as everyone in this thread knows, Sheer Mag is one of the best bands on the planet well they are gonna release a full LP on July 14th. It'll be called Need to Feel Your Love the debut single of the upcoming LP is called Just Can't Get Enough, it is linked below
Fuck that was good. That solo had me feeling things. Excitement level went up a notch for that album.
I like it. They did say this album was going to be different than the others, so I'm excited for how they will switch it up. Edit: listened to it 5 times already this morning. There isn't a greater band on the planet.
http://pitchfork.com/news/73450-pwr...s-opening-band-amid-sexual-abuse-controversy/ PWR BTTM facing sexual abuse allegations. Kind of shocking to me given how outspoken they have been about inequality and stuff over the years. I love them but this sucks they lost touring members and opening acts from their current tour as a result of these allegations new album out today
Our local scene got in a huge Facebook stir because they said the singer of this one band sleeps with underage girls or targets them. It was super awkward. Hipsters go HARD IN THE PAINT on Facebook comments I had no idea what was true and what wasn't so it made it hard for me to know how to act toward the band
There was also a photo of Ben on a beach with a swastika giving a thumbs up that made the rounds in December. They brushed it off as "being young and naive" or something like that, and said they would donate to Jewish groups and do volunteering at Jewish groups. Even though he was 20 when the picture was taken. And now it looks like they did nothing related to donating/volunteering to Jewish groups. So these guys seem like phonies and assholes at best, and abusers and anti-semites at worst. What a 180 to self-destruction over the last 24-48 hours.
The Atlantic has something up on the PWR BTTM scandal Spoiler When Blink-182’s Mark Hoppus sang of being 23 and still acting like a freshman in his band’s 1999 smash “What’s My Age Again?”, he crystalized perhaps thedefault concern of pop punk. Rage against age—and the underlying feeling that you’re not living according to expectations—has been echoed in sneering songs from Descendents to NOFX to Paramore. In the past few years, the charismatic young pop-punk(-ish) band PWR BTTM have built a promising career by, as the professors at the New York liberal-arts college where they formed might put it, queering that sensibility. “My teenage angst will be with me well into my 30s,” PWR BTTM’s Liv Bruce brattishly deadpans for the recent single “Answer My Text,” in which the trans singer imagines the teenage girlhood she never had. “When you are queer, you’re always 19,” Ben Hopkins says with a sad little yodel on the waltzing “LOL.” In this, the band mined the subtext of pop punk and emo—two genres that, thanks to their frequent performance of male vulnerability, have long drawn the schoolyard taunt of “gay” from certain meathead masses. On both their 2015 debut Ugly Cherries and their new album Pageant, PWR BTTM sang of feeling out-of-step not because of vague nonconformism but because society literally doesn’t recognize them. But recent news raises the specter that PWR BTTM might accord with their influences in more troubling ways, too. One of PWR BTTM’s two glitter-spackled singers, Hopkins, has been accused of sexual assault by a number of internet users—and the fallout, so far, suggests a depressingly familiar story. The day before Pageant’s release, conversation in private web groups spilled onto public social media with vague stories that, per one of the allegers, Hopkins initiated “inappropriate sexual contact with several people despite explicit ‘nos’ and without warning or consent.” Hazel Cills at Jezebel has followed up with allegations from a pseudonymous woman saying that Hopkins had non-consensual sex with her. Hopkins has also been accused of the simple jerkishness of trash-talking other queer bands and using slurs. On Facebook, Hopkins and Bruce posted a statement saying the allegations were a shock, that they’re taking them seriously, and that they don’t represent “who Ben is.” They created an email address for people—including accusers—to write to, and said they were seeking a mediator to help them through the situation. Of note is that third parties—an act set to open on their tour and a touring band member—have indicated that these allegations were in fact not a shock to PWR BTTM and had been levied previously in private. Furthermore, the band’s decision to respond by asking accusers to come forward has been heavily criticized for seeming to shift the onus of responsibility onto possible victims. Though the allegations are unproven, the backlash has thus far been decisive: Some stores have said they won’t sell the band’s records, shows have been cancelled, and the aforementioned touring-band member has quit as well as two of the band’s upcoming support acts. PWR BTTM’s label, Polyvinyl, hasn’t yet commented. The situation is particularly charged given what the band has stood for. If identity politics were part of PWR BTTM’s art, they were also part of their marketing: One video of theirs even came emblazoned with the tag “rated Q for Queer.” This defiance of traditional gender—as well as the band’s association with DIY rock scenes—was