pitchfork is dumb (#34985859340293849494 in a series.)

i would smh @ tom but he's just bravely trying to make sense of some diplo bullshit soundbyte

obviously any "has gucci caught on with the hipsters yet?" convos can get sewed up now

the most dismaying thing in that story is the mention of the Major Lazer Adult Swim show

Also, Gucci's line about how his little boy one but his shoes 400 isn't that thematically far from "My Girls".

I had trouble parsing this sentence, too, but it had more to do with not recognizing the dropped "is" and "are" at first.

ha, that's funny cuz our blog used to get a lot of hits from a hollerboard gucci mane thread but mostly it was just emynd defending him & the rest of them hating him

although i am interested in how one would even sound like gucci mane - he doesn't have a sound per se unless tons of new m.i.a. tracks are going to be at-points indecipherable - maybe he means animal collective +fatboi

Some of her tracks already ARE at-points indecipherable! I had no idea what she was saying at the beginning of "Jimmy" for about a year.

yah ayers & co basically said they didnt think he could rap way back when ....

i think MIA and gucci have always been pretty much equal on the enuncuation/indecipherability scale

haha xpost

I had trouble parsing this sentence, too, but it had more to do with not recognizing the dropped "is" and "are" at first.

I think the writer should have put Mayne's quote in quotation marks too.

there is no y in his name

kenni mane

hahaha

yung joc feat. kenni mane - "YAHTZEE"

Before Chris Brown forced her into one of the most public celebrity domestic-abuse dramas since Ike and Tina, Rihanna's defining vocal trait was always how completely in control she sounded.

gratuitous and pointless lead-in alert!

not if they're arguing that her "defining vocal trait" changed post-chris brown

yeah that is not what happens tho

yes but just look at that s.e.o. bait

i hate this kinda crap in the second sentence

The group's first full-length offering this year, Help, is the apotheosis of what Thee Oh Sees can do as a rock group-- namely, kick out jams that pack a thick and brutal punch while offering a softer, poppier, and not-so-mildly psychedelic side at the same time. If the group rolled their joints on the sleeve of a first-edition copy of Black Monk Time, and took slugs of moonshine from the 13th Floor Elevators' electric jug (unplugged, of course), it wouldn't come as a surprise.

The group's first full-length offering this year, Help - not to be confused with the Beatles album put back into the limelight by the video game Rock Band, which vies with Singstar and Guitar Hero for domination of the crucial XBox 360, Playstation and Wii markets - is the apotheosis of what Thee Oh Sees can do as a rock group-- namely, kick out jams that pack a thick and brutal punch while offering a softer, poppier, and not-so-mildly psychedelic side at the same time.

Fixed

hahaha, A+

do people actually read album reviews

just the bands, I think

pitchfork seems to have this knack for pairing up the style of the writer and the style of the music. i appreciate it. whenever i start reading a review and the writing is off on some tangent or stretching waaaaay too far to create a simile, the music seems to have indescribably similar problems. \

If Rock Critic Fatigue exists, the kind of music Best Coast make is what most tired us out in 2009. So insert your cleverest lo-fi/beach-pop/chillwave amalgamation here because quite frankly, I'm exhausted.

this is a tad rich coming from the guy who penned just about ever lo-fi/beach-pop/chillwave track review for pfork this summer

dope song tho

it's good but "the sun was high (so was i)" is a lot lot better

hahahahahah this Animal Collective review, man

can't decide between the "dude, all their stuff sounds different, that makes them good"/totally off the mark AC vs. Grateful Dead == indie band vs. jam band thing/quoting Rakim for some reason even though the logic doesn't match

ok it's Rakim

when a writer quotes a musician that has nothing to do with the song/album in the last line of a review i think it's pretty much a dead giveaway that they didn't know how to end the piece/spent a lot of time working on it and decided to give up at the end out of frustration

"Whoa, I walk" is deliberately misheard as "What would I want?" I mention it because it's what this band has always done for me: take a sound and turn it inside out to make something new, but something recognizable, even familiar. I'm reminded of the words of the ever-wise Rakim: "Spread the word, 'cause I'm in E-F-F-E-C-T A smooth operator operating correctly."

I thought he was talking about being reminded of indie rock band The Words of the Ever-Wise Rakim

"There's something here that reminds me of yoga, or of the 1990s, but I can't put my finger on it-- whatever it is, it's appropriate coming from a group that has, through no specific positioning of their own, become the jamband for people who profess to dislike jambands."

Do the 1990s and Yoga have some significance in relation to jambands?

seems like the rakim line got post-last minute cut out.

this song still isn't that good, but a lot of improvements from the bootlegs. a lot of nice parts and texturally it sounds really beautiful, but i can't help feel embarassed listening to that awkward verse.

I really liked MPP, but I'm def not feelin this EP so far

Do the 1990s and Yoga have some significance in relation to jambands?

He's saying it sounds like the decade that brought you Rainforest Cafe.

There's something here that reminds me of new age or yoga or the 1990s, but I can't put my finger on it-- whatever it is, it's appropriate comin- oh wait this shit sounds like moby

ahahah

No but he says 1990s + Yoga = (vaguely) association to jambands. Thats what I get with the wording in that sentence.

Not sure where to post Pfork gems, so I figured this thread was as good as any. Sure, Pfork has poor writing from time to time, but with hilarious zings such as this (from today's review of The Bravery), why complain?

Endicott's voice still alternates between operatic Ian Curtis croon (remember Elefant?) and adenoidal Robert Smith whine (remember Stellastarr*?). He still sings songs that manage to evoke greats from bygone eras without any of the greatness: "Baby, we were born to be adored," repeats glumly hooky synth-rock opener "Adored", neatly desecrating the most famous choruses from Bruce Springsteen and the Stone Roses in a single refrain.

the front page blurb for that review is pretty weird in that it refers to the early part of The Bravery's career "at the start of the decade," when they released their first album in 2005 (and didn't even form until 2003)

Any mention of Pfork's bad writing has to mention the "watching a stillborn baby frolicking in the afterworld on an IMAX screen" comment from the Kid A review.

Pretty sure that would just make every post on this thread harder and more confusing to read

I c wat u did dere

man would it kill them to review a song that they either love or hate?

tbh, most songs that exist on earth are just OK

that's the problem with "song reviews"

anytime I've written for an outlet that does number or letter grades I get really tired of slapping Bs and Cs or 6s and 7s on stuff all the time but honestly that's just how it is