really good reviews are rare - this thread is for sharing them!
most recent really good review that comes to my mind is the Nothing Wrong With Love reissue review by Mark Richardson (who generally does p good reviews) http://pitchfork.com/reviews/albums/21096-theres-nothing-wrong-with-love/
works well as an essay, good analysis of songs/lyrics with v good examples + nice balance between historical background and contemporary relevance
some of the images/ideas stuck with me and are now part of my idea abt Built to Spill
― niels, Wednesday, 30 December 2015 18:37 (two years ago) Permalink
five responses by 2017
― on entre O.K. on sort K.O. (man alive), Wednesday, 30 December 2015 18:41 (two years ago) Permalink
― niels, Wednesday, 30 December 2015 18:42 (two years ago) Permalink
think xgau got away with this one really well:
What I admire most and enjoy most about this album is that it addresses African-Americans straight up and leaves the rest of the hip-hop audience to listen in if it wants. It’s a strong, brave, effective bid to reinstate hip-hop as black America’s CNN — more as op-ed than front page, but in the Age of Twitter that’s the hole that needs filling. Fortunately, the concept starts with the music, which eschews party bangers without foregoing groove, sampling rhythm godfathers P-Funk, Michael Jackson, and the Isley Brothers and building a house band around jazz pianist Robert Glasper and what-you-got bassist Thundercat. But it’s even more racially explicit in lyrics that don’t protest racism because what good does that ever do — just assumes it as a condition of life for his people, root cause of the cultural breakdowns he laments and preaches against throughout. Acknowledged only in passing is a mega-success too obvious to go on about, not to mention enjoy — a privilege that’s also a temptation, to which he responds not with hater paranoia but with a depressive anxiety that resurfaces as a narrative hook without ever starting a pity party. Lamar knows he’s got it good. For his people he wants better. Few musicians of any stylistic persuasion are so thoughtful or so ardent. Few musicians have so little need of a hooky review. A MINUS
― niels, Tuesday, 5 January 2016 11:43 (two years ago) Permalink
Neil Young's Tonight's the Night is a harrowing record about loss and death. Yet it often sounds like a raucous party thrown by a bunch of lovable knuckleheads having the time of their life.
http://pitchfork.com/reviews/albums/22053-tonights-the-night/Mark Richardson always doing good stuff
Tonight’s the Night is an album not so much about death as about mourning. And while we might like to think of mourning as a dignified pursuit grounded in ritual—a black veil, food at the door, loved ones at beck and call—the truth is that mourning can be messy and out of control and it can sometimes look like something else entirely. Sometimes mourning can even look like a macabre celebration, embracing life with one arm while the black figure of death is curled inside the other.
― niels, Thursday, 7 July 2016 10:24 (two years ago) Permalink
this one is great:
― niels, Wednesday, 26 July 2017 08:38 (one year ago) Permalink
Really enjoyed this takedown of Public Service Broadcasting's latest... offering
Since it confirms everything that I hate about this shit
― ultros ultros-ghali, Wednesday, 26 July 2017 18:45 (one year ago) Permalink
this is a good reviewhttps://pitchfork.com/reviews/albums/bob-dylan-trouble-no-more-the-bootleg-series-vol-13-1979-1981/
― niels, Saturday, 4 November 2017 16:55 (ten months ago) Permalink
― on entre O.K. on sort K.O. (man alive), Wednesday, December 30, 2015 11:41 AM (one year ago) Bookmark Flag Post Permalink
― ToddBonzalez (BradNelson), Saturday, 4 November 2017 17:05 (ten months ago) Permalink
― niels, Saturday, 4 November 2017 17:14 (ten months ago) Permalink
Mark Richardson is still a v good writer
― niels, Thursday, 28 December 2017 10:14 (eight months ago) Permalink
So yes, Springsteen, Dylan, Tom Petty, and Neil Young all made songs between 1983 and 1988 that sounded something like the War on Drugs, but they often had these booming gated drums, a technique Granduciel mostly avoids. Instead, he favors a steady, muted pulse evocative of krautrock’s motorik groove. The arrangement of “In Chains” hums and explodes but the drums plow ahead with barely a fill or an accent, precisely marking the passing time. The approach to rhythm highlights the glide of the arrangement, creating a long rope of sound bound together so tightly it could never be pulled apart.
― niels, Thursday, 28 December 2017 10:22 (eight months ago) Permalink