So, like, the whole reason I ever liked pitchfork to begin with was because they had higher standards than everyone else. They had a firm belief in artistic integrity. I mean, also they were hipster assholes. But that’s always besides the point. That was about sixteen years ago I think… Now all of…
The lyrics to “Step” are fine. Vampire Weekend are an exceptional band and both of the new songs are pretty good. They may not be relevant to you, but they certainly are to many people who have a pretty decent sense of what good rock music is. What makes Vampire Weekend any less relevant than they were two years ago anyway? Why should we give a fuck about “relevance”? It’s just as meaningless as assigning an arbitrary score to a piece of music, which is what Pitchfork does on a daily basis. How many bands weren’t “relevant” enough during their time but ended up becoming some of the most important and influential acts in rock music? But hey, guess what- that’s completely besides the point. And like it or not, you’re wrong. Vampire Weekend are extremely relevant. But so are Mumford & Sons and Skrillex. This brings me back to my point, which is that whether an artist is “relevant” or not has no bearing on the music they put out. Have you forgotten that vital part?
Besides, if “relevance” is so important to you (and I’m assuming it is considering it’s something you bring quite up a lot) wouldn’t you agree that complaining about the machine known as Pitchfork is a little irrelevant, too? It’s a moot point. All the think pieces dissecting it are so incredibly redundant, writing one is like pissing into an ocean of piss. Stop going to the site if you despise it so much. You’re giving it too much power. I’m sorry the publication you once treated as your music bible when you first found out what indie rock was decided to hype the new Justin Timberlake album, but they didn’t exactly pull a 180 with their coverage of him or anyone else that doesn’t fit into your idea of what’s “relevant”.
Pitchork never changed, you did.
Did anyone else immediately download every single piece of music Panda Bear mentioned in his P4K Guest List you hadn’t already listened to?
In other Panda Bear related news, I’ve been listening to his debut solo album a lot recently. It’s incredibly sweet (and I mean the “aw that’s such a sweet thing to say” sweet not the “woah bro that’s a sweet blunt you just rolled” sweet).
"Galaxie 500’s ‘Tugboat’ was played 7,800 times on Pandora in the first quarter of 2012, for which its three songwriters were paid a collective total of 21 cents, or seven cents each.
Galaxie 500’s Damon Krukowski in an article he wrote for P4K on music streaming services like Spotify and Pandora and how the money relates back to the musicians.
Hello, I’m a woman (I think) and the reason why I did not make a list is because I felt that if I made one it would not…
I’m a guy. I tried making a list. I couldn’t do it. Why? Because I hate lists. There’s no way I could decide what my 26th favorite album of the last 15 years was. Seriously, I don’t know how anyone does it.
Sorry if my dick makes my opinion invalid. I’m off to drink beers and watch a football game at Hooters.
"Change has been boiling under ever since the decade clicked to double zeros. We’ve wanted more of something, and slowly we’ve realized what. What you’re increasingly witnessing at every club, at every show, with every passing night, is the death of the horrible, awkward, uncomfortable tension of devoted music fans pretending not to enjoy music they have paid to see. Finally, we are shaking off the coma of the stillborn slacker 90s and now there is movement. Arms uncross, faces snap to attention, and clarity hits like religion. We have buried irony and pissed on its grave and for the first time we are realizing what rock music, rock shows are all about.
Ryan Shreiber proves not to be much of a swami in his review of The Rapture’s 2002 debut album, Echoes.