pitchfork is dumb (#34985859340293849494 in a series.)

the review wasn't linked tbf

That’s why I answered yr question; I assumed you hadn’t seen it.

Anyway, does this mean Telegram deserves, what, a 12.0(?) Because the mixes are better, plus it has “My Spine”?

lemonade

The review concedes that Post is, at best, Bjork's third-best album:

She would soon leave London for the south of Spain and then New York, recording her two towering masterpieces—1997’s Homogenic, which Missy Elliott once gleefully likened to “Mozart at a rap show,” and the introverted microbeats of 2001’s Vespertine

Post > Homogenic > Vespertine is such a perfect run of albums.

And I love Debut.

her two towering masterpieces

^I think you can see the superfan revealed thru the critic’s veneer here

FWIW, Homogenic also received a retrospective 10; though Vespertine, which was reviewed upon release, got a 7.2

So this is it. The great follow-up to Homogenic we've anticipated since that overcast late-September afternoon in 1997 when we first sat listening to the album for the first time, wondering what she might do next. Somehow, it doesn't seem worth the wait.

a state of emergency iirc

Imagine listening to an album for the very first time, wondering what the artist “might do next”!

Uh, I do that all the time

Was going to say. Usually it's after the album is over, but still. "Can't wait to hear what this artist does next" can't be that odd of a thing to imagine when listening to something you really enjoy. Especially if it's an artist already known for drastically changing up their sound/approach.

A brand-new album? “This is good and all, but what else you got coming down the pike?” To each their own, I guess.

Eh, for me it's more, "I love this, I want to hear more" excitement. Doesn't mean I'm dismissing what I'm currently playing.

these days an artist isn't going to drop a new album for 3-5 years so it's kind of like speculative fiction

'Oh wow, there are so many great ideas on this album, you could build on these ideas for at least two more albums! Can't wait to hear what they thing up next, I need more!!'

I think the answer to this question 75% of the time is "will go disco"

Post and Homegenic are 10s in my book.

I think the answer to this question 75% of the time is "will go disco"

― Muswell Hillbilly Elegy (President Keyes), 9. marts 2020 16:39 (six minutes ago) bookmarkflaglink

Lol, I've mostly asked this question lately while diving into the metal poll, so this made me laugh

A brand-new album? “This is good and all, but what else you got coming down the pike?” To each their own, I guess.

Like I said, to each their own. I can honestly say that within the first album of absorbing a new album, my thoughts have never turned to what the artist's next release would be like... but I see that's not universal. (I still think the framing in the Pfork review is bizarre: wondering about her next album as you sit listening to the one that dropped that day.)

weird framing in a pitchfork review from 2001? are you sure?

morrisp has nitpicks (#34985859340293849494 in a series.)

lol, true enuff

I think I'm closer to morrisp's perspective here. One listen in is too soon (for me!) to think about what's next, and I would guess a lot of artists wouldn't necessarily dig being asked that question either. (Although certainly many times they've already moved on while waiting for the "current" record to come out.)

Neither's right or wrong, obvs, just an interesting thing to think about.

damn Grayson did Code Orange dirty

Recorded with Nick Raskulinecz, who has spent 25 years helming consistently middling efforts from the likes of Ghost and Korn,

i mean he also helmed two of the best deftones records. not my favorite producer on earth but c’mon

i haven’t heard the code orange yet but this review makes me think i’ll love it lmao

it's great!

I generally like Grayson's reviews but imo it's a tell when you trot out words like "dated" to dis a record's sound

4.5 means I will like it

that's bullshit about the producer, click the link to his site, they could have easily said "who's produced everyone from highly acclaimed metal acts Mastodon and Ghost BC to Rush and the Hold Steady

also the korn albums he produced were not middling, they were their best efforts in a decade plus, but whatever

yeah they might be the deftones have been super consistent i know, just felt like a cheap shot because of how korn is perceived now and they could have easily cherrypicked other examples that cast it in a different light but they clearly wanted this "out of touch, out of date nu metal guy" narrative

Just in case you’re keeping score

Rehashing shitty ‘90s nu-metal: Bad

Rehashing shitty ‘90s emo: Very, very good

I like how korn albums sound

it’s hilarious how the site has so completely lost a grip on what rock music is good or cool that they’re just like “whatever let’s let Ian Cohen BNM his shitty emo records”

I mentioned this on the emo thread, but in that vein the Dogleg album struck me as a fairly random and arbitrary BNM choice. Everyone knows I fuckin love emo but there's next to nothing exemplary about it.

reading people rave about that record and they unfailingly compare it to 1-5 bands i don't give a shit about

I’m sure there a million better actual emo comparisons but the Dogleg album reminds me of the first Placebo album but without an alien doing helium and squawking over the top.

oh dogleg sound way too much like bloodthirsty butchers for me to totally dismiss them

would've probably given it a 7 on purpose though

Pfork's abiding love for emo, post-hardcore whatever (ie guitars drums screaming about being angry n sad etc) is so weird.

like these genres that are aesthetically frozen are somehow more "vital" than other aesthetically frozen genres (take yr pick) because they feature idk sweaty young ppl

Was it always like this? It seems like a few years back, they decided that actually emo was one of the most vital things that happened in the 00's, instead of all that boring dancepunk and freakfolk that they hyped at the time

their current stable of writers is younger/more attached to that scene. cf. me

as a genre however it was stuck in the 7.0s until 2017 or so, so yeah i guess “few years back” tracks

overlooking/skewering emo was a critical mistake in the 00s from a hardline poptimist perspective. by the same token doing revisionism now is good. not sure about rating third-wave emo revival. i like some of the brad records a lot, dislike most of the ian ones

i like how the ian records sometimes actually sound like they come from an uncool place to me. like, if there are people listening to this stuff, he must be doing some kind of journalistic service.

brad obviously can't help but be cool as a cucumber.