![]() ![]() ![]() He clearly knows his way around a studio and how to craft a competent mix, but sadly, it’s like putting a dog turd on fine China with winter black truffles. From a production standpoint, nothing sounds like it was thrown together for a quick cash-in, so kudos to this Jon Gibson guy for that. Everything from alternate instrumentation to completely different structures in the compositions. There is plenty of bells and whistles added to this collection, making it a justifiable release. But it’s obvious who this music is marketed to: People who are too young to appreciate legitimate art regardless if they don’t understand it, or people who refuse to become functioning adults and have accepted the mediocrity of eating Taco Bell for dinner for the rest of their lives.īeing that I’m not sure what a ‘mash-up’ is exactly, and to fully appreciate what ‘remixes’ bring to the table, I listened to each of these songs in their original forms found on previous releases from the band. I full-on respect everyone’s personal taste. Clapton influenced millions of guitarists and Disney 90s sports movies are about as thought-provoking as Cheetos are nutritional. ![]() For instance, I think Eric Clapton is an overrated guitarist and The Big Green is a good Disney movie, so I’m well versed in accountability. We all enjoy things others may think are lame or stupid. Don’t get me wrong, art is subjective and what one considers ‘good music’ has no bearing on how they should be judged as human beings. The adults who are up to their ears in student loans yet spend every single dime of their paycheck on beer and tattoos of My Little Pony characters. The kids who have never heard a Beatles record. With that commercial boost, they reached an even bigger audience of eighth-graders and twenty-somethings who insist cosplay isn’t just ‘dressing up’ as their favorite comic/videogame/anime character but an extension of one’s soul. They broke into the mainstream sometime last year with their exclusive brand of alternative rock meets hip-hop meets poetry and were eventually signed to the Fueled By Ramen record label. If you are not familiar with Twenty One Pilots, the best way I can describe their sound is to imagine if you combine Nate Ruess’s gosh-shucks swagger with the superficial dance-rock antics of recent Fall Out Boy along with the occasional nasally rap of Eminem as an emo seventh-grader who thinks the world is against him because Degrassi was canceled. The most important of all: Why am I listening to this? So am I listening to an album by Twenty One Pilots or Jon Gibson? Do remix albums count as real albums? Does any critique I give on this album go to Gibson or to Twenty One Pilots? Such questions continue to burn deep within my psyche, yet I find no legitimate answers, yielding to one more question. ![]() A collection of remixes, mash-ups, live tracks, and previously kinda-sorta-unreleased material, exclusively on a bandcamp page credited to a Jon Gibson. I could have sworn that Twenty One Pilots already released a new album this year? Am I wrong? I’m pretty sure they did because I remember some kids on twitter getting really excited when it ‘dropped’ a couple days early (something truly magical in the internet age where albums leak weeks ahead of release, I’m guessing?) Nevertheless, they’re back with Mediocre At Best. ![]()
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