Finding the Perfect Fit

“When it comes to Pitchfork and scoring, I would say that you would be shocked by just how democratic the rating process is. Without giving much away (because I don’t think that’s fair to Pitchfork), it goes something like this: In general, a record is discussed by the writers and generally, through that, the site arrives at a score consensus. Then reviews are assigned or … Continue reading Finding the Perfect Fit

“