This NOT That: Defeating Relentless Radio-play

Hear This NOT That

The car that I have recently been driving these days unfortunately does not have a good way to play an iPod. Thus, I have gotten back in the routine of listening to the radio a bit more regularly. And I use the word routine very intentionally. Radio stations are nothing if not routine. They have simply just become a cesspool of the same stinking few songs with their insignificantly tiny and terrible playlists. It is hard to find any sort of real variety or anything of real substance on the air at all. Although this does come in handy when I am in my Ke$ha, T-Swift, Katy Perry moods (which let’s face it, I’m always in the mood for these ladies), the rest of my times on the radio seem to be confusing and frustrating. Even classic rock stations have such small playlists, that it makes them unbearable to listen too regularly. So, in an effort to rid us of these stale, repetitive tunes, I will now direct my frustrations into another segment of “This NOT That”.

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Upon Further Review: Road Trip Redemption

Apology Tour for past reviews

Consider this my 2012 Apology Tour. Sure I am not running for an election this year, but to keep your readership and stick to our motto of being the every man’s music blog, we wanted to start a series called “Upon Further Review”, going to the booth of former reviews and opinions we had and reversing our call. We may only be a step above the replacement officials, but at least we can admit when we get it wrong.

For this first installment, I wanted to cover three albums that I had a change of heart on my recent road trip to the Pacific Northwest. Being in the car for 70+ hours, I had plenty of time to listen to and reassess music, and here are my apologies.
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Pitchfork’s Soundplay: The Lamest Thing On The Internet

pitchfork soundplay, games, internet

Chances are, if you happen to read this blog regularly you probably also check out other sources for music write-ups on the internet. If that is the case, then chances are even greater that you follow, or at least occasionally check out Pitchfork. Pitchfork has no doubt inspired us in many ways to do what we do on this blog, but in other ways it does the opposite and shows us what not to do. Aside from its stigma of hosting overly pretentious articles/reviews, it also has a few other outlets that have never really seemed to been able to get off the ground but are still shoved down our throats while on the site. Pitchfork.tv being one thing they seem to heavily promote, but don’t get much traction with. Most of the content on Pitchfork.tv isn’t even generated by them in anyway, they just repost videos under their link to maybe make it look as such. Well recently Pitchfork decided to step into the gaming world and release an “innovative” new line of online video games “inspired” by their favorite music. And what a stink bomb it has turned out to be.
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Passion Pit Review: Gossamer

Passion Pit
Gossamer
album cover art for passion pit gossamer

I still remember the last few months of my college career like it was yesterday. Lots of friends, lots of “last times”, a lot of avoiding school work, too much of fun, a shit-ton of dancing, and a copious amount of drinking. Somewhere in the mix Passion Pits little EP found its way into my routine. Mostly correlated with the drinking/dancing. Chunk of Change was a pretty overly intense amount of fun to pack into 6 songs, but it really did the trick and made its mark. It also built expectations extremely high for Passion Pit’s first LP, which Manners did not live up too in many ways. Between the disappointment of Manners and the hideous excuse for a live performance I witnessed at Coachella 2 years ago, I was certainly expecting to be able to simply write this new album off the moment I hit play. Much to my dismay (I was really rather hoping to rip this album for some reason) I’ve seemed to have gotten a bit “carried away” by this album … very unexpectedly.
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Lollapalooza Lineup Breakdown/Festival Precap

Well the last lineup of the years major festivals was announced this week, and boy is it a doozy. Years ago, Lollapalooza began as a traveling music festival and was a real grunge-fest hosting such headliners as Siouxsie and the Banshees, Nine Inch Nails, Jane’s Addiction (naturally because Perry Ferrell is in fact a founder of the festival) and Smashing Pumpkins. Lollapalooza in recent years has become somewhat of a stink-fest, hosting acts such headliners as Lady Gaga, Foo Fighters, and Coldplay. Nonetheless, this year they pulled it together and spat out quite a spectacular lineup. Let’s break it down:
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Pixies Sold Out! … Right?

Warning: The following is long, boring, and may not make a tremendous amount of sense. This is the nonsensical rantings of myself, a fellow music lover frustrated with people’s expectations and accusations of modern day musicians and how fans seem to think their bands “sell out”.

The death of musical integrity?

As a band, changing the style of your music can sometimes a double edged sword. In the eyes of your fans, or future fans, you either become a genius for innovating, and taking your music in a brilliant new direction, or you “sold out” and are no longer the same you once were. A lot of bands that begin as small independent acts and soon thereafter find themselves on billboard charts and headline marquees tend to loose there luster after the album that helped launch their newfound stardom. I mean this in terms of music quality sometimes, but mostly and in the numbers of their original fan base. Generally this is because said band decides to sign with a “bigger” label. From there, producers and executives that now essentially own that band step in and begin turning the bands music into a product to sell. Something that will be much more accessible and listener friendly to most of the public, and will help gain a much larger audience that they couldn’t possibly achieve on their own. Musicians either straight up want this, suck it up and do it for the money/fame, or don’t sign and stay on the lower tiers of labels as well as the lower tier of “popular” musicians.
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