#103

Ooh, Ripfork - never seen this before. How exciting. Thanks.

#104

I was gonna say that I’ve stopped reading reviews nowadays, but then I realised I’ve been reading the AV Club TV reviews fairly religiously and think I’ve basically just found the style I like most.

For me reviews are best when they’re written by someone who on some level actually gets what the show/album/band are trying to do, even if they don’t like it. That way the review reads less as someone working out whether it is good or bad, and more like someone piecing together what exactly they like about something, or working out how something works within the context of its other work.

For example, this R.E.M. retrospective made a great read, even though I disagree with huge amounts of what he says, because it feels like a fan working out why they care about one of their favourite bands - a feeling I can obviously relate to. More importantly, it prompts me to think in new ways about things I’ve already listened to and have kind of compartmentalised in my head (English Lit grads think Defamiliarisation). This is why I think I like reading reviews of things I’ve already listened to or heard at least once.

As a result I don’t think it bothers me too much if a review looks massively at social context or focuses only on the guitar tones as both approaches provide an equally valid way of looking at the music. It’s hard for me to think about The Suburbs, for example, without thinking about where I lived at the time I heard it and the context of my life. Likewise as much as she really annoys me, this Amanda Palmer piece on The Cure is really engrossing because she doesn’t want to work out what’s good as much as work out why she feels a certain way about them now, which is much more interesting to me.

The problem is neither of these styles are that appropriate for a site like DiS that needs to review all new releases, so I don’t tend to read much (I guess fangasm is going in this direction). But at the same time it’s the reason the forum is a good place to discover music, as people are much more likely to talk about their personal experiences with records or gigs or something, and I’ve got into some great stuff as a result.

2 Likes
#105

^ this is really good

also, imagine thinking that you want music reviews to be objective. i cant imagine anything more dull than an objective music review. fuck

6 Likes
#106

An ‘objective’ review is surely impossible- anything beyond a simple factual description of a record is bound to be subjective.

I think what people mean is that they want reviews to be fair minded, which I think means not pre-judging and giving a record a fair chance before offering an opinion.

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#107

whats the point though? context is important

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#108

I’ve just looked at this. As I don’t read much online, I hardly see these stupid articles Ripfork goes for. Jesus wept.

#109

IDEA FEVER is every pitchfork article ever

#110

Haven’t read this thread in completion so this may have been stated but what works best for me is to find writers you like then just follow them on Twitter. Then you get the reviews when they post them. I’ve read good/great reviews from just about every major site. Dont really subscribe to the idea that any of them are better or worse than the other any more. They all have their lanes and they employ some good and some horrible writers.

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#111

I’m not sure what you mean.

I don’t mind someone slating a record if it deserves it. But there’s not much point someone deciding to slate something without listening to it, for whatever reason, and then doing so.

#112

But that is often a value judgment. I do agree that snide sarcy reviews that are just trying to amuse then actually give a valid criticism are a little shit. But you find writers you broadly agree with. Which requires those reviews to have opinions. Sometimes strong opinions

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#113

really good point. one of the best things the internet offers is the chance to tailor the content you see that what you know will interest you. run the risk of turning it into an echo chamber, but it means theres really no point whining about a review you dont agree with

#114

shit sorry- meant as a reply to @theShipment

1 Like
#115

I don’t think I am actually disagreeing with you as much as you think I am. I’m happy with strong opinions.

My point is that if you are someone who hates all metal (or pop, or jazz or anything) on principle it is unlikely that you will have anything interesting to say about it. There needs to be a degree of at least attempting to engage with a record if you are reviewing it. I’m certainly not saying you can’t have strong opinions though.

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#116

I review semi regularly for dis and I read reviews all over the Internet too so I’m clearly coming from a very different place than the “music journalism is shit/pointless these days” crew.

You CAN listen to anything these days, granted, but for me listening to a soundcloud clip on tinny laptop speakers is going to be a negative experience for a new piece of music. Music journalism, done well, gives me some ideas about which of the millions of tracks I could be clicking on might actually be worth investing my time and even money in.

1 Like
#117

shamelessly stolen from r/indieheads:


HonoredUnderstatedBlackcrappie
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#118

I wish I’d found that Rip Fork site years ago. Not only would it have made me feel less lonely, it also would have given me the tools I needed to say precisely why I found so much criticism so insufferable.

I’m well equipped now! I’m able to spot the problem with this Stereogum/Sun Kil Moon gush in just 12 words!

“Time for some game theory: Mark Kozelek is a closeted Twitter addict.”

I looked up “game theory”. It’s “the study of mathematical models of conflict and cooperation between intelligent rational decision-makers.”

Yep!

#119

it has always been baffling to me how anyone would enjoy more or less anything from Pitchfork.

Ryan Schreiber. may be the biggest musical embarrassment to my home state.

#120

honestly don’t get how you could find fault with pitchfork considering they have us lines as deeply profound as ‘the experience and emotions tied to listening to Kid A are like witnessing the stillborn birth of a child while simultaneously having the opportunity to see her play in the afterlife on Imax.’

#121

or this gem from an arcade fire review:

“Our self-imposed solitude renders us politically and spiritually inert, but rather than take steps to heal our emotional and existential wounds, we have chosen to revel in them. We consume the affected martyrdom of our purported idols and spit it back in mocking defiance.”

#122

Tune tbf