pitchfork is dumb (#34985859340293849494 in a series.)

His head is enveloped in a hood he never takes off,

lol

does anyone have any idea how much CN paid for p4k? ballpark number?

$53.86

Nah, they only use one decimal point
(/obv joke is obvious)

Nope, $420.69.

seems kinda high tbh 😉

VULTURE: Criticism can be hard to shut out. In particular, the Pitchfork review reached a large mass in terms of how people were interpreting your record.
GRETA VAN FLEET: I don’t know the intent behind the piece. I haven’t read it. I’m not sure if it’s a publication trying to get attention or if it’s somebody who genuinely doesn’t like us and what we’re doing. I really don’t think we get worked up about that, because here’s one person who’s complaining about it. If you can’t do it, then you just write about it. I feel like this man has had a troubled past. Prayers up for him. But it actually feels really good, because some of our favorite bands have had some pretty aggressive criticism. I think it’s cool. [Laughs.]

Seems like a chill bro!

I like how his response incorporates the entire gamut of typical artist responses to a negative review, one per sentence (sometimes even contradicting each other!)

lmao @ "i haven't read it" ---> "i feel like this man has had a troubled past"

I'm picturing Jason Lee in Almost Famous

I feel like this man has had a troubled past. Prayers up for him.

Incredible

Stellar response from the lad. Cant wait til their second album when they go back to basics of four guys in the room etc

He's like the musician version of boring sports interview guy: we have to give 110%, keep the pressure on, etc..

can't wait for the interview about the follow-up album: "We didn't want to make Anthem of the Peaceful Army 2." "The record label kept telling us they didn't hear a single." "You have your whole life to write your firt record and then you have to write your second record on tour."

hahah - thread potential

"Somehow we'd lost track of why were doing this in the first place. This record us is re-connecting with what's at the core of this band, our shared love of music. We didn't write with an audience in mind. If people like it, that's great, but fundamentally the main thing was, do we like this or not?"

music is a game where whoever moves the most units wins the game. you gotta have fans to move units, you gotta play the concerts the right way. all of us want to win out there, we know what we're capable of and it's just a matter of putting all the pieces together. we're gonna play hard no matter no matter how many people are out there, you know josh is going to sing his heart out, danny always comes ready to play, just a matter of focusing on fundamentals and having fun out there

To us, it's all about the fans; the listeners who supported us before the fame and the fortune.

"I think it’s so to-the-roots organic that it’s unmistakable to hear the music and not be convinced of something. Because when we’re playing, when we’re recording, we put out our very heart and soul into the sound. We played in shitty dive bars and biker clubs for maybe two or three years before anybody really said anything. I think that we really just developed to play like a band, like what it used to be. I don’t think that’s throwback or retro. It’s just guys that know how to play rock and roll with each other. You can design a band that’s perfect. You can get the most handsome boys and girls or whatever and you put them together and you’re like, this is going to be massive! Maybe it’s massive for ten seconds but tomorrow nobody cares. It really is a building process. You can’t just snap your fingers and have it all. You have to build it and love it and give it love and let the people give it love and get people’s attention, and that takes time. I think people just aren’t prepared for the investment."

this is amazing

Already putting out "the first record doesn't really represent where we are now":

Anthem of the Peaceful Army is very Greta Van Fleet, and even now, it feels a bit dated to me. We’re excited to get back in the studio and put the next step out.

just four guys in a room getting back to how it was in the early days

Thing was, I wasn't able to write for some reason. After Anthem, I just had writer's block, so I rented this cabin in Big Sur, brought my guitar and a hot plate, and just forced myself to write, man. And something about the peace and tranquility of being up there, man, songs just started pouring out

^the cabin would be in the UP, tho (as they’re Michiganders)

"We've been listening to a lot of Yes."

"We want to take advantage of the studio as instrument, you know? Brian Wilson. Pet Sounds."

Well, the "new tracks" page seems to be finished. Nothing at all since December 4 and it's now January 10.

Shame, that page introduced me to some absolutely incredible music.

looks like it's back:
https://pitchfork.com/reviews/tracks/ariana-grande-7-rings/

Won't argue against the track being a letdown, but not because of its "sneering tone" or lack of "empathy"... weird critique.

lol what the hell is with giving the dreaming 7.7 but the sensual world 9.4

and i really object to kate bush being called "very queer" in the dreaming review - "gay/queer icon" would have been fine but she isn't a queer person

Some more good GVF rock-cliche quotes here: https://www.rollingstone.com/music/music-news/greta-van-fleet-on-the-grammys-why-its-time-to-stop-the-zeppelin-comparisons-779296/

“We hope to get an album out this year. This time, we feel less pressure than we did before the last one. We can’t wait to explore a little more of the Greta Van Fleet universe.”

You may be interested to learn that he has “always wanted to play with Paul McCartney.”

