Why does everyone hate them all of a sudden?

why does everyone hate them all of a sudden?

they shit

Who are they?

Are people making threads defending them literally the result of those posts I made about Public Strain? Everybody doesn't hate them. It was obvious as hell that I was going against the grain when I posted that, and that most people love them.

b/c "Painting With" was garbage

The new generations recognize them as shit the same way they do Radiohead. Has beens only basement dwellers from the 90's enjoy.

The new generation thinks Radiohead is great, you completely out-of-touch fool.

Because they've been exposed for the mediocrity they always were. Simple as that.

Public Strain was amazing but they just went down hill from there. They seem to have no focus anymore and just make meh post-punk/ art rock. Some cool ideas show up on their albums, but they always fall short

you memeing me son?

this was a joke thread concerning all of the r9k pepe threads, ya dips

He's probably referring to all of the post-Women stuff as opposed to implying Women made material after that. Their best song is "On-Stage Fistfight" though.

Why? I really thought their release as Viet Cong was underwhelming

I don't know how that can be much more underwhelming than the monotonous slog that preceded it.

but their Meeting of the Waters EP was great

not that this picture is even animal collective though. and your comment made me laugh because i had to take a second look at the picture.

but Vietcong isnt really Women. I mean yea they have two previous band members but not the same thing.

Public Strain was focused, created an amazing atmosphere, had amazing production. Viet Cong was all over the place

this, people who can't distinguish the quality between the two should just stay the fuck away from their music and leave it to the patricians to enjoy.

why do all nu-males look exactly the same?

soy

Lad you cant really believe this.
Dont make me search the archives and bring up the dude's arguments to blow you the fuck out.

I love how whenever you post a band of soyboys now, everyone just automatically assumes it's Animal Collective. Funny stuff.

They're old news. People have moved on.

soy news

The opening track - "Can't You See" - is sort of the perfect example of the album's numerous problems when it comes to incorporating even basic songwriting components. It has a hard open on metallic droning that Neu! or This Heat might have incorporated on their self-titled albums all the way back in the '70s, has a bassline placidly thumping out an ascending melody that really doesn't match the tone of those sounds, and to top it off we're given a maudlin chant with high school poetry. It does everything it can to impress upon the listener that what they're experiencing is dark, brooding, ugly, and visceral; but it's tedious and meanders to the point where the sound design (which I genuinely love) begins boring me to tears very quickly. They waste the good elements by trying to branch out to other areas. The ugly droning had potential, but they drown that out with Syd Barrett chord progressions/vocals in attempt to do something a little more than just drone. "Heat Distraction" follows that up with one of the most annoying attempts at a 7-beat measure I've ever heard. It's jarring how wrong it all is.

But the songs are written clumsily and performed as if all the members have overdosed on ambien. Sharp, spry guitar riffs are played with all of the passion of an asexual man being forced to copulate for reproductive reasons. The drums feel like a funeral march dirge in every track; that's appropriate for a song like "Penal Colony" (which has its own problems in terms of melody and harmonising), but on nearly every other track there's the impression of a bored man banging out beats because he's been ordered to. "Drag Open", in the hands of any other band (including Viet Cong/Preoccupations) would be a brutal experience. But this album manages to make it flat and dull. I can't possibly reconcile that with the album being "dreary" or "miserable", as a lot of people have told me, because it's not an excuse for performing in a fundamentally counter-productive way

I've listened to it several times over, and ascertaining why something is bad requires subjective perspective. Writing your thoughts about the merits and faults of an album from a robotic, pseudo-objective framing like Pitchfork would do is disingenuous and every bit as lifeless as this album is.

The problem isn't that it's just boring, the problem is that it has nothing substantial to offer in the way of layering, songwriting, melody, timbre, or utilising its impressive sound design towards a greater creative whole. Boring, slow, deliberate songs can be good if well-crafted, and if they offer something challenging. But there's fundamentally nothing challenging here. They're TRYING to be challenging by switching between time signatures, and by incorporating lots of noise. But there's no intrigue, and at no point do I feel like I'm being pushed back in a confrontational way. It's the worst type of album in that it is neither entertaining nor is it intellectually stimulating. The songs are predictable in the way pop songs are, and they don't even have melodic strength of emotional performances to make me care about how little is going on.

And everything on Viet Cong is far better than this piece of shit. Preoccupations is worse than Viet Cong, but it mostly still rises above Public Strain because they started focusing their ideas about sound design and became much better at writing melodies between then and now.

I don't really bring up Battles or Hella because I think they're trying to sound like those bands specifically, but because I think those bands fuck around with time in a much stronger way. This flags on the seventh beat, which is the most important beat in a 7/4, and rushes past the finish line as if it's something they needed to attain for the song to work or be taken seriously. Then later when they fit in the 5/4, it feels abrupt and nonsensical. These are the things that make me think they're doing different time signatures not because it's coming naturally to them or they think the song would only work with it, but because it's jarring and that somehow gives them artistic brownie points. Rarely does a band using an odd signature make me pause and question their motives, but like with a band I was in during high school, I detect a forced implementation of it.

I didn't call the songwriting lazy by the way, just simple. I said that calling these songs pop is a lazy excuse for the songwriting. "Untogether" and "Drag Open" are absolutely simplistic, by the way. They cycle the same way pop songs do and feature bare instrumentation or harmonising. I don't think that's bad, but the problem is there's not much to it all. And that's a good chunk of the album: repetitive, simple melodies and droning elements. And then you have sharp contrasts that go directly into top-heavy, over-complicated shit.

I'll definitely give you "March of Progress" (it's very similar to "Paper Hats" in parts), but those close vocal harmonies, octave-jumping basslines, spidery guitars, and droning noises are all over Public Strain. If Viet Cong is the result of This Heat, then Public Strain definitely is too. And generally even something like "March of Progress" has large sections that don't really sound like This Heat. Its just that middle section with the arpeggiated guitar and close vocal harmony. The other two parts are very different.

look, he posted it again!

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All me btw :^)

Why can't we have womencore? Its all Mac soundalikes as far as im concerned.

First off, Public Strain wasn't focused. There's a bizarre disparity between the tracks in terms of style that isn't reconciled by the fact that they're all produced with the same dreary, ethereal sounds. It makes them seem like people who value individual ideas more than people who are capable of making those work towards a greater whole. They absolutely don't understand atmosphere, because they repeatedly made decisions on Public Strain where elements didn't work together or defeated each other. They consistently broke the atmosphere in tracks like "Can't You See" or "Penal Colony" in an effort to insert melody and timbral shifts that totally don't work. The production is great sonically, but only on its own merits. Production needs to compliment the music it's actually supporting in order for it to be great beyond just those individual sounds. I think people (understandably) confuse unique sonic landscapes with atmosphere or great production, but that's not really the case.

spot on

Can one of you guys post that chart? I missed it the other day.