PSB3: Pet Shop Boys rate, 2006-2019. #33 Practically 'Push it' by Salt'n'Pepa | Page 31 | The Popjustice Forum

PSB3: Pet Shop Boys rate, 2006-2019. #33 Practically 'Push it' by Salt'n'Pepa

Discussion in 'Charts, rates etc' started by Ray, Mar 18, 2019.

?

What is your favourite section of this rate?

  1. Fundamental

    13 vote(s)
    25.5%
  2. Yes

    17 vote(s)
    33.3%
  3. Elysium

    3 vote(s)
    5.9%
  4. Electric

    11 vote(s)
    21.6%
  5. Super

    3 vote(s)
    5.9%
  6. Agenda

    3 vote(s)
    5.9%
  7. Others

    1 vote(s)
    2.0%
  8. Christmas

    0 vote(s)
    0.0%
  1. I actually think that's one of the better tracks on Mediocre.
     
  2. Ray

    Ray

    Yes.

    No.
     
    Riiiiiiiii likes this.
  3. Is MEDIOCRE the remix-album of
    [​IMG]
    ?
     
  4. Ray

    Ray

    Do you know, I'm actually a bit afraid of the last instalment of the 'Stuart Price trilogy'...
     
  5. My expectations are subpar.
     
  6. Ray

    Ray

    I-N-D-I-F-F-E-R-E-N-yes yes.
     
    TrendyMüller likes this.
  7. I usually alternate between Mediocre and Superfluous, but Subpar is definitely another fitting name to add besides @Ray's LIDL.

    I'm mainly worried because one of the reasons they gave for releasing the Agenda songs seperately was that they don't fit the rest of the album. Somehow I'm more inclined to think that it'll be much worse (i.e. like half of Superfluous) instead of better or equally good. Of course, I'd like to be proven wrong this autumn.
     
    Last edited: Jun 19, 2019
    westendgirl, Ray and TrendyMüller like this.
  8. Subpar came to me yesterday after a hellish work day. It makes even more sense if you speak German, cause we tend to pronounce -er endings as -ah. So, it´s SUPAH!

    Oh, and I´m not afraid that the next album is going to be worse than Agenda. THIS is a tough act to follow.
     
    slurmjunkie and Ray like this.
  9. Agenda is the worst PSB release of all times, so I'll take any Subpar Stuart Price generic 5/10 intruPazzomental with joy.

    Anyway the general quality of the b-sides and bonus / odd tracks* of this last period makes me quite optimisti(que-moi).

    * I know a lot here think that these b-sides are faceless, not very good or badly produced, but I feel that for some reason (subpar albums like Elyseum and Super, some really atrocious songs amongst them, the end of the physical singles, the heterogeneity of these songs, coming from dance ballets or football stadiums...), they have not been considered with the care they deserve.
     
    Bleu Noir likes this.
  10. Ray

    Ray

    Get out of my thread!!! Mods!!! Ban ha!!!

    I don't think Neil and Chris themselves cared a lot, which is the most painful part. To me – yes, I am the highest scorer for Agenda Subpar was a bit of autopilot mixed with boredom. Agenda is the sound of Neil and Chris having something to say. The Pet Shop Boys I've been missing for a while, as much as I enjoyed Electric. Anyway, you've seen my discussion with @Future Lover on the topic, and I won't spare you even more comments when the time comes... way, way too early.

    Anywho, #91 is calling...
     
  11. #91´s calling round the bend, will bad taste meet its end?!....

    Oh, speaking of taste: @Farnaby is of course correct about the Agenda.
     
