Everybody's Down
This only happens when I actually like the band in question.
While it's fine and good that every critic is beginning to feel a bit guilty, embarrassed and suspicious by the insta-lauding of Bands They Deem Talented so early in their career, why couldn't they realize this upon the unveiling of say, TV on the Radio or Liars or Sunset Rubdown? No Age is actually good, so I don't really care what anyone says about lauding them too early; the musical factors (tune, riff, atmosphere, charm, synergy) claim those people were correct.
Same with Vampire Weekend, only no one's emotionally attached to those jokers, even the big fans, and No Age is making everyone rightfully cry into their cereal for the Gold Soundz of classic Sebadoh/Archers of Loaf/Pavement et cetera. What I think people are actually concerned about is that an album so miniature and intentionally tossed-off is Pitchfork's favorite of the year so far, rather than something revolutionary or important like, hee hee, Sigur Ros. I'm trying to think of the last time a group this shambolically songful was so celebrated and the best I could come up with is the painfully not-songful Broken Social Scene. Which brings us back to classic Sebadoh/Archers of Loaf/Pavement et cetera.
Let's talk about Pitchfork (again). Me and Theon Weber agreed earlier today that pretty much no one prefers Boys and Girls in America, no matter how self-important the title, to the richly cohesive Separation Sunday. Except for whoever gave Boys a 9.4 over the latter's 8.7. What it comes down to is that you can't be reactive to your own hype without closing in on yourself...watch as Tapes 'n Tapes got carefully swept under the rug. And if it's not Tapes 'n Tapes it's Going for the Gold: what choice did anyone have to give Sound of Silver or Person Pitch after all that bubbling under the surface insists those guys were supposed to have made a masterpiece by now? Just once I'd like to see someone enthusiastically reported by their news people get a 6.0 from a reviewer. The closest tension I can think of was when Hot Chip's Made in the Dark got a 7.0 and the reviewer seemed so confounded by his distaste for the "weirdly overrated" "Shake a Fist" against his colleagues' insistence. Strange phrasing; why is that so "weird," dude? It's just a song. That's called dissent, Mr. Pytlik. You'll get used to it.
Eh, this whole rant basically boils down to another Free-To-Be-You-And-Me speech. Oh, and not having to be polite about it.
Ponytail's Ice Cream Spiritual leads off with one of the most fantastic explosions the year's coughed up so far, "Beg Waves," and holds up pretty well from there. I'm beginning to think this resurgence of tuneful art-punks are actually onto something.
While it's fine and good that every critic is beginning to feel a bit guilty, embarrassed and suspicious by the insta-lauding of Bands They Deem Talented so early in their career, why couldn't they realize this upon the unveiling of say, TV on the Radio or Liars or Sunset Rubdown? No Age is actually good, so I don't really care what anyone says about lauding them too early; the musical factors (tune, riff, atmosphere, charm, synergy) claim those people were correct.
Same with Vampire Weekend, only no one's emotionally attached to those jokers, even the big fans, and No Age is making everyone rightfully cry into their cereal for the Gold Soundz of classic Sebadoh/Archers of Loaf/Pavement et cetera. What I think people are actually concerned about is that an album so miniature and intentionally tossed-off is Pitchfork's favorite of the year so far, rather than something revolutionary or important like, hee hee, Sigur Ros. I'm trying to think of the last time a group this shambolically songful was so celebrated and the best I could come up with is the painfully not-songful Broken Social Scene. Which brings us back to classic Sebadoh/Archers of Loaf/Pavement et cetera.
Let's talk about Pitchfork (again). Me and Theon Weber agreed earlier today that pretty much no one prefers Boys and Girls in America, no matter how self-important the title, to the richly cohesive Separation Sunday. Except for whoever gave Boys a 9.4 over the latter's 8.7. What it comes down to is that you can't be reactive to your own hype without closing in on yourself...watch as Tapes 'n Tapes got carefully swept under the rug. And if it's not Tapes 'n Tapes it's Going for the Gold: what choice did anyone have to give Sound of Silver or Person Pitch after all that bubbling under the surface insists those guys were supposed to have made a masterpiece by now? Just once I'd like to see someone enthusiastically reported by their news people get a 6.0 from a reviewer. The closest tension I can think of was when Hot Chip's Made in the Dark got a 7.0 and the reviewer seemed so confounded by his distaste for the "weirdly overrated" "Shake a Fist" against his colleagues' insistence. Strange phrasing; why is that so "weird," dude? It's just a song. That's called dissent, Mr. Pytlik. You'll get used to it.
Eh, this whole rant basically boils down to another Free-To-Be-You-And-Me speech. Oh, and not having to be polite about it.
Ponytail's Ice Cream Spiritual leads off with one of the most fantastic explosions the year's coughed up so far, "Beg Waves," and holds up pretty well from there. I'm beginning to think this resurgence of tuneful art-punks are actually onto something.
posted by kiss out the jams at 6:16 PM
0 Comments:
Post a Comment
<< Home