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Reviews of Record Reviews
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 →
Just like your favorite bands might drop an album that feels like a contractual obligation or a general swing-and-a-whiff, music critics can suffer from the same malaise. Previously commended by The Niche for his review work on The Cars, Alfred… Continue Reading →
As a dedicated music listener very much in touch with your own tastes and preferences, you should be able to tell from any album review if the record is worth checking out no matter the reviewer’s opinion or rating. Much… Continue Reading →
There’s an easy trap that many critics fall into when reviewing archival releases. It’s a fully understandable slip, but it has clearly spelled out the doom of many a review of music recorded in the ‘60s and ‘70s. When a… Continue Reading →
What must it be like to wake up as Ian Cohen? You open your eyes to that soft Carolina light. You stretch your arms. Your cat, named Death Grips, snuggles up close. You fumble around on the nightstand. Where’s your… Continue Reading →
We were SO READY to give this review a 47/100. As a matter of fact, this rating was typed in before we even sat down to peruse the review. There’s just something about people over 22 getting all screw-faced over… Continue Reading →
Another day, another Pitchfork review of a band with an intriguing name that I’ve never heard of, and yet another example of the immense importance of music critics. Yesterday was possibly the most pivotal moment in a band called Goat… Continue Reading →
I’m pretty sure I’ve never heard Hinds. The name is familiar from gig listings around NYC, which means they’re big enough to play mid-level venues such as Rough Trade and Music Hall Of Williamsburg. If I close my eyes and… Continue Reading →
Early in the second paragraph of Pitchfork newcomer Alfred Soto’s review of these two Cars reissues he manages to land a tricky one-two punch, dissing classic rock grump Robert Christgau and nailing the populist appeal of the band in one… Continue Reading →
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