We always talk about it. Here's the thread.
Yeah Yeah Yeahs got a decent review for Its Blitz! 8.1 and a good writeup.
Serge Gainsbourg's Histoire De Melody Nelson is the newest 10.0
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We always talk about it. Here's the thread.
Yeah Yeah Yeahs got a decent review for Its Blitz! 8.1 and a good writeup.
Serge Gainsbourg's Histoire De Melody Nelson is the newest 10.0
That about 2.1 more than I'd give It's Blitz!.
They haven't reviewed The Antlers - Hospice, yet. They're sleepin'. Straight sleepin'.
Yep. YYY's and Fever Ray get a Best New Music nod but Royksopp get fucking gypped by .2 points. Total bullshit.
The new Royksopp is hardly groundbreaking (whereas the Yeah Yeah Yeah's is egg breaking).
Fever Ray also got an 8.1 but is labeled as Best New Music while Yeah Yeah Yeahs isn't, what gives?
Also, is Histoire de Melody Nelson a reissue or did they just review it for fuck's sake to try and show they're "cool"?
Also, this thread really isn't necessary. We'll just talk about how much Pitchfork fucking sucks.
Histoire de Melody Nelson came out in the 70s, so it's probably a reissue.
Read the last paragraph of the Serge Gainsbourg review and you'll answer your own question.
I don't think points get acts in there. It seems like its a distinction the editors or staff generally agree upon.Quote:
Originally Posted by PassiveTheory
I bet The Antlers - Hospice would either get an 8.9 or a 3.4 from them. It's borderline the best album in ages or complete middle of the road tripe. I'm a believer in the former, though.
i approve this thread.
worst-quality recent review goes to the abe vigoda - reviver ep review by jessica suarez; lolz are bolded:
Quote:
The problem with having a sound unique enough to summarize in two words is that people will use that tag. A lot. L.A.'s Abe Vigoda are self-described "tropical punk," and Google results say this phrase appears 1,640 times next to their name. It's totally accurate. The band's second album, Skeleton , mixed steel drum-mimicking guitars and stilted, hard-to-play (easy to call "tropical"; more accurately "syncopated") rhythms. L.A. all-ages performance space The Smell was their musical home base. On Reviver Abe Vigoda take the next logical step in the development of their easy-to-peg sound: they abandon it. Skeleton was great, but also hinted that there were more variations and textures hidden inside the songs. Just as on Skeleton , Abe Vigoda establish an aesthetic right from the beginning of Reviver . Or rather, they establish what it is not; and this time it’s "not-tropical punk."
This EP contains five songs, but shows Abe Vigoda presenting a different but equally developed sound from "Don't Lie" onwards. On "Don't Lie", guitarists Juan Velazquez and Michael Vidal turn their instruments on an angle; and their guitars sound strident, and strained. The whole song feels darker, more languid than anything on Skeleton . Vidal, the band's fresh-faced singer, croons-- actually croons-- "Don't Lie" and the rest of the EP as if he's lived several lifetimes since their last album. There's a slowness to it that feels like weight, but not drag, and this pull goes in many directions. Abe Vigoda pan their tracks to emphasize the contrasting guitar melodies, but their low production values let them blend and swirl together at times. Still, the separation is the most enjoyable across the EP. "House", for example, has that familiar jagged, unsteady beat, but the best and most disorienting sounds are its guitars. Here the guys do a crisp little tone in one ear, and spikier guitar stabs in the other. They don't clash, really, but they compete for your attention.
Abe Vigoda wants to make their adjustments explicit, by recording songs that've been done before. They cover both their own track, Skeleton ’s "Endless Sleeper", and Stevie Nicks' 1983 hit "Wild Heart". Reviver 's "Endless Sleeper" runs slower but shorter. There are no drums here, and the song turns into jelly without either a backbone or the hard, bright guitar of the original. It's a proof-of-concept for their new sound, but it doesn't beat out the energy that charges through the band's first edition. Their "Wild Heart" interpretation comes off better. The band sing only a fraction of Nicks’ lyrics and keep Vidal’s voice low. One of those lines, "Another chill off an already broken heart" defines the way the vocals work: Vidal's voice sounds deeper and dispassionate across the EP's five songs. "Wild Heart" rests on a five-note guitar melody and simple bass line. It feels methodical, sparse, and totally unlike them, which is exactly what they want.
