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Although not the best, 'Government Hooker' was the song that restored my faith in the album after hating Born This Way. PAVEL AND HAIR THO. AWFUL. I want to see what people voted!

http://25.media.tumblr.com/tumblr_lqtpyvZGu01qbql5bo1_400.jpg 1. Atonement has ehh taste as 'What's My Name?' is still one of her best. 2. Chris was right about 'Stay' as the rest of the album ranges from mediocre to poor. 3. 'Umbrella' is awful, not 'Unfaithful' awful but still overrated.

No. http://25.media.tumblr.com/tumblr_m6eks34Laj1qbu4f8o1_500.gif

Only two weeks at 56? HOW?

It's nice to see a countdown on here that doesn't span months.

Says it all. Loved the two new episodes. When Parks is really on... :wub:

THE MUMBLING.

This. I've had it on all afternoon actually. It's so understated and sun-drenched - if only the weather felt like behaving.

Absolutely love 'Get Lucky'! :wub: So infectious. I'm not a big fan of them either.

Well I just went to buy Get Lucky and it isn't there. Sigh.

Yes yes yes! My eyes will say Holocaust, my mouth will say Carnivale.

Even if that isn't the final version - still wonderful. :wub:

There is only one Love Like a Sunset. Bankrupt! isn't it.

Or maybe because they're OLD. And she hasn't bettered them.

I don't know why but, in the context of the album, the standouts really aren't that special. It all just merges into one.

This album isn't half drab. What were they thinking?

He probably just wanted to show off his new teeth.

They’ll bounce back. Show Your Bones was a bit of a misstep for me (although not necessarily for everyone) and then out popped Is Is and It’'s Blitz! It's Blitz! was always the perfect album Metric never released.

