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Someone my age should NOT be this excited for a children's album.
I agree. Saying he's the #1 DJ in the world is a fucking joke.Wanna know why?Cause it's all opinion based.Certainly there's some objective measure by which you could determine the #1 DJ in the world. In fac, there are probably dozens of conflicting objective measures, but that doesn't mean it's bullshit and "all opinion based".
I agree. Saying he's the #1 DJ in the world is a fucking joke.Wanna know why?Cause it's all opinion based.
And those numbers don't correlate to how talented the artist is.
Here Comes Science makes me wish I had kids so that I could have an excuse to loop this disc constantly in my car.
Why do you need an excuse?
And those numbers don't correlate to how talented the artist is.No one said they did.
Well then how else are you supposed to objectively rank who is the #1 of anything?If it's not objective, then it's subjective....which is opinion based. Which has been my point the entire time.
Just throwing this out there...DJ Magazine put out theirtop 100 of 2009. Armin Van Buuren got #1, and Oakenfold wasn't even in the top 10. And evidently Van Buuren has been rated #1 for the past 2 years.
I don't understand at all what their criteria for "DJ" is. These are electronic music artists.
Also, most of them play huge concerts/raves and at clubs in various areas.
There's nothing quite like the Two Man Gentleman Band!
Example: Brittney Spears's debut album is 14x Platinum in the USA. If that's not a good enough example then I don't know what is.
I'll give you an excuse, it's They Might Be Giants educating about SCIENCE!
If it's not objective, then it's subjective....which is opinion based. Which has been my point the entire time.
The sample comes in at the second half of the song, for those who are impatient.
I never really got into Slug or Murs, let alone their joint effort, but the fact that Aesop Rock was doing the beats got me interested. The production is fucking fantastic, as I expected, but Slug and Murs have really grown on me. Their style is pretty simple compared to a lot of the artists I listen to, but it's way more clever than I first gave it credit for. I've had the album for a couple days and every time I listen to it I hear another bit of wordplay I hadn't noticed before. Good stuff.
Not saying DJ Magazine is the be all and end all of top 100 lists, but it's basically the only DJ news source I know that can be purchased in America (Borders and Barnes and Noble carry the mag) and it's basically the only top 100 DJ list I know of.
This is what I think when I think "DJ":
May not exactly be new, but it was recently introduced to me, so suck it.
Favorites of of 2009:
Pissed Jeans: King Of Jeans
This record feels like a perfect continuation to Generic Flipper. The tunes are a mix of fast, noisy punk and slow, My War-ish sludge. I've been listening to this one about once a week since it came out. Read an interview with the singer where he said he wanted listening to Pissed Jeans to be a totally draining experience, and compared their music to watching a toilet flush. I don't get any of that, I always feel like jumping around and shouting along when listening to them.
Sunn O))): Monoliths & Dimensions
The best Sunn album, easy. Every track is so different and has a unique and interesting element that doesn't get old even when stretched across 10- 17 minutes. The first track has classic Sunn riffs with slow, deep spoken word over the whole thing, plus double bass noise near the second half. Fourth song, Alice, my favorite one, evolves from White style riffing into a beautiful slow horn piece which sounds kind of like Stars of the Lid.
Totally Nebular: Boat Boat
Saw these guys play the album in its entirety twice. Sort of like Strawberry Jam era Animal Collective and Skeleton era Abe Vigoda. Can't think of much to say about it, as far as describing or whatever, but it's my favorite album of these five.
Wet Hait: Dream and Glass Fountain
From the corpse of lo-fi psych band Raccoo-oo-oon came Wet Hair. In a year where Not Not Fun have put out some of their finest releases since their inception, these records stood out. Building, dissonant psych jams, heavily influenced by Spacemen 3, with Shawn Reed leaving behind the animal yelps of Raccoo-oo-oon for real singing, murky and processed as it is. Dream feels significantly darker than Glass Fountain, and I go back and forth on which one I prefer, but both are really brilliant.
He's already gotten a lot of attention from Pitchfork and the like, so he's definitely got a future in this.