Pitchfork tranches

[fester]

maybe he's just trying to make up for this blunder http://pitchfork.com/reviews/albums/2134-discovery/

one day this will be reissued and he'll give it a 10

[the_village]

they kind of already did http://pitchfork.com/features/staff-lists/7710-the-top-200-albums-of-the-2000s-20-1/2/

03. Daft Punk
Discovery
[Virgin; 2001]

Daft Punk's first album had helped refresh house music in the mid 1990s; the second went further, rewriting electronic pop's pleasure principles to such a degree that when it came out a lot of people thought Discovery must be a put-on. They took the joy in the record for irony. Rather, the band had simply plunged into the raw popstuff of their 70s childhoods, from AOR to disco, Buggles to Manilow, rock to robotics. They wanted their listeners to get the rush of context-free delight they had hearing music as kids, and on "Aerodynamic" and "Digital Love" they succeeded wildly, dissolving a decade-plus of dance music good taste. And not all of Discovery looked back. The middle of the album is house music as string theory, with the duo finding dimensions of pleasure coiled within the tiniest loops: "Crescendolls" releases an awesome, gleeful energy by repeatedly triggering one five-second sample.

Discovery was simply the decade's best good-times record, with Daft Punk as pyramid-toting party wizards and the chipmunk Kraftwerk of "Harder Better Faster Stronger" their anthem. But this most celebratory of records has a bittersweet streak, too: Daft Punk know that a rush always carries the risk of exhaustion. Perhaps the album's most underappreciated track is the sad but gorgeous "Short Circuit", a three-minute robot graveyard of crumbled transistors and dying LEDs. But from Romanthony's first blissful, vocoded shout of "one more time!" the dominant emotion on Discovery is joy. A joy that wasn't afraid to be sentimental and funny as well as hard and futuristic, and is all the better for that. When a generation looks back and tries to catch a fuzzy hold of the music that made them happy this decade, Daft Punk's will be top of the list. --Tom Ewing

[endless dave]

the 5-10-15-20-25-30-35-40-45-50 for the guy from Lambchop is pretty good as was Lee Ranaldo and Robert Wyatt
http://pitchfork.com/features/5-10-15-2 ... rt-wagner/
reading stories from older dudes is far more interesting than what MIA thinks about twitter or how the Girls guy is kicking heroin or how some guy from Beach Fossils has a new band that sounds exactly like Beach Fossils

heard this story about how the guy from beach fossils/dive contacted this indie promo company about wanting to do an internship "so he can see what the music industry is like." it's also the company that is working his record, so they're not sure if that's completely ok, but they have him in to "interview." they go through the process, he fills out the form, talks to the people in the office. after an hour or two, he stares at the owner and goes, "wait, so... what exactly is and internship?"

he did not get the job.

That doesn't strike me as a terrible question, really.

it wasn't "what does this internship entail" it was honest to god "I don't know what an internship- any internship- is. Please explain the concept to me"

[Shart Damage]

just unearthed a classic from web.archive.org

http://web.archive.org/web/20030416195221/www.pitchforkmedia.com/record-reviews/b/bachman-turner-overdrive/remastered-hits.shtml

[the_village]

holy shit that last paragraph

[Grey Poupon]

Walking into Savages singer Jehnny Beth's north London living room, you're struck with a sense of the romantic promise and luster bands are supposed to have. There's nothing unassuming or reticent about the black mantelpiece stacked with vases of red roses and a replica of the clock from Dali's The Persistence of Memory; anthologies of 1970s porn magazines on the bookshelves, the enormous vintage wooden speakers in front of the tiled fireplace, and Thelonious Monk LPs propped by the record player. On a tour of the handsome house, Jehnny (real name Camille Berthomier) points out the French doors in her bedroom where she often wakes to see foxes peering in, before leading the way down to the tiny basement where Savages have been recording their debut single, "Flying to Berlin" b/w "Husbands", the second half of which you can hear above. It's a rumbling and explosive post-punk shriek about faceless grooms that will most definitely not be played at your cousin's wedding. (The single is due May 28 digitally and on 7" in June.)

on the other hand they do a pretty catchy job of ripping off siouxsie&tb

[Totally]

Yeah that band is Pitty Sing to Warpaint's Interpol.

[internethandle]

haha yeah

[Juggly D, The Posting Maniac]

http://pitchfork.com/reviews/albums/16775-1991-ep/

Though it's only been about six months since the release of Azealia Banks's debut single "212", the room's still trashed from when she first stormed the scene.

[1986]

man that whole review. how you not gonna even mention lone or machinedrum. smh

[Juggly D, The Posting Maniac]

its like we all know pitchfork is jokes but man sometimes just like fuck

[bearthoughts11]

While some listeners gasped at the supposed audacity of Rihanna's suggestive chant, "cake cake cake," Banks, grinning, was like, "cunt, cunt, cunt.

[Totally]

[Juggly D, The Posting Maniac]

like what clove smoking thought cataloger did they get to type this piss pile

[king ding-a-ling]

man that whole review. how you not gonna even mention lone or machinedrum. smh

[MADONNA WAYNE GACY]

Without Varg Vikernes, the black metal story doesn't happen, or at least it doesn't merit a book deal. But how do you treat the legacy and output of someone who's done so much to build a sound, yet is also a murderer and a bigot?

[Locke]

grammatron your rancid nofx review got all fucked up i can't even read it

http://pitchfork.com/reviews/albums/582 ... s-vol-iii/

[grammatron]

And why were you trying to read that in the first place?

I see that I referred to Lars Frederikson's barf-bag vocals in that review, but I always thought it was Tim Armstrong's vocals that I designated barf-bag. Weird.

[mego]

is it ok if i post non-pitchfork bad reviews?

http://www.factmag.com/2012/06/06/liars-wixiw/

As misfits in a misfit scene; as itinerant interlopers in their various adopted homes from L.A to Berlin; as American rock’s eternally discarded, it’s as though, from their vantage point in the shadows, Liars have been able to quietly, without intervention or corruption, observe. To watch.

They watched as New York fell to James Murphy’s knowing artifice and the cult of hipster antipathy; duly skewering ‘New York Cool’ by beating the scenesters at their own punk-funk game, on debut They Threw Us All in a Trench and Stuck a Monument on Top. They watched as Western forces slaughtered thousands in the desert wake of 9/11, employing on They Were Wrong, So We Drowned what a quipping Woody Allen once called “allegorical didacticism”; as the witches (the Arab nations) turn on the flaxen-haired townspeople (us) after years of persecution. In the wind, you could almost hear the back-echo of Jim Morrison’s absurdo-ironic mantra from all those years ago “The West Is the Best / The West Is The Best.” A prophecy of the dire repercussions that await us following decades of malign American foreign policy, They Were Wrong was the Pied Piper fable of politicised art-rock.

it gets a bit better later on but "The incantatory bent that’s defined their oeuvre" is pretty bad too

[genghis sean]

the problem of music reviews has increasingly been the type of people who bother to write music reviews in 2012. why do I always have to feel like I'm embarrassed for someone when I'm reading these things?

[Locke]

And why were you trying to read that in the first place?

I love that split. nofx's cover of olympia is one of my favorite songs.

[1986]

not from pfm either but

It’s a rounder sound and a funkier feeling for Holy Other; musically, the song reminds of Aaliyah and Steve Reich and DJ Screw and Sweet Female Attitude and Joy Division.

[sleigh]

here's one of my favorite ledes ever:

Though their cover art depicts only the starkness of white on black, xx is not an album of strict dichotomies.

[surly]

i guess this goes in here? falco responds to pitchfork's latest future of the left review

http://futureoftheleftv2now.blogspot.co ... -name.html

[HUMANIMAL]

is it ok if i post non-pitchfork bad reviews?

http://www.factmag.com/2012/06/06/liars-wixiw/

As misfits in a misfit scene; as itinerant interlopers in their various adopted homes from L.A to Berlin; as American rock’s eternally discarded, it’s as though, from their vantage point in the shadows, Liars have been able to quietly, without intervention or corruption, observe. To watch.

They watched as New York fell to James Murphy’s knowing artifice and the cult of hipster antipathy; duly skewering ‘New York Cool’ by beating the scenesters at their own punk-funk game, on debut They Threw Us All in a Trench and Stuck a Monument on Top. They watched as Western forces slaughtered thousands in the desert wake of 9/11, employing on They Were Wrong, So We Drowned what a quipping Woody Allen once called “allegorical didacticism”; as the witches (the Arab nations) turn on the flaxen-haired townspeople (us) after years of persecution. In the wind, you could almost hear the back-echo of Jim Morrison’s absurdo-ironic mantra from all those years ago “The West Is the Best / The West Is The Best.” A prophecy of the dire repercussions that await us following decades of malign American foreign policy, They Were Wrong was the Pied Piper fable of politicised art-rock.

it gets a bit better later on but "The incantatory bent that’s defined their oeuvre" is pretty bad too

holy shit, i can't believe someone would even take credit for a piece of writing like this

[Contristo]

the writer for that Liars review might be the most intolerable person ever:
https://twitter.com/#!/JCalvert_music

900 words for NME for Tues, but only after E and FACT pieces r done. Is it a myth that Kent-era NME writers used to scribe on amphetamines?

it seems NME is letting high school interns write features now

[sleigh]

serious q do people get paid for these or no

[rollercoaster]

i guess this goes in here? falco responds to pitchfork's latest future of the left review

http://futureoftheleftv2now.blogspot.co ... -name.html

amazing

[Contristo]

serious q do people get paid for these or no

i think it's usually 1-3 editors at the top getting all the ad revenue, with all their contributors/writers essentially providing content for free. some sites seem lax enough to be crowdsourcing at this point.
of course there are sites like Rolling Stone or Spin that pay their writers, but sites like TMT, Popmatters, The Quietus, etc do not. Popmatters is still better than those other places though

[Baby Museum]

i like the quietus

it seems like all of the mildly interesting music sites are based outside of the US unfortunately