pitchfork is dumb (#34985859340293849494 in a series.)

would much rather watch attack attack than asher. maybe its kind of car wreck-y, but its at least engaging

i would even put mickey avalon over asher probably

shd i try to review attack attack??

YES

might be too much like an internet meme review ...

was at to post:

i think all the attack attack baiting is trying to force a meme. It's just boring metalcore with a dumb dance bridge

guys i've been thinking abt it and can't find the silver lining on attack attack. it's too emo to be campy, even the trance breakdown.

whiney it felt worse than that, what can i say

no i genuinely like watching attack attack. its a pretty weird frankenstein monster of a song. if i actually reviewed metal & went thru a 'popism' phase instead of reviewing rap having gone thru a 'popism' phase i might go for it

feel much more adept @ reviewing crazytown

its a pretty weird frankenstein monster of a song

in all seriousness i admire your positive spin on "these guys are so lazy and awful they can't be bothered/don't know how to write a fucking transition between two parts."

no reason they should have to per se

I am feeling Attack Attack's adderalle'd 'fuck a transition' spin...

'adderall'

mc chris is worth than asher

woulda thoughtby now you guys woulda maybe downgraded from asher alert code red to at least code orange after his first week numbers came in and his 2nd single flopped -- i mean i think we can chill now and dedicate our energies to hating on other 'xxl freshmen' that still have career prospects

i have my scope on ace hood

i like ace hood

i thought AH had promise when that first single dropped but album was real boring and he'd just, like, bite a jeezy flow really transparently for an entire song, and his new singles are crap. better than most bloggo thundercat rappers still, but that ain't sayin much.

i genuinely like drake as a guy whose not great at singing or rapping but has a good enough pop mind to make songs that can occasionally be great - his shit is pretty sonically interesting too and his lloyd/my mans trey collabos are much better than his wayne and jeezy ones

drake seems OK -- it's funny how he seems to have real diehard stans moreso than any other of these new rappers who really think he's the god mc and act like he must've ghostwritten every good wayne verse

yeah it really is weird because "best i ever had" definitely strikes me as a song that your average dude would warm up to because his chick digs it. his rapping is so mediocre too which makes it even more puzzling. loving drake just became this thing out of nowhere from actual rappers, to biz people to blog people on down just out of nowhere, but i guess i'm happy there's one of those dudes that doesn't make me lurch constantly

it came out of nowhere, and like i said, it really came out of nowhere

tbh i don't trust any opinions/endorsements from 'actual rappers' -- usually the only sincere things they say about other rappers are deluded 'i'm better than method man' type shit

you say that all the time and i think you're completely otm but i think with drake it seemed a bit more genuine but maybs im being swindled

was about to refer to nah right as drakestan central but this is pretty funny:

American Mob Says:
June 18th, 2009 at 12:04 am
Not to judge drake to heavily… but in “best i ever had”

Know you got a roommate
Call me when its no one there
Put the key under the mat
And you know I’ll be over there
(Yup) I’ll be over there
Shawty, I’ll be over there
I’ll be hitting all the spots that u ain’t even know was there

really? you couldn’t think of a word that rhymes with “THERE?”

hahaha

he has a dope line in that song - "double cup love, you're the one i lean on"

almost makes up for "lesbiaaaaaaaaaaaaaaaanest"

And you know I’ll be over there
(Yup) I’ll be over there
Shawty, I’ll be over there

i mean, tbf, that's not there for rhyming purposes, and i like it because it slyly changes the meaning of 'there' from 'your house' to 'your pussy.'

fucking dying over here

theres a new drakestan central

I still haven't figured out in what way "Best I Ever Had" is better than your average Bow Wow single.

it definitely aint!

it's pretty slight but the combined twenty seconds where the dude actually sings is really nice. i really don't like this trend of artists sounding so BORED performing their songs (cf "day n nite", though i guess that's an r&b song)

I don't think Cudi sounds bored on "Day N Nite", more sad but not in a Kanye "Look how DEPRESSED I am!" way. Drake definitely sounds bored on "Best I Ever Had" though. He raps half the song in the same monotone that local backpackers who think they can get away with conveying 100% of a song's meaning with the lyrics and none with the delivery use.

im just repeating my jukebox blurb i guess but i think the chorus in "best i ever had" has like 3 different great melodies which is 3x the amount of great rap lines

http://pitchfork.com/reviews/albums/13268-totems-flare/

..Think about the basic properties of beat-oriented electronic music. It emphasizes dynamic action, feelings of speed, impressions of light-- extremes and intricacies of sensation. It tweaks your senses with creative deformations of time and space, with strictly engineered frameworks lurking beneath sleek or gaudy facades..

...We enter an unspoken contract with the funhouse: To be tripped, mocked, and have our skirts looked up in a spirit of good-natured mischief. It's the same with Clark, and at his best, he honors it. His greatest record, 2006's exquisitely convulsed Body Riddle, was full of spaces as deeply habitable as they were impossible. It was an alchemist's album-- violent where it naturally should have been tranquil (and vice-versa); corporeal where it should have been cerebral (ditto). The acid squelches of "Herzog" were weirdly serene and grounding, their ambient atmosphere charged with live-wire menace. It was, unquestionably, his most humane album...

...Put it this way: You would probably decline to ride a roller coaster designed by the Clark of this album, not trusting that its promise of danger wouldn't be taken to its logical conclusion, the car separating from the tracks....

I hate to do this but you might have to expand a little on what you're pointing out there, because that kind of thinking is actually one reason I like Howe a lot!

met him yesterday

It's just filled with awkward quasi-metaphors and barely-parsable similes. What does it mean to say that one of the "basic properties" of electronic music is an emphasis on "impressions of light"? Is that something to do with rave lasers?

And "spaces as deeply habitable as they were impossible"? Ok, so we're in a funhouse run by an unquestionably humane alchemist who imbues things with qualities that you would expect of their opposite (and.. uh.. vice versa)? It just feels like sloppily collected mess of ideas, some of them convincing, some not. And bits like the rollercoaster thing are unconvincing in their verbosity - an unstable rollercoaster can be invoked without talk of "logical conclusions".

He really doesn't seem to make any type of music, which means that there's no background proposition or guideline, and metaphor might be the only way to talk about it.

Or you could try and describe the music. Nah, stick with the lame metaphor.

he describes it in the full article

yah i ready it, it's still horrific

thank you, pitchfork, for totally missing that our brother the native are on their THIRD album, not their SECOND

how could they have possibly missed an album by famous band our brother the native?

they work pretty fast though, those Native guys, one blink and you miss another 70 minutes of improv freakfolk. btw unfair rating (can't argue of course) but this third one is their best.

still far from brilliant though.

In other news... the tumultuous Pfork love/hate affair with the Fiery Furnaces continues today. Looks like they're getting along this time.

After reading that review, I have the impression that Howe wanted to compare this album to a funhouse and electronic music as a whole to a state fair midway but couldn't really be bothered to do so in a coherent, convincing way. Really seems more like a failure in editing than a fundamentally poor idea, and at least he does go into what's happening with the music as he tortures all of those similes and metaphors.