Tracy Chapman gets a 9.4 in today’s retrospective review, yet it was not among Pfork’s “Best 200 Albums of the 1980s”: https://pitchfork.com/reviews/albums/tracy-chapman-tracy-chapman/

Meanwhile — to pull a semi-random example of an album that is on the Top 200 list, and which has also been retroactively reviewed by Pfork in the past year — Raw Like Sushi only received an 8.0: https://pitchfork.com/reviews/albums/neneh-cherry-raw-like-sushi/

Two great albums, one rated higher than the other... yet only the lower-rated one made the Top 200 list. Is it b/c Tracy Chapman doesn’t meet the criteria of being “influential”?:

But Tracy Chapman didn’t change the course of a Top 40 ecosystem in tune with the era’s glorification of wealth and greed. Rather, the album was produced in isolation from popular music, and in defiance of it. She wasn’t a herald of change within the industry so much as she was an example of the innovation to be found outside of it.

I disagree strongly with those premises. "The era’s glorification of wealth and greed"? More so than hip-hop in the go-go '90s? And what makes this (solid) album an example of innovation in the Suzanne Vega era?

Yeah, one could make the same statements about, say, Graceland, a big hit album released a year prior to Tracy Chapman, and which lands at #49 on the 1980s list (Pitchfork hasn’t given that LP the retrospective treatment, tho its expanded reissue got a 9.2 in 2012: https://pitchfork.com/reviews/albums/16843-graceland-25th-anniversary-edition/).

(The only reason I’m playing Pitchfork Police here is that the Chapman album felt like one of the more notable omissions on the 1980s list, and the 9.4 rating shows they rate it highly, so...?)

Tracy Chapman gets a 9.4 in today’s retrospective review, yet it was not among Pfork’s “Best 200 Albums of the 1980s”: https://pitchfork.com/reviews/albums/tracy-chapman-tracy-chapman/

Meanwhile — to pull a semi-random example of an album that is on the Top 200 list, and which has also been retroactively reviewed by Pfork in the past year — Raw Like Sushi only received an 8.0: https://pitchfork.com/reviews/albums/neneh-cherry-raw-like-sushi/

Two great albums, one rated higher than the other... yet only the lower-rated one made the Top 200 list. Is it b/c Tracy Chapman doesn’t meet the criteria of being “influential”?:

But Tracy Chapman didn’t change the course of a Top 40 ecosystem in tune with the era’s glorification of wealth and greed. Rather, the album was produced in isolation from popular music, and in defiance of it. She wasn’t a herald of change within the industry so much as she was an example of the innovation to be found outside of it.
― i stan corrected (morrisp), Sunday, January 20, 2019 4:55 PM (one hour ago) Bookmark Flag Post Permalink

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oh man did you guys know that if you type ‘what does’ into google one of the first autocompletes is ‘what does sb mean’?

man wow that Tracy Chapman review is ridiculous

We didn't talk much about Saturday's Kate Bush reviews (outside of Carr's problematic characterization of Bush as "queer"), but I found this bit, from her review of The Dreaming striking:

Then there’s “The Dreaming,” a parable of a real, historical, and contemporary group of Aboriginal people as timeless, noble savages in a tragically ruined Eden that lectures the center of empire about their (our) political and environmental violence. Bush narrates in a grotesquely exaggerated Australian accent over a thicket of exotic animal sounds, both holdovers from music hall and vaudeville’s racist “ethnic humor” tradition, a kind of distancing that suggests that settler Australians are somehow less civilized and thus more responsible for their white supremacist beliefs than the Empire that shipped them there in the first place. In telling this story in this way—without accurate depictions of people, and without credit, understanding, monetary remuneration, proper cultural context, or employment of indigenous musicians—she unfairly extracts cultural (and economic) value from Aboriginal suffering just as the characters in the song mine their land. As a rich text to meditate on colonial, racial, and sexual violence, it is actually quite useful—but not in the way Bush intended.

My favourite song on the album (and one of my top 3 or so Bush tunes overall), I'm curious as to how I'll hear it from now on.

like it's weird how it promotes the "out of nowhere" narrative, ignoring, say, the context of Joan Armatrading as a precedent or Michelle Shocked and K.D. Lang as contemporaries

xps

also it's just... not a good album? The most memorable thing about Fast Car is the lick that's lifted from John Cougar Mellencamp, and lots of the record is suuuuuuper-clunky lyrically

the joan armatrading revival cant come soon enough though i guess it’s just as likely to never come lol

walk under ladders is at least a 9.4

Bush narrates in a grotesquely exaggerated Australian accent

literally just learnt that this is what she's supposedly doing here

the joan armatrading revival cant come soon enough though i guess it’s just as likely to never come lol

― jolene club remix (BradNelson), Monday, January 21, 2019

check her out her very-1986 album!