If Skeleton was island punk, Reviver moves the band out to sea. The drumming feels less straightforward here and only adds to the dizzying effect that makes you feel like Abe Vigoda's members are working at cross-purposes. Sometimes it feels like they're playing two different songs, working from two different ideas. There's no steady view of the horizon anymore. It's disorienting, but charming, to hear their parts blend, settle, and separate over and over again. I can't think of a name for it.
I lean towards the latter unfortunately. I can't see the same things you see with that release.
Who the fuck cares if something gets labeled "Best New Music"?
8.1 for the new YYYs and 5.7 for the new Decemberists.
i think pitchfork should switch those numbers.
I agree with their reviews of both.
I never read Pitchfork. I don't feel like i'm missing anything.
CLELL TICKLE DOES.Quote:
Originally Posted by luckyface
http://www.claudepate.com/albums/Gra...lelltickle.jpg
if you like when artists make a few extra bucks, then it's a mildly important thing.Quote:
Originally Posted by luckyface
the guest vocals ruined the decemberists album.Quote:
Originally Posted by zenidogx
Unless it comes to Metal, Pitchfork's reviews are laughable at best
it's a weird release. i make people listen to it. 3/4 of them couldn't care less. 1/4 seem to believe it's one of the most amazing albums that they've heard in ages.Quote:
Originally Posted by bmack86
i was insulting the WRITING not the musicQuote:
Originally Posted by bmack86
really? the chick on "The Wanting Comes in Waves/ Repaid" is phenomenal.Quote:
Originally Posted by AquaFresh
I listened all the way thru twice and I dunno. Nothing.
And, yeah, I also like it when a band gets best new music because it'll sometimes clue me into some pretty good stuff.
naw, I was replying to Brad's post. I'm just slowQuote:
Originally Posted by kitt kat
pretty sure he was talking about my comment on The Antlers "Hospice" album. an album that you have a 25% chance of finding magical, and a 75% chance of finding dull.Quote:
Originally Posted by kitt kat
Yeah, I can't explain why I like it either. There's just something about it that works for me. I get really impressed when people record albums in their bedroom when they're 20 years old and somehow get studio time and make a nice record. The vocal and music styles change dramatically throughout the album. It goes from sounding like Antony and the Johnsons to sounding like My Bloody Valentine-lite to sounding like Arcade Fire to sounding like other things. I also liked the constantly changing vocal narrative--jumping from the first person perspective of various characters. I'm pretty sure that the guy had to watch someone die of cancer in a hospice. It's just about the only thing I can think of that would cause someone to make such a weird album about hospices.Quote:
Originally Posted by bmack86
Also, I found out tonight that Daft Punk were like 20/21 years old when they were recording "Da Funk" and "Around the World".
Jesus Fucking Christ, I know I'm not a writer and never pretend to be one, but get over yourself you lopsided bitch. I've read and heard some of the dumbest shit come out of you, especially when it comes to music so don't sit there and be all high and mighty.Quote:
Originally Posted by kitt kat
I dare you to post one of your "reviews" just to show how much better of a writer you are. DOUBLE DOG DARE YOU
I don't even understand what Kat supposedly finds so objectionable about the writing. It reads like most music journalism.
Plus, Kat's borderline retarded.
The Decemberists ruined the Decemberists album.Quote:
Originally Posted by AquaFresh
YYYs got about 4 too many points.
Whoever pointed out that the Decemberists are basically turning into a more folksy version of the Mars Volta is brilliant. I think it was Gabe.