pitchfork is dumb (#34985859340293849494 in a series.)

Hanna is a film about a "badass survivalist girl"; the Chemical Brothers have never seemed particularly badass, but it's fair to count them as survivalist, both because last year's Further was their best record in ages and they're the only act from the late-90s electronica boom making music anyone would want to listen to.

I hate this kind of talk!! I mean first of all Underworld came out with a pretty damn good album in 2010 and secondly this very site panned their last album pretty heavily so you're just throwing a bunch of acts under the bus for no reason.

Hanna doesn't represent anything more than a slight change-up from a group used to throwing fastballs.

STRIKE THREE!!

lol

I haven't seen Hanna; it appears to be a thriller set in Eastern Europe with a young female protagonist-- gifted in the art of action-- who eludes a ruthless intelligence operative. Digitized techno mysticism has been a go-to soundtrack of choice for this genre ever since The Bourne Identity rubber-stamped Moby's "Extreme Ways" as the perfect mix of heady paranoia, Euro style, and kicking things.

Oh yeah, THAT'S when all the euro-thrillers got soundtracks. 2002!

Man guess I imagined my soundtrack to The Saint all those years ago.

techno soundtracks, I mean.

HOW SOON WE FORGET

http://www.thesoundtracktoyourlife.co.uk/image.php?productid=5886

haha xpost!

Hahaha

https://www.youtube.com/watch?v=lGUGeI0kqrM

quite the xpost there!

I'm quite glad to know I wasn't the only person to immediately think THE SAINT SOUNDTRACK, YOU JACKASS when reading that paragraph

not that this Val Kilmer vehicle invented the idea of techno music scoring euro-thrillers either, just sayin

Yeah, I'm still lolling that someone else pulled that one out as a reference point.

yeah that was strike two. somehow, i completely missed it

it all goes back to MORTAL KOMBAT

Featured songs

* Hackers (1995) Soundtrack Vol.1 • "Halcyon + On + On" (shortened version) • used as the film's theme
* Hackers (1995) Soundtrack Vol.2 • "Speed Freak [Moby Remix]"
* Mortal Kombat (1995) • "Halcyon + On + On"
* Johnny Mnemonic (1995) • "Sad But True"
* Event Horizon (1997)
* The Saint (1997) • "The Saint Theme"
* A Life Less Ordinary (1997) • "The Box" and "Dŵr Budr"
* Spawn (1997) • "Satan" (with Kirk Hammett)
* π (1998) • "P.E.T.R.O.L"
* Human Traffic (1999) • "Belfast" •
* The Beach (2000) • "Beached"

How could I forget Hackers?

Not to mention The Matrix, which a few people saw

Tbh, people saw the sequels and erased the original from their minds.

You know I kind of forgot how great the 95-01 era was for techno soundtracks. The Beach had a really great one too.

Although I question if I could stomach one of them today

I guess it doesn't really count but... "Scarface"?

xp: most if not all of those soundtracks are still great, even including terrible ones like The Jackal

http://xore.ca/missingthepoint.png

anyone else read this
http://pitchfork.com/reviews/albums/15324-hit-after-hit/

and see absolutely no correlation between the score and the actual review? it's so OVERWHELMINGLY positive

not really -- i don't think a high 7 in any way contradicts a review that is completely enthusiastic and positive unless it specifically says it's like the album of the year or perfect or whatever.

but then i'm the kind of a weirdo that probably WOULD give a 7.7 to my album of the year

i think that happens from time to time where a review in the 7.7-7.9 range reads like something that could've been best new music

some of those prob would've got the 'recommended' tag if that was still around

= writer probably thought it was BNM worthy and editor resisted (xpost)

also it bears mentioning that Tom tends to come off SO ENTHUSIASTIC about like his 40th fav record of the year

lol true

xxpost
^ that's sort of what i thought. it's sort of subscribing to p4k's whole modus operandi of praising the innovative for the sake of innovation, and trying to make clear that they're not simply a "music review" site. which is ridiculous, considering how much they fawned over kanye's regressive new album last year.

what

http://imgur.com/w93c2

http://i.imgur.com/w93c2.gif

just saying p4k's particular fond of fashioning itself as the taste-maker, or purveyor, of innovative music. they've done that a lot less so since expanding ~beyond indie~ in the past couple years but that's always where i thought their mission-statement laid.

pitchfork is not a person fyi

i mean could you imagine

http://search.yahoo.com/search?p=last%3A%22Pitchfork%22

enthusiastic review qualified by "simple and low-stakes music done extremely well" prolley justifies 7.7 (which is a lucky # in itself)

http://www.pitchfork.org/Classics.html

'One of the very first, much sought-after sons of "Toby,"' Sons of Toby sounds like it should've been the name to band from the early 2000s

"A long, tall, correct female out of vintage North American bloodlines. ...she has delivering six cria alive and totally unassisted. Her crias grow quickly and exhibit her same stretch and pattern." BNM 8.8

the first tune-yards had some jams but i couldn't even finish the song i heard off the new one it was too embarassing, reminds me of like there's this family of mentally challenged people who sing in the metro i always transfer at & like, i get that it's beautiful & a triumph that they love singing & aren't shy but something abt hearing someone sing like that makes me shudder

why do reviewers take great pains to typeset tUnE-YarDs correctly but they typeset the title as ｗ　ｈ　ｏ　ｋ　ｉ　ｌ　ｌ when it's obvs uppercase?

w h o c a r e s

i actually tried this tune-yards thing this morning because several people i kinda trust loved it, also compared it to glasser, assured me it didn't sound like dirty projectors. fucking terrible! and then a few hours later i kept seeing other people talk about pitchfork and best new blah blah and i felt a bit dirty for having been taken in.

yeah that album is fucken garbage

ａ　ｇ　ｒ　ｅ　ｅ　ｄ

deep thoughts over here

seems out of character for Dusted really.

is it like miccachu?

kinda the midpoint of micachu/cocorosie/dirty proj? on one listen only. next to gang gang dance and glasser this sort of pan-genre experimentation sounds so puny and pointless