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1. Kanye’s My Beautiful Dark Twisted Fantasy gets a 10.0 rating from Pitchfork. It now joins such noteworthy releases as 12 Rods’ Gay? and Robert Pollard’s Relaxation of the Asshole in receiving such a rare honour.

2. In all seriousness, it is a very good album.

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It’s very interesting, to me, to be reminded of that, that there was a time when things were not that tight. And we’re going through this super-uptight era, which I think comes entirely from literacy, actually. It’s the result of machines that were designed as word processors being used for making music. Because that’s what we’re doing, after all. All the programs we’re using started their lives, really, as word processing programs and the concepts that typify word processing, like “cut and paste,” “change typeface.
Brian Eno interviewed by Pitchfork today

Pitchfork: Bona Drag (20th Anniversary Edition)

That cover is awful - you’d think someone would know how to use Photoshop properly by now, particularly when all you’re really doing is applying a silly faux-sepia effect.

The review, however, is correct. Bona Drag really is the best of Morrissey’s pre-‘04 output, and ‘Last of the International Playboys’ is quite possibly his greatest solo work.

1. Das Racist’s Sit Down, Man mixtape is so good! These guys certainly can’t be considered just a novelty group anymore.

2. Pitchfork’s fascination with Deerhunter still perplexes me a bit.

3. Whilst ‘Higher’ by the Saturdays is certainly better than any of the singles off Wordshaker, it still seems fairly generic and unmemorable to me. I guess it’s just hard not to compare them to Girls Aloud.

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[Robert Fripp] speaks about himself in the third person, like: “The guitarist feels that his performance on this take was the preferred one.” He’s like the Buddha via 10 Wellington Place.
Nick Cave interviewed by Pitchfork

Pitchfork: This is Not a Photograph

Very interesting article on the recent trend of indie-rock albums using faded photographs as album art. Of course, as is pointed out in the article, Jandek is basically both the progenitor and master of this aesthetic, constructing an entire life out of his numerous recordings.

Also, is the title a Mission of Burma reference? If so, awesome!

1. ‘Acapella’ by Kelis, and ‘Commander’ by Kelly Rowland are both amazing - like, really good. ‘Gettin’ Over You’, or whatever it’s called, is not so great. Guetta’s production is becoming overexposed - since when do 42 year old French house DJs get so much traction within American r&b?

2. Kate Nash says she’s ‘a feminist’. Which is great. Now all she needs to work on is writing decent music, amiright?

3. Das Racist’s album got a 7.8 on Pitchfork. Should I be surprised?

4. ‘Eenie Meenie’ is not a bad song. Not a good song, necessarily, but I guess we’re starting from a fairly low base. It’s no ‘Fire Burning’, if that’s any comparison.

blitzen trapper morning roundup

This is very true.

i think it’s a blessing to get to be an indie rock band of Webster Hall popularity that pitchfork has only shit on — it means if your next record doesn’t get Best New Music, you won’t find yourself playing to 35 people at the Mercury Lounge on a monday night, and your fans are maybe not thinking hypercritically about your work. in a counterintuitive way, pitchfork has dealt Deer Tick a pretty sweet hand with those 5’s you know?

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Decades removed from its writing I didn’t find the assertion particularly leveling or insightful. Rather, I was amused by its irony. Originally, Marx and Engels had hoped to shock their staid, academic readers with imagery of the undead, as with the Pushead-inked “Red Monsta” devouring Europe on the cover to their earlier Communist Manifesto. Now the word “spectre” struck me only as a reminder that Metallica had long given up the ghost. The manifesto remained only a document of arrogance and comedy. Marx continued, “Metallica is already acknowledged by all Rock powers to be itself a power.” And yet, when MTV recently bestowed Metallica with “Icon” status, they could only dredge up Kelly Osbourne, Ja Rule, Sum 41, Godsmack, Linkin Park, Avril Lavigne, Limp Bizkit, Lisa Marie Presley, and Snoop Dogg in tribute.
From Brent DiCrescenzo’s notoriously verbose and obnoxious review of Metallica’s (shitty) St. Anger
So if you believe Pitchfork (which, let’s face it, is always a proposition fraught with risk), this was the best album of 2009 - basically a bunch of self-satisfied hippies ripping off OMD. Can we do better? Or was this a really poor year for music?

So if you believe Pitchfork (which, let’s face it, is always a proposition fraught with risk), this was the best album of 2009 - basically a bunch of self-satisfied hippies ripping off OMD. Can we do better? Or was this a really poor year for music?