This is oddly spot on for Pitchfork. I agree with everything – it does feels like they attempted to go back to their routes but got lost along the way. ‘Sacrilege’ is by far the best song on the album, whereas majority of the rest sounds like a re-creation of ground already covered. Yeah Yeah Yeahs Mosquito Interscope; 2013 6.0 There's a refrain you often hear about bands running on the sort of quick-burning demon energy that the Yeah Yeah Yeahs were channeling in the early part of the last decade: You had to be there. But on rare occasions, a band will make a record so thick with atmosphere that "being there" is just a matter of pushing play. Yeah Yeah Yeahs' 2003 debut, Fever to Tell, is one of those achievements: Even if you didn't make it to one of the infamous early New York shows and have the pleasure of getting your glasses sprinkled with the beery spit of a grinning, lipstick-smeared frontwoman in tattered Christian Joy, the record itself did a commendable job of bottling that experience. It was a debut that aced music's classic chemistry lesson: Combine a few unlikely, molten compounds, take a step back, and wait for the bang. When they put out their second album, it seemed, at least at the time, like the Yeah Yeah Yeahs were growing up too fast. Show Your Bones favored songcraft over shambolic energy, and sounded disappointingly tame on the heels of Fever's maniacal night-sweats. (It was also the beginning of a creative schism in the band; as Zinner told Spin in 2006, "I didn't want to write and record in a studio... I just wanted to do demos on a four-track in somebody's apartment." He lost that argument.) But in the long run, Bones has aged remarkably well, and now feels like a pivotal moment in the band's arc, setting the tone for a career of evolution, reinvention, and constant forward motion; 2009’s excellent It's Blitz! was a record of glammy, neo-Blondie avant-pop, staying true to their quirks but successfully expanding their range. Mosquito, the group's fourth record, is its first step backwards. It feels uncharacteristic, calling to mind a lot of words that have never fit this band before: confused, dreary, uninspired, and-- on one particularly baffling song about aliens-- uncool. Karen may have bleached her hair electric blonde and donned some inspired, tinselly Elvis suits, but for once the band hasn't applied a similarly gleeful spirit of reinvention to its sound. Instead, Mosquito aims for more of a back-to-basics approach. "We have this shitty little downtown studio [in New York] that belongs to us," Karen said in a recent Pitchfork interview, "so we wrote songs and recorded demos whenever we felt inspired; it was kind of like Fever to Tell and our first demo." But the often limp Mosquito lacks their earlier material's spark. Mosquito is not without highlights, but it requires some patience to unearth them, because when this record is bad, it's loudly, brazenly bad. "Area 52" is probably the lowest point in the band's catalog; its lyrics have a Spinal Tap syntax ("Message came from outer space/ Future of the human race") that makes it play like self-parody. The song also features an uncharacteristically wooden vocal from Karen, who's eventually drowned out by a wash of spacey blips and bleeps. At least she sounds like she's having a little more fun with "Mosquito", but even her trademark charisma can't inject a sting into the weak chorus ("They'll suck your blood! They'll suck your blood!" she tries, over and over). It's surprising how off the mark these songs sound coming from a band who used to be able to do goofy well. The upbeat songs on Fever careened with a wobbly, inebriated energy, but whenever Mosquito aims for "zany" or "light," it teeters around like an exhibitionist "drunk" on non-alcoholic beer. "Mosquito" should have been a B-side at best, but the fact that it's the title track-- and the inspiration for the garish, David-Cronenberg-vomiting-on-a-Garbage-Pail-Kids-card cover art-- makes it that much harder to ignore. That a thin, overly literal song like "Mosquito" is at the center of the artistic statement they're trying to make only makes this album more of a head-scratcher. Whatever's holding this collection of songs together never quite congeals-- a problem exemplified by the James Murphy-produced "Buried Alive", a moody, nocturnal groove interrupted halfway through by a verse from Dr. Octagon (the high-concept, time-traveling alien persona of avant-rap legend Kool Keith) that lands in the song with a heavy thud. On repeated listens, though, a few diamonds emerge in the rough. Built around Zinner's expectant single-note riff, the gradual crescendo of "Despair" plays like a more muted take on Show Your Bones' best single, "Cheated Hearts", though its refrain is even more poignant. "Oh despair, you've always been there," Karen sings with the perfect combination of exhaustion and defiance, "You were there through my wasted years... there through my wasted life." The closing track, "Wedding Song" (which Karen sang to her husband Barney Clay at their 2011 wedding reception) sounds a bit like a happy-ending sequel to "Maps", brooding with a similar emotional intensity ("In flames I sleep soundly/ With angels around me"). But the most promising-- and perhaps only truly new-- avenue the band wanders down on Mosquito is "Subway", a subtle, evocative sound collage driven by Karen's falsetto and the percussive churn of a train on the track. It's heavy on conceptual follow-through and finely crafted atmosphere on a record where both are in short supply. On their best and most smartly sequenced albums, the Yeah Yeah Yeahs create a sense that their bratty swagger and disarming vulnerability were emanating from the same power source. In the wake of Fever's amped-up "Date With the Night" or "Tick", "Maps" feels like an inevitable come-down, but the songs on Mosquito don't feed off each other in the same way. The album's most keyed-up moment comes early, in the solid lead-off single "Sacrilege", but when a gospel choir storms the song's closing coda it feels unprompted-- this is a band that used to be able to kindle the same kind of fire from the minimal components of its own chemistry. Still, even if Mosquito suggests otherwise, the Yeah Yeah Yeahs' much-lauded SXSW showing and recent homecoming performances in New York prove that magic can still happen for them on stage. Maybe now you just have to be there.

Other than me, you and Randomfurlong... Probably not. Their loss.

OH GOD. x2

JMJwcOiBoZE :wub:

Agree with all of this really. The first few episodes were some of the best TV I've seen, but it all went a bit haywire after the interrogation episode. They just need to lock Howard Gordon away so he can relive 24 on his own.

I've been more skeptical than excited about their return but that clip sounds like a contender for song of the summer. I've had it in my head all day. So catchy.

It really does sound fantastic, especially the infectious little riff. Apparently it premieres on Monday.