  12. Ray

    Ray

    91.

















    beneath them













    very energetic and aggressive













    [​IMG]

    'Shouting in the evening'
    Electric album track
    Average: 5,19167
    Highest score: 2x10 (@blissteria, @SmashHitter)
    Lowest score: 3x0 (@WhipperSnapper, @VivaForever, @Sally_Harper)

    Neil The most experimental track on the album. I always think that on the vinyl version "Shouting in the evening” should be at the start of side two. It was written during the Elysium sessions.
    Ray I... wouldn't have guessed.
    Chris Neil was about to go for a jog, and before he went he shouted into a microphone, “Yes yes yes yes, no no no no..." and so on.
    Neil That was based on an artwork by Bruce Nauman, Clown Torture, where a clown shouts, 'No no no no no...!' And when I came back from the jog Chris had written some music. I'd had an idea in my phone for a song called 'Shouting in the evening' which is a phrase I'd heard attributed to Michael Gambon, the British actor. When someone said to him, 'What do you do for a living?' he said, 'shouting in the evening'. Which I thought was quite funny. I think I read it in a review of a play. And then the phrase 'shouting in the evening' made me think of the song 'Dancing On The Ceiling' by Lionel Richie, so I made it 'oh what a feeling / shouting in the evening'. Though I should point out that our melody is considerably different. Then Stuart made it noisier.
    Chris It's quite ravey, isn't it?
    Neil It turns into The Prodigy or something like that.
    Chris You went up north and left me and Stuart behind to work in the studio.
    Neil It was for my sister's sixtieth birthday – I had to go up a couple of days beforehand.
    Chris So I spend a couple of days with Stuart. But I wasn't doing much – I was just drinking tea, watching television, having Kit-Kats.
    Ray The usual, then.
    Neil You were probably inspiring him.
    Chris I was.

    Ray The first part of their commentary sounds like there's a masterpiece about to be heard. The second makes it clear that Chris should not be left in the studio without Neil, but also that at the end they didn't exactly care much for the track. They literally admit that Neil was away, Chris was drinking tea, and Stuart Price did the rest. Which makes me think of latter day Depeche Mode, where Dave does the singing, Martin does the (subpar) writing, The Third One apparently does nothing but announce 'I like this' or 'I don't like this', and whichever horrid producer they picked this time does everything else. At least with DM we can beg them to bring back Alan Wilder, which is never going to happen, but a girl can dream. What am I supposed to say in this case? 'Neil, never leave the studio again, but if you absolutely must please at least listen to the effects of Chris' inspired Stuart's solo tracks before they go on the album'? It's the first track from Electric to depart and with my score of 2 I can't exactly say I'm upset by that. I know what it sounds like – it's not 'Party song' bad – but I skip it every time.

    @nostalgiakills (4): The weak link on an otherwise strong album, but at least it doesn’t go on for too long. File alongside “Music For Boys” and “Euroboy”, i.e. amusing enough when they pop up but nothing you’d actively seek out.
    @WhipperSnapper (0): All of their sounds about shouting are horrible. Stop shouting!
    @VivaForever (0):
    [​IMG]
    @DominoDancing (6.5): Don't enjoy the production here - lots of the synths sounds kinda cheap to me. Survives mainly by being very energetic and aggressive.
    @OspreyQueen (7): Is this an overly abrasive mess? Yes. Do I still bop my ass off every time I hear it? Yes.
    @nanafan(6): Worst track on the album but they would have killed for something like this on Elysium!
    @TrendyMüller (1): Looking to those Daft Punk hacks for „inspiration“ is beneath them. Next!
    @JakeMagnus (0.5): This is just all sorts of terrible. I refuse to accept that Electric was a real album instead of another Relentless. Hopefully they got this out of their system and can focus on something else in the future.
    @Jóga (8.5): This goes hard. And like Inside a Dream I wish listening to it was as exciting as dancing to it
    @westendgirl (1): The reason I did not give it a ZERO are the first 20 seconds…
    @Midnight City (5): A bit of a mess, but not really a disaster.
    @Sally_Harper (0): Nooooo. I find this unlistenable.
    @Bleu Noir (9): even this Super almost-instrumental is a perfect 9.



    I can't wait for tomorrow's departure. GO AWAY, MONSTROSITY. In comparison, 'Shouting' is a gorgeous, understated, detailed, wonderful, melodic, beautiful, melancholic, elaborate masterpiece.

