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i'd argue a lot of accusations of triteness/cliche when it comes to OKC are only really applicable in hindsight, if only because it's become that way through setting a benchmark that others have followed, or through being overplayed.
― 9 days from now a.k.a next weekend. (dog latin), Wednesday, 19 August 2015 10:33 (eight years ago) link
even 'fitter happier' sounded cool at the time, although it's easy to laugh at it now. the text-to-speech voice, 'a pig in a cage on antibiotics', the fact it's obviously a filler but also an 'eye-of-the-duck' thing that epitomises the album, 'shot of baby smiling in back-seat', the overall dystopian tone of the thing - all these are kind of laughable now in today's context, but they felt pretty new and arresting at the time.
― 9 days from now a.k.a next weekend. (dog latin), Wednesday, 19 August 2015 10:36 (eight years ago) link
My only exposure to Missy at this point was via her singles and she didn't SOUND futuristic until "Beep Me 911", which wasn't released until 1998
― I Am Curious (Dolezal) (DJP), Wednesday, 19 August 2015 13:09 (eight years ago) link
I could not get past "Beep beep/Who got the keys to my jeep?/VROOOOOOOOM"
I did think the video was hilarious, though
― I Am Curious (Dolezal) (DJP), Wednesday, 19 August 2015 13:27 (eight years ago) link
I'm just saying that I owned both albums, liked OKC, but was blown away by "The Rain" in contact (Homogenic too).― The burrito of ennui (Alfred, Lord Sotosyn), Wednesday, August 19, 2015 2:20 PM (7 minutes ago) Bookmark Flag Post Permalink
There's a commonly-held wisdom (especially in the UK musicsphere) that says 1997 was the year pop started going space-age. So yeah, you had all these albums, OKC, Ladies & Gentlemen, Homogenic, maybe even Urban Hymns (but I never cared to listen to the Verve), going for a grander, artier, more 'futuristic' vision maybe as a counter-attack to Oasis' 'real rock for real people'.
There's an inkling of truth in this, especially if you viewed music through a UK rock/pop lens (like I did at the time, admittedly), and you could easily lump in things from other plains - in the US, Mellon Collie from a few years before, the Sophtware Slump a few years later; and of course stuff in other genres like rap and r'n'b, although I find it hard to make connections between the timelines and scenes as they seemed quite separated.
Late 90s feels like a transitional period for me, music-wise, and '97 was the start of that transition from listening primarily to Britpop and grunge and starting to embrace other styles - hip hop, electronic music, 60s and 70s music etc. Looking back I think Radiohead represented a big part of this - moving away from the acoustic and hard rock of The Bends and into a more 3-dimensional sound. The difference might feel extremely subtle now, but as a UK teen it was a big deal to me; OKC seemed to be looking forward in a way that Blur and Oasis hadn't managed to in any way up until then, sharing more in common with Portishead than those bands or even old Radiohead.
― Stop counting smart one. (dog latin), Wednesday, 19 August 2015 14:17 (eight years ago) link
I can agree with you on the crucialness of OKC while still thinking that it still is p moldy. Kid A does,a much better job of portentously/symbolically granting pop a vision of its future while at the same tkme being a compelling listen
― darkwing dynasty (Drugs A. Money), Friday, 21 August 2015 22:03 (eight years ago) link