out how to work it into the album.

>BAM
>FULL BAND
>HELL YEAH.wav

>that glitch Will voice
Super tasteful. It's like the icing to the cake here

>Long post because long song.
>TL;DR the new Famous Prophets is god-tier and the highlight of the whole album.

>Spotify.com

>I HAVEN'T LOOKED AT THE SUN IN SO LONG

Largely the same but much more fleshed out. It feels like a proper ending to the album for sure.

>The ending monologue is the same

>THESE ARE ONLY LYRICS NOW
>WHEN I COME BACK, YOU'LL STILL BE HERE
Pretty cool how this fits into the story of the album but has higher implications for Will and the listener now too in context of the old/ new album versions.

Oh hell yeah.
>Those tasty glitches

What a fucking epic ending. Goddamn it that was a fun listen. It's like looking at a memory of your childhood with new eyes.

I know how some people might feel about something they hold dear getting "changed up" and everything, but this whole album re-work is amazing in its own right too. If you view both albums as complementary to one another rather than a competition between both, it really helps you appreciate it more.

I have to say the whole thing felt more "grand" and "epic" from start to finish. I feel like I went on a full emotional teenage rollercoaster, like a week spent in highschool chasing love and getting a broken heart, learning life lessons and moving on. The core emotions of Twin Fantasy is lying there underneath it all, this new version just gives you a whole new/different access to them and I feel that this is what made the whole remake worth it.

Will, if you're on here like the piece of meme you are, I'm goddamn proud of you. You didn't (generally speaking) disappoint. That was some pretty good shit. Just ease up on the 70's dad-rock every once in a while and keep playing with those dope glitchy noises.

Thanks guys. Have a phone wallpaper.

but that's already my wallpaper

>no nipples
REEEEEEEEEEEEEEEEEEEEEEE

Why is there another remake where there's already a superior version youtube.com/watch?v=fMcNWSEr1eE

Totally off topic, but I found this demo version of some Teens of Denial songs and it's basically if the album was made pre-Matador. Lo-fi and everything. It's a pretty dope listen to think what could've been.

youtube.com/watch?v=NlqC93KLXAc

Drunk Drivers/ Killer Whales is tonally a mixture of Monomania and How to Leave Town here and is probably the best one. It starts at 5:35.

pitchfork.com/news/smash-mouth-cover-car-seat-headrest-listen/

Obviously the true GOAT Car Seat Headrest remake.