From their Sunday review section, where they dig up old overlooked/unreviewed records. Gil-Scott Heron sitting comfortably next to Miranda Lambert. Full poptimist, the logical conclusion of the direction mapped by LDR's coverage http://www.rarecandy.org/op-eds/2016/1/26/regarding-rockism-pt-2-3
Pitchfork's important to chart—they really track the indie zeitgeist 1999-2020. The retreat into comfy Homeshake territory, the redemption of Top 40, the dominance of POC/women artists in the late 2010s
You never get a sense of a real human writing what they really think do you. It always feel like some arch enactment of music review. Let's pretend to consider this a serious work of art and let's pretend to be a serious critic taking it seriously.
It's not real writing it's not a real human being. It's all the matrix. Some horror show simulacrum. I almost start screaming reading that sort of thing
yeah the good thing about boxedjoys dancefloor moments (my idea) and craners top 100 is, as corpsey said the emotional resonance, the personal stuff in time and in people
If the writer was being honest they'd go yeah, cheap music for plebs. What's going on with her voice? What are the components of it? What's she trying to evoke? Where does she end up?
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