wrapped up in a progressive stance on sexual consent. Hopkins, who identifies as queer and prefers to be referred to with gender-neutral plural pronouns, often took time out during concerts to talk about creating a safe space against predation. Scroll through Twitter and Tumblr chatter about the band and you’ll see queer fans heartbroken given that the band had helped them embrace their own identities. The word “betrayal” has come up a lot. But while alleged exploitation by a loudly queer and socially conscientious group may be shocking, it’s less so in the larger context of rock and roll. Though anyone can violate consent, the accusations against Hopkins accord with a long history of impropriety in the music world. It’s a history pop punk and emo were never exempt from, and one that’s been closely tied to gender: The genres’ most successful guys have often had fun defying the macho with homoeroticism, makeup, and skinny jeans—but also written blatantly misogynistic songs and, in some cases, faced allegations of predatory behavior. Following scandal surrounding a member of the band Front Porch Step in 2015, Hayley Williams of Paramore tweeted, “No more excuses for boys just ‘being boys’.” Hopkins has made a career of defying the masculine tropes, but the suggestion now is that one of the most damaging old norms has not been subverted but propagated. Which brings into question PWR BTTM’s entire project. Before the allegations emerged, Pageant was poised to be one of the most exciting releases of the year—varied, clever, terse, and funny. But if ever there was a case of art and artist being inseparable, it might be this one, and not merely because of the band’s social-justice-minded fanbase. The Pageant opener “Silly” reclaims an insult long tossed at Hopkins for acting feminine; appreciating the tune means, as is typical in pop punk and emo, envisioning its narrator as a sensitive soul overcoming disempowerment. On “Big Beautiful Day,” Hopkins takes on the role of queer-community inspirer, calling on fans to help disturb the bullies of the world with their own fabulousness. Such songs become harder to sing along to when there’s unresolved suspicion that their creator might, in fact, have abused power and might, in fact, be a bully. https://www.theatlantic.com/enterta...plication-to-the-queering-of-pop-punk/526332/
it was a single escapade with one (consenting) lass. she was 17 so on him for that but the ensuing shit-storm was blown way out of proportion. scenesters throwing around sexual assault all willy-nilly, telling the girl she should press charges, she was a victim, etc. fucked their shit up for a bit but they good now.
I'm glad you've seen what I'm talking about. When these people get mad at someone they circle the wagons and just destroy them. Some of the same crowd is on there today eviscerating the guy that owns BBQ Bus saying he's a racist. Not sure the root of the conflict or if he's an actual racist so no stance taken here
sometimes it's warranted but heavens to betsy do they go in. as i understand the BBQBus episode, the owner commented on some picture a waitress posted of a receipt where no tip was paid. the patron's name was Jerika and he posted "sounds like the name of someone who wouldn't tip". when called on it he said something to the effect of "leave it to black person to bring up a race battle smdh" that owner? albert einst- dustin lindsey
well that is kind of shitty, with the stuff going around I assumed i twas like an 8 year old boy he molested or something.
My Spotify Daily Mix pretty consistently turns me on to good shit but sometimes they won't take a hint. Every song I skip turns out to be LCD Soundsystem, hmmmmm....
Mine does a pretty good job as well. I agree with you though, with they had some sort of dislike feature.
Really? I am going in 2 weeks at the Sydney Opera House. I am so pumped as I really only started listening to him the past few weeks, but find him such an easy listen. How long did he play? What was amazing about it? The show I am going to is going to be recorded as a special event so there is supposed to be some type of video as well. https://www.timeout.com/sydney/blog...ill-be-unlike-anything-hes-done-before-051117
Just getting around to listening to the new Beach Fossils album. I am three songs in and this hits on all cylinders. So smooth and so good. Great summer beach chill album.
He played for about an hour and everything from heavy electronic to piano. I had not kept up with his stuff like I should have, but like you said it was all so easy to listen to and subconsciously jam out. I saw a lot of sets over the weekend, but it was unexpectedly my favorite Here is the setlist http://www.setlist.fm/setlist/nick-murphy/2017/centennial-olympic-park-atlanta-ga-7be796f8.html
Looks like Local Natives is releasing a new song Friday. They created an IG just for it that has 42 posts today, including a few teasers like this.
What's up Pitchfork's ass regarding the new Grizzly Bear songs? I think they're both amazing and two of the better songs I've heard in a while (and I'm not a huge GB fan), but they've panned both of them on the site. Especially after giving both mediocre LCD Soundsystem songs (don't fight me) and that meh HAIM single Best New Music, I wonder what their deal is with these songs.