    (You can probably guess what #90 is going to be.)
     
  13. I LOVE Shouting In The Evening, HTF can it be out so early compared to the dross that is in?!
     
    Riiiiiiiii, Jóga and blissteria like this.
  14. I deserve a zero for the typo in my commentary. Of course I meant "songs" not "sounds" but it hardly matters. It's time this was gone, although once again there's hardly a consensus. Fascinating.
     
    blissteria, JakeMagnus and Ray like this.
  15. Ray

    Ray

    At the end I'm going to post a list of songs based on how VERY much people disagreed on them. Until about top 10 – actually top 9 or even less – the scores are all over the place. How do I not reveal too much... there is at least one song coming soonish with an 11 and two zeroes.
     
  16. Dddd, I thought we were losing Ego Music because of the "me me me me yes yes yes yes" part. Disappointed that the thread title isn't "You know you make me wanna..."
     
    WhipperSnapper and Ray like this.
  17. It's far from my favourite song (and actually it's the vocal hook I object to more than most of the music) but I'm amazed how divisive this has proved to be. This continues to be an interesting rate.
     
  18. Whoa, shocked that Shouting in the Evening is gone so early. Disgraceful considering some of the Elysium and Super-era material still here. This song, along with Axis, Fluorescent, Vocal, etc. make Electric the confident return to techno-form that it is. I mean really, being scared off by a little aggro noise is pretty narrow-minded for supposed pop sophisticates.
     
  19. I knew you would reply with something along these lines. And I have just decided to vote for Agenda as my favourite section of the rate instead of Yes even though it is just an EP.

    We're exactly on the same page here. It actually looks like I may be the highest scorer for Agenda:

    Which their own commentary on #91 makes clear.

    @Ray, your clue made me think 'Ego music' was already out, so I was pleasantly surprised that it's 'Shouting in the evening'.

    Yes, that commentary is very revealing. I also agree with your Depeche Mode comparison.

    I enjoy most of the other tracks on Electric and wouldn't compare it to Relentless quality-wise. This is the only bad track and a precursor of irritating and throwaway stuff like 'Pazzo!' and 'Happiness' where Stuart Price was let loose to do what he wants. I'm afraid that Subpar shows that it wasn't really about getting it out of their system. Instead they continued with Price because a) the album reached #3 in the UK and b) he's their manager's partner. And unfortunately a) inexplicably also applies to Subpar and b) hasn't changed either, which is why they're doing a third album with him. I wouldn't be surprised if their supposed trilogy turned out to be a tetralogy eventually.

    I also gave this a 1 for the melodic parts. The other parts grate on first listen, and it indeed becomes unlistenable at 2:37. The lyrics are very moronic when you are not aware of the Gambon quote that inspired the title.
     
  20. Ray

    Ray

    That wasn't entirely accidental.

    I slightly updated one score there after I posted my averages – the only one I changed, later I decided I underscored more songs, but didn't permit myself to change things as votes started accumulating. But yes, 9,75 is still higher than my pesky 9,5.

    I didn't quote your 'Happiness' bit, because that actually might be my favourite Subpar track, but Electric is quite splendid apart from 'Shouting in the evening'. The only track from Relentless I actually ever play on purpose remains 'One thing leads to another'.

    It's actually quite sad that Stuart Price was at one point the best pop music producer – controversially, I think his peak when it came to producing records might have been Seal's System – then delivered the immensely fabulous Electric Tour... following that with Subpar. (I'm officially stealing that.) I don't know what to think about the trilogy/tetralogy, really. They mentioned that the album will be more downtempo. If it's like 'The dictator decides', take my money already. If it's 'Sad robot world' x12... I'll keep my money, cheers, thanks a lot.

    It's neither the first nor the last song in the rate where the commentary goes along the lines of 'We were inspired by Halldór Laxness and Sylvia Plath when we were working very hard remixing "Left to my own devices", and by working very hard we mean that Neil was out to attend a Russian poetry reading and Chris was inspiring while eating Kit-Kats'.
     
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