Wrestling with the Contradictions of Lil Peep's Posthumous Final Album
On a grimly musical Waypoints, the gang discusses 'Come Over When You're Sober, Pt. 2' and 'Let England Shake', as well as complicated legacies.
It's time for another episode of Waypoints! This one is a bit unusual for a couple reasons, the first being that we ended up having way too much to talk about for one episode and ended up splitting it out into two episodes.
For this week, we have an unusually music-centered episode as the gang welcomes Noisey's Colin Joyce to talk about Lil Peep's posthumous Come Over When You're Sober, Pt. 2. What does it imply about the what Peep's creative direction might have been, and do the circumstances, assumptions, and compromises around its production complicate its place in Peep's body of work? And then Rob has been listening to Let England Shake as the world observes the centennial of the end of World War I. What does PJ Harvey's Great War-themed album tell us about the nature of the war's remembrance, and how it ties into the self-conception of the British Empire and Commonwealth? And if Harvey's album suggests the insularity and self-deception that was shaken by the horrors and scope of the First World War, is she entirely in on the joke?
- Jon Caramanica's NYT piece on Come Over When You're Sober, Pt. 2
- Colin's piece on the album, and his interview with Peep at The Fader
- Stereogum's piece on Juice Wrld, and Juice Wrld's "Lucid Dreams"
- Complex's feature on the making of this album
- Videos for "Benz Truck", "White Wine", and "Beamer Boy"
- The Guardian review of Let England Shake, Pitchfork's
- Sassoon's "The General" as an example of late and post-war cynicism
- Edward Thomas's "Roads" as an example of more pre-war inflected wartime poetry
- Harvey serenading Gordon Brown with "Let England Shake"
- Why DC gave Harvey's more recent Hope Six Demolition Project an icy reception
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