GQ Music tranches

Let's talk Aguachile Alley

Postby ripersnifle » Tue Mar 20, 2018 10:18 am

man that adjacency explains ... so much about contemporary music culture/journalism tbh
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.
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Postby domesticwhite » Tue Mar 20, 2018 10:26 am

"industry plant"
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Postby zolpidem tartrate » Tue Mar 20, 2018 10:39 am

Is there any actual evidence of that? All I can find is other artists disputing the claim.
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Postby domesticwhite » Tue Mar 20, 2018 10:41 am

old Bright Eyes is the man behind the curtain
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Postby ripersnifle » Tue Mar 20, 2018 10:49 am

i mean, that makes complete sense. wrt the earlier singles, the Apple ad, etc.
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.
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Postby ripersnifle » Tue Mar 20, 2018 10:50 am

still think the album is really good tho!
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.
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Postby domesticwhite » Tue Mar 20, 2018 10:55 am

will explain more in the music industry thread in the member forum
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Postby Eyeball Kid » Tue Mar 20, 2018 11:44 am

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.
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Postby domesticwhite » Tue Mar 20, 2018 11:51 am

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
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Postby Eyeball Kid » Tue Mar 20, 2018 11:53 am

Yeah, I assumed they're gonna throw in stuff like Nebraska occasionally because it attracts eyeballs. (Pun on my screenname unintended.)
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Postby ripersnifle » Tue Mar 20, 2018 11:53 am

ahahahah so on point that hurts
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.
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Postby ripersnifle » Tue Mar 20, 2018 12:02 pm

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.
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Postby Eyeball Kid » Tue Mar 20, 2018 12:05 pm

Linkin Park, more likely
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Postby Zurich » Tue Mar 20, 2018 12:11 pm

wonderful week for some predictable tranches with hot snakes & yo la tengo
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Postby bongo » Wed Mar 21, 2018 11:03 am

Image
yeaaaaaaaaaaaa american nostalgia love it suburban living civilized families this could be my life
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Postby ripersnifle » Wed Mar 21, 2018 11:40 am

is that the less expensive mix of leftover colours that they were talking about on Pleasance Podcast episode 2?!?!
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.
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Postby Eyeball Kid » Wed Mar 21, 2018 11:45 am

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?
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Postby becky » Wed Mar 21, 2018 11:58 am

they have been doing double bylines for the weirdest shit for a while now, it's hilarious.
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Postby Zurich » Wed Mar 21, 2018 1:29 pm

with all the broken links on that site, no way anyone is working on the hyperlinking
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Postby Eyeball Kid » Wed Mar 21, 2018 2:07 pm

I have experience with hyperlinking! Perhaps I should submit a resume.
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Postby antoine » Thu Mar 22, 2018 2:20 pm

Did not expect preoccupations to get a respectful tranching
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Postby buttre » Thu Mar 22, 2018 2:27 pm

Oh ryan...
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Image
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Postby Eyeball Kid » Thu Mar 22, 2018 2:28 pm

He looks like a schlubby Nefarious now
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Postby antoine » Thu Mar 22, 2018 2:30 pm

Indie Nefarious
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Postby Honk For Dracula » Thu Mar 22, 2018 2:43 pm

I want them review 3eb s/t and coheed & cambria - second stage turbine blade
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Postby bongo » Thu Mar 22, 2018 2:45 pm

Nef Mangum
yeaaaaaaaaaaaa american nostalgia love it suburban living civilized families this could be my life
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Postby Grumby » Thu Mar 22, 2018 4:25 pm

antoine wrote:Did not expect preoccupations to get a respectful tranching


i still haven't listened but the newest single they put up on youtube is pretty damn dece. maybe i'll listen to this tonight.
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Postby Kev E Fly » Thu Mar 22, 2018 4:58 pm

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.
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Postby animefilm » Fri Mar 23, 2018 3:49 am

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.
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Postby ripersnifle » Fri Mar 23, 2018 12:42 pm

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
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