I guess this just topped the UK album charts. I like the first song in this way more than I thought I would, the others not at all. Will listen to more before voting but I wouldn't say I'm optimistic.

Less than the sum of its parts. Shrug.

Definition of meh..

I'm a fan to various degrees of each of these women. After Bridgers transitioned from reclusive genius who made a depressive masterpiece, to the most adept social media champion of her indie singer songwriter generation I had to temper my instinctive knee jerk reaction to marketing.

Optimistically they've found a way to get all three distinctive voices (literally and metaphorically) heard on a bigger stage. I can't imagine Lucy Daucus or Julien Baker were making a very comfortable living. They've all been working hard and it looks like their ship's come in.

Artistically I find it ranges from some sharp work to some blase middle of the road stuff. It's cool to see something so aggressively queer thrust into popular culture.

NC, but not the album of a generation the music press wants it to be.

losthighway wrote: Sat Apr 08, 2023 8:56 am NC, but not the album of a generation the music press wants it to be.

This is probably true, but I also can't blame people for going a little overboard with a new rock band* record defying expectations, and it certainly seems more aspirational for young people than something like Taylor Swift.

*ok I take that back slightly after seeing live footage with like 7 other people onstage

I have no idea who the people involved are. I really like the song "$20", but the rest seemed a little by-the-numbers.

losthighway wrote: Sat Apr 08, 2023 8:56 amIt's cool to see something so aggressively queer thrust into popular culture.

After Bridgers transitioned from reclusive genius who made a depressive masterpiece, to the most adept social media champion of her indie singer songwriter generation

Oh is that how come I'm suddenly hearing about them in the mainstream media? What with this and Wet Leg winning Grammy awards, is pop culture taking a moment to dip the bucket back into the indie pool again?

Mainstream pop music has gone full blown tin pan alley in recent decades, so any music that is grown organically is welcome. An actual group, makes a change from solo artist working in the studio with with fifty writers.

No.

losthighway wrote: Sat Apr 08, 2023 8:56 am I'm a fan to various degrees of each of these women. After Bridgers transitioned from reclusive genius who made a depressive masterpiece, to the most adept social media champion of her indie singer songwriter generation I had to temper my instinctive knee jerk reaction to marketing.

Optimistically they've found a way to get all three distinctive voices (literally and metaphorically) heard on a bigger stage. I can't imagine Lucy Daucus or Julien Baker were making a very comfortable living. They've all been working hard and it looks like their ship's come in.

Artistically I find it ranges from some sharp work to some blase middle of the road stuff. It's cool to see something so aggressively queer thrust into popular culture.

NC, but not the album of a generation the music press wants it to be.

Basically sums it up. Very decent record, but would probably take any Phoebe or Julien solo effort in lieu. Generally just happy that these people are publicly out there championing how you can form real friendships and artistic bonds in the context of a rock band in 2023. That's an extremely dope thing.

A few stray thoughts:
> Won't be convinced that "$20" isn't a lost Pedro the Lion track.
> It feels like Lucy and Julien took a few songwriting cues from PB on this album. I think she's a great writer (and an even better collaborator), but her "I had this unbelievably specific experience at this particular place/and it made me feel a certain way" schtick seems to be especially prevalent here.
> Where is the line drawn between confidently self-referential and just, uh, recycling ideas? Like, the turnaround at the end of the "Emily I'm Sorry" chorus vs. the same thing in "Kyoto", the obvious Elliott Smith-isms in "Savior Complex" that show up in a few places here too, etc. I don't want to make the worst assumptions about an artist, of course, especially one whose creative output has been so prolific and so genuinely good. Also I have probably spent more time listening to Phoebe Bridgers than most folks on here. So.

Also warrants mention that I am a straight dude pushing 40. This record is very much not "for me". That's okay! Still very much NC for the reasons above!