pitchfork is dumb (#34985859340293849494 in a series.)

Agreed re: Limehouse, god I love that track, even its problematic lyrics.

Beethoven was my fav grunge act aside from Mudhoney

“Criss Cross” is the sort of cowbell-clanging boogie that Royal Trux spent half of their existence chasing

I wonder if Stuart Berman actually meant to reference "All the Rage" (the preceding track)? That one sounds more Trux-ian, and has audible cowbell.

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https://www.seattlesymphony.org/~/media/2021-event-images/banner/2021-1017-ad-880x399.jpg

haha jesus christ

I mean the Pixies thing stems in large part from Kurt specifically saying he was trying to rip them off when he wrote SLTS, but maybe he was trying to throw people off the scent

He also said

“It was such a cliched riff,” he said. “It was so close to a Boston riff or ‘Louie Louie.’

Kurt was pretty generous about pointing out his influences

Hey, what if there were multiple things that influenced him? Like has anyone here said that song absolutely was in no way influenced by Boston?

This whole teasing out of just what exact % does each possible influence contribute to this or that song is ridiculous.

xp

Success has a thousand fathers, but TAD is an orphan.

This whole teasing out of just what exact % does each possible influence contribute to this or that song is ridiculous.

Hm? I wasn't doing that. I was making the same point as you, that multiple things influenced him, and also the video in the link is hilarious.

Well + that he wasn't trying to throw people off the scent.

Fair enough, I don't know why this particular topic agitates me. For some reason, the topic of Pixies influence on Nirvana is fraught. Not sure if it's Frank Black backlash or what. I think that the influence is extremely obvious, but of course there were many other influences as well. For some reasons these discussions quickly go from "Nirvana had many influence" to "actually Pixies weren't really a very significant influence. X, Y, or Z were much more important." That to me is just silly, especially when it involves parsing out to what extent multiple records featuring Kim Deal that came out in a span of two years had more or less influence.

wow this album rules

https://pitchfork.com/reviews/albums/numun-voyage-au-soleil/

Sounds cool. I wonder if the title was meant to mean 'journey to the sun' or some such? As it stands, it's more like a 'sunlit trip'.

ou est le soleil

https://www.youtube.com/watch?v=o1Qknahm4UM

Dans la tete.
Travaillez.

wow this album rules

https://pitchfork.com/reviews/albums/numun-voyage-au-soleil/

― unpaid intern at the darvo institute (Simon H.), Thursday, September 17, 2020 8:48 AM (five hours ago) bookmarkflaglink

yeah, goddamn this is so good, a couple songs in right now....

partly reminds me of if Macha were Deadheads

Mina Tavakoli's write-up about Beverly Glenn Copeland is generous and great <3

Shockingly, Reed’s liberalism still feels progressive. The one exception is on the taut, distorted “Good Evening Mr. Waldheim,” about Jesse Jackson’s 1988 presidential campaign, and an incident in which he referred to Jews using the ethnic slur “hymies.” Reed was understandably offended, but he peppers his song with ripostes that have aged poorly, notably interrogating Jackson’s belief that U.S. leaders should meet with the Palestinian Liberation Organization.

They ordained the Trumps
and then he got the mumps
and died being treated at Mt. Sinai

xp (btw – Jackson’s stance on the PLO was already a moot point by the time the album was released, in Jan. 1989... the '88 primaries were long jn the past, and Reagan had opened dialogue with the PLO a month earlier.)

Back in 89 songs weren’t generally released the same week they were written

Sure, that's my point. That particular line had already "aged poorly" by the time the album came out. May have been an interesting point for the reviewer to make; instead, he uses it as a fulcrum to say that other stuff in the song has also aged poorly, without explaining what.

(or not so much "aged poorly" as been rendered irrelevant by recent events.)

Well Reed was likely complaining about Jacksons hug with Arafat in 79, not some recentish thing

It was a topic in the ‘88 campaign. Btw, Jesse’s “Hymietown” interview was in ‘84... I don’t know/recall how much it remained an issue in ‘88 (tho it was obviously still on Lou’s mind).

I also don’t know if the Waldheim affair was actively in the news in ‘88/‘89 (though he was still president of Austria)... seems like Lou was sort of pulling various threads together.

Yes to more coverage of Black indie, but this guy has to be the worst music person on Twitter. Whines about absolutely everything while stealing money from bands on his label.

For example, Pitchfork passed on serious coverage of all of our releases from black artists this year due to not being relevant enough. Some were at least lucky enough to get filler pieces and mentions in round-up articles. Meanwhile, serious coverage was given to... https://t.co/2kgaQRYjvD

— Don Giovanni Records (@DonGiovanniRecs) September 29, 2020

stealing money from bands on his label

Is that documented anywhere? Sucks if true. The only artists I know on his label are Moor Mother and Mourning (A) Blkstar, both of whom have been on the cover of The Wire.

wow, weird that p4k reviews albums by whites like Carly Rae Jepson, Yo La Tengo and Built to Spill. Seems off brand.

Don Gio guy isn't necessarily wrong, but it's a really weird way to make the point. Is there more about him stealing money?

there's kind of a secondary factor: if an album is not a huge release that obviously is going to be covered -- by any site, not just pitchfork -- then its coverage is mostly up to writer interest. if nobody pitches it, it doesn't get covered.

which is not to say that there's no racism involved, obviously what gets pitched is not a random impartial choice, but also has factors like "did the writer get her shit together before release date"

Huh?

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Pitchfork won’t run a review if the release date has already passed?

Pitchfork editors just passively wait for pitches to come in, and never ask writers to review something?

Sometimes editors ask (big, buzzy releases or releases by established artists)
Sometimes if stuff isn't on the radar it falls to the writer ...
... but writers pitching is no guarantee pitches are gonna be accepted, you see

So the big undercovered favorites maybe turn up in Records You May Have Missed or possible the year end poll if they grew on enough writers through the year, etc.

^

from my understanding this is pretty much how it works everywhere, just because there is so much music and so little time and budget.

https://pitchfork.com/reviews/albums/rilo-kiley-rilo-kiley/

we now need justice for every album theyve 8.0 or 8.1ed but not bnmed

To loop back around to the previous point of discussion, I’m a member of a college radio station that operates in the same local music scene as - and based on our playlist, I’m now realizing, must do frequent business with - the Don Gio guy, so if he’s ripping off his artists I would really benefit from hearing the specifics on that.

Weird that a best new reissue with a 9.1 (the archival Thelonious Monk release) would be pushed down to the bottom and not the day's highlighted review. Don't get me wrong, I like Deftones and hear great things about the new one, but I wouldn't imagine that Deftones necessarily is the bigger "draw" in 2020 than Monk.

I will imagine Deftones are exponentially a bigger draw than Monk metal, like not even close

lol Monk metal does that already exist

It better.

https://www.traditioninaction.org/RevolutionPhotos/Images%20(401-500)/404_MetalMonk01.jpg

Yeah I guess Deftones might be the bigger draw in 2020? Tbh I have a hard time translating ilm love for legacy bands into what their real life rep actually is.

many xps but really loving the numun album. getting big books 'lemon of pink' vibe

i mean a bigger draw than a jazz reissue is like the lowest bar to clear in the world

Shortly after midnight, Deftones’ “Ohms” enjoyed a brief stint at #1 on the US iTunes album sales chart. Machine Gun Kelly’s “Tickets To My Downfall” quickly seized the throne, however, and remained in the pinnacle position through Friday morning.

By Friday afternoon, the new Deftones album had returned to #1. It holds the top all-genre spot as of press time at 1:50PM ET.

“Tickets To My Downfall” follows at #2, ahead of Carrie Underwood’s “My Gift” at #3, Joji’s “Nectar” at #4, and Granger Smith’s “Country Things, Volume 1.” Each is a brand new release.

And I will gladly pay attention to none of them.

iTunes albums sales chart?