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Reviews of Record Reviews
Grayson Haver Currin reviewing a Gabriel Kahane album might just be the rare case of the reviewer being equally as well-known as the reviewed. After all, GHC, along with his wife Tina, are a fair degree of Internet Famous for… Continue Reading →
Pitchfork has this thing that they love to do on Sundays. Most of us utilize this day of freedom to get some errands done, have a nice brunch, go for a walk, catch up on that Hulu backlog…a whole litany… Continue Reading →
Uh oh, the social responsibility taskforce has been unleashed from Pitchfork headquarters and is chasing after the wrong beasts again. Unlike the Fork Puritan’s recent head scratching run at completely harmless folkies Luluc, however, this one seems more inevitable. After… Continue Reading →
For those many, many souls not in The Know, Luluc are a gentle Australian duo who play über-low-key tunes with a peaceful hippy-hint of the winter of ’69 canyon sound. It’s a thoroughly relaxing listening experience, and it really, really… Continue Reading →
I don’t know much about Chromeo, but I do know they are a joke. A shtick. Two Canadian EDM dudes playacting as silky, over-the-top, 70s-Euro playboys. I mean, just look at them. No seriously, take a look at that cover… Continue Reading →
Sometimes a good press kit will set up your album for some easy reviews. Maybe this makes the reviewers happier (since their narrative is comfortably preconceived for them) and hopefully it ends up getting your artist a more positive review. But it… Continue Reading →
7.1 out of 10. Definitely a passing score, right? It won’t get you Pitchfork’s coveted “Best New Music” or anything but it isn’t a critical lashing. If you’re a lo-fi minimalist electronic artist from Detroit biting your nails in worry… Continue Reading →
What, you can’t give a bad review to Chvrches? Mayberry and The Two Synth Dudes can’t be that powerful, can they? This band had, what, one surprise hit album maybe five summers ago? Then a less successful one maybe two… Continue Reading →
It may be hard to imagine now, but there was a time when the pre-Conde’ Nast Pitchfork Media followed its own singular instincts. It was a site that rarely took into account the cultural group-think surrounding a particular record, band,… Continue Reading →
Ah, the PR Blowjob Review As professional critics of music criticism, we come across this type of thing all the time. It’s easily identifiable from the very first line of Jonah Bromwich’s review of the new Eleanor Friedberger album. Any… Continue Reading →
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