Hotspot reviews

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jasonjohn
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Re: Hotspot reviews

#331 Post by jasonjohn »

Future Lover wrote: Wed 29 Jan 2020, 12:34 pm What a shitty review that is.
It's OK. Beat magazine can criticise the Boy's style all they like. But the magazine has chosen a completely nauseating font for their magazine text. Just short of a wing ding.

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psbfannyc
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Re: Hotspot reviews

#332 Post by psbfannyc »


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rashomon
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Hotspot reviews

#333 Post by rashomon »

psbfannyc wrote:I wonder if this guy is one of us :?: :?: :?:

https://lifeassistanceagency.com/2020/01/24/hot-spot/
Ya it’s Tom! A frequent poster around these parts

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you could say conventional ... and I could claim intentional

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karnsculpture
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Re: Hotspot reviews

#334 Post by karnsculpture »

https://jbpress.ismedia.jp/articles/-/59130

Japanese article including some new (brief) interview quotes. I’m a friend of the writer who I believe may have written some of the liner notes for the Japanese release.

Edit - the writer Eiichi Yoshimura told me that he wrote the Japanese liner notes for Electric not Hotspot.
Last edited by karnsculpture on Thu 30 Jan 2020, 10:49 am, edited 1 time in total.

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leesmapman
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Re: Hotspot reviews

#335 Post by leesmapman »

https://pitchfork.com/reviews/albums/pe ... s-hotspot/

6.1/10

On their 14th studio album, the best-selling duo in UK pop dampen the euphoria; the result is a tuneful, wan album that lands somewhere in the middle of their rich catalogue.

For more than 35 years, Pet Shop Boys singer-keyboardist Neil Tennant has returned to a question of world-historic import: Do I stay in or do I go out? “Turn on the news, drink some tea/Maybe if you’re with me we’ll do some shopping” goes one couplet in 1988’s “Left to My Own Devices.” Observing a teen on “I Don’t Wanna,” a song from Pet Shop Boys’ 14th studio album Hotspot, Tennant sings with his usual starchy plaintiveness, “Feels so shy/He’d rather sit alone and cry/But no one understands this guy.”

Pet Shop Boys do. No other act has so richly documented the cautious development of lonely queer boys whose ambitions—sexual and economic—are as huge as the beats they heard at the club last Saturday night. On the dancefloor, these boys rehearse how to deal with other boys checking them out or abandoning them for hunkier alternatives. Giorgio Moroder’s sequencer lines are lodestars for Tennant and keyboardist Chris Lowe, like Beatles guitar licks were for other acts. On Hotspot, the best-selling duo in UK pop dampen the euphoria; the result is a tuneful, wan album: a mid-tier effort.

Hotspot observes Pet Shop Boys’ pattern of following up a pair of bangers (2015’s Super and 2013’s Electric) with a bagful of autumn leaves. The mid-tempo tunes keep their top buttons buttoned, muted and wary like the sixtysomethings Tennant and Lowe have become. No dictate requires late middle-age to be as fraught as adolescence, but Hotspot puts Lowe’s orchestral synth chords and house keyboard patterns in the service of rote tales of resignation, whose resonance may be dependent on the affection of their listening base. Dismiss “You Are the One” as a sappy little thing if you like; listen generously and you may appreciate the lyric’s affirmations and the mournful way in which Tennant caresses the chorus hook. The object of desire may be “the one,” but Neil’s none too pleased about it. Three decades after he gleefully shacked up with a bloke who may not love him on the catty “Why Don’t We Live Together,” now he weighs the costs.

Hotspot stumbles when Tennant and Lowe convince themselves they need a good time. The interplay between strings, bass synth, and call-and-response female vocal on “Monkey Business” sounds fabulous until Tennant sings, “We’re gonna have a pah-rty!” like he’s a human resources vice president at the Hyatt bar; he’s often played these guys, but now the joke’s not funny. And there’s no reason for “Dreamland,” a duet with Olly Alexander, who as the frontman of synth-pop band Years & Years makes a natural heir to Tennant. So many of Alexander’s songs detail the kind of danger implicit in Pet Shop Boys’ 1993 “Young Offender”: older man getting mixed up with a far younger male lover. Why then is this song such an inoffensive racket?

Perhaps the inoffensiveness is the point. In a post-Obergefell environment where gay youth can imagine a life untrammeled by disease but experience anxiety about kissing in public, tracks like “Wedding in Berlin” (“We’re getting married because we love each other/We’re getting married today”) signify as goal and fantasy. Tennant-Lowe’s incorporation of Mendelssohn’s ubiquitous “Wedding March” registers as a shrewd gesture of queering an original text—not an unexpected move at this point in Pet Shop Boys’ career, but nonetheless a discomfiting one, as inoffensiveness can be too. “Only the Dark,” a shimmering ballad in which Tennant pledges fidelity so long as the lights are out, is better. It’s not the first time he and Lowe have preferred the erotic possibilities of the unseen—a longstanding fascination which speaks to how profoundly Pet Shop Boys revel in paradox as a first principle. So much uncertainty requires consistency.

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Re: Hotspot reviews

#336 Post by Future Lover »

Ugh, I hate Pitchfork.

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Re: Hotspot reviews

#337 Post by D.J. »

Future Lover wrote: Thu 30 Jan 2020, 8:24 am Ugh, I hate Pitchfork.
Yeah! Excellent writers, but as a rule they write shitty, irritating PSB album reviews. :wall:

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rashomon
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Re: Hotspot reviews

#338 Post by rashomon »

"Sounds fabulous until Tennant sings, “We’re gonna have a pah-rty!” like he’s a human resources vice president at the Hyatt bar; "

This absolutely cracked me up this morning! :lol:
you could say conventional ... and I could claim intentional

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Re: Hotspot reviews

#339 Post by Future Lover »

https://www.slantmagazine.com/music/rev ... -of-dread/

Slightly better review, with an error or two, but much closer to the consensus.

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jasonjohn
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Re: Hotspot reviews

#340 Post by jasonjohn »

That Pitchfork reads more like a disguised homophobic attack.

Like, "you were closeted once and I didn't like you, and now I choose to criticise you for being closeted then and critisise you for being out now"

Anyway. Most the album isn't sexually specific.

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jasonjohn
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Re: Hotspot reviews

#341 Post by jasonjohn »

Also I don't buy the "young kids today are free to be out, so stop being a gay band" vibe. Utter ignorance.

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Re: Hotspot reviews

#342 Post by Unzyme »

As a fan since 1993, I wrote a blog post about my thoughts on Hotspot.
https://unzyme.com/reviews/pet-shop-boys-hotspot-review

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GalataPSB
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Re: Hotspot reviews

#343 Post by GalataPSB »

Berlin In Stereo

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Future Lover
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Re: Hotspot reviews

#344 Post by Future Lover »

Well, at least there's no mention of "West End girls" anywhere...

D.J.
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Re: Hotspot reviews

#345 Post by D.J. »

jasonjohn wrote: Thu 30 Jan 2020, 11:43 am That Pitchfork reads more like a disguised homophobic attack.

Like, "you were closeted once and I didn't like you, and now I choose to criticise you for being closeted then and critisise you for being out now"

Anyway. Most the album isn't sexually specific.
Yep! Just read their Behaviour review... it’s even worse regarding that point. Half of the review is about them being gay, and Neil in the lyrics is almost always non direct and often sings from another person’s perspective, male or female. 🤦‍♂️

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