I liked fine the Nebraska write-up from Sunday, but I prefer it when Pfork uses that space to write about albums that aren't already canonized/have been written about extensively. And it could still be about major acts*—I especially liked that for Miles Davis they chose Get Up With It, rather than, say (just sticking to fusion-era Davis), Bitches Brew. As far as Springsteen goes, I'd rather read something on Tunnel of Love than Nebraska. If David Bowie finds his way to the Sunday spot, I want to see something on Black Tie White Noise or Outside.
* "Major acts" in terms of what Pitchfork would consider "major", but I do like them writing about older albums from bands outside the site's ken—Blood Sugar Sex Magik and 40 Oz. To Freedom, for example.
pitchfork literally only writing reviews of old shit so they become the one stop shop for reviews of older albums and take away the web traffic of older contemporaries (rolling stone, etc.). these sunday throwback reviews are all about SEO/SIO performance and clickthrough. Conde Nast know the way to capture the older crowd is through ease of access into what's hip and current and gen x'ers are susceptible to that. "ah this website looks vaguely similar to bon appetit, a place i go to look at food through instagram filters well i also need an opinion about Nebraska for the 100th time in my life but this time from a fresh young mind" click
Eyeball Kid wrote:* "Major acts" in terms of what Pitchfork would consider "major", but I do like them writing about older albums from bands outside the site's ken—Blood Sugar Sex Magik and 40 Oz. To Freedom, for example.
i also really enjoyed these for some reason.
it does make one think about which current records they are snidely avoiding covering tho that someone'll anniversify in 2028 tho. like are we gonna get longform takes on 30 Seconds To Mars?
steakspoon wrote:sorry if sounds corny fellas but i'll always remember where i was when i heard my first big star song..the internet.
I went to the site and clicked on that and now I'm wondering why two people got a byline for what was essentially a short, rewritten press release. Did one of the writers get a credit for hyperlinking?
becky wrote:they have been doing double bylines for the weirdest shit for a while now, it's hilarious.
i am glad it isn't just me that's noticed this and wondered why it takes two staffers to re-write a press release or say they've reached out to someone's representation for more info.
The Death Grips headlines of late seem quite like a satire or like they have a lot of contempt for their fanbase. I think they will probably get a panned review for their new album as well. I mean they have been a target of memes for a long time, it's a little unsurprising they are catering to that demographic by announcing collaborations with the director of Shrek and Tool. Maybe in the post election political landscape, Death Grips fanbase is a little bit too uncomfortable for pitchfork to engage with.
Also this debut track review for Snail Mail. Reminds me of bland bands like Soccer Mommy, who seem to materialize out of thin air
Lyrically, Jordan’s quite the pragmatist—she doesn’t water down her emotions, nor does she overblow them. She knows there’s more out there for her, but is still snared in unrequited love. “I know myself and I’ll never love anyone else,” she sings frankly. Of course, expressing oneself so candidly without fear of ridicule can be daunting, especially for young women, so even as Jordan is caught up in the bruisings of first love, her assertiveness is a triumph in itself. She seems to sense it, too: Her vocals are strong and determined, her guitar riffs anthemic. As much as teenhood can feel like an emotional prison, and heartbreak like the end of the world, Jordan seems to be finding a way to muscle through it all.
animefilm wrote:The Death Grips headlines of late seem quite like a satire or like they have a lot of contempt for their fanbase. I think they will probably get a panned review for their new album as well. I mean they have been a target of memes for a long time, it's a little unsurprising they are catering to that demographic by announcing collaborations with the director of Shrek and Tool. Maybe in the post election political landscape, Death Grips fanbase is a little bit too uncomfortable for pitchfork to engage with.
Also this debut track review for Snail Mail. Reminds me of bland bands like Soccer Mommy, who seem to materialize out of thin air
Lyrically, Jordan’s quite the pragmatist—she doesn’t water down her emotions, nor does she overblow them. She knows there’s more out there for her, but is still snared in unrequited love. “I know myself and I’ll never love anyone else,” she sings frankly. Of course, expressing oneself so candidly without fear of ridicule can be daunting, especially for young women, so even as Jordan is caught up in the bruisings of first love, her assertiveness is a triumph in itself. She seems to sense it, too: Her vocals are strong and determined, her guitar riffs anthemic. As much as teenhood can feel like an emotional prison, and heartbreak like the end of the world, Jordan seems to be finding a way to muscle through it all.
it's interesting that you mention Death Grips. i recently looked up the p4k review of their last record. completely forgot that they gave them the 8.1 non-BNM for Bottomless Pit, so it seemed like their brand was cresting again weirdly around early/mid 2016(?). god why am i writing a p4k game theory post about Death Grips? i don't really want to devote too much mental energy to Death Grips, but i had completely forgot about that last review. a Good Ole ~8.0 non-BNM Hedge mmm
steakspoon wrote:sorry if sounds corny fellas but i'll always remember where i was when i heard my first big star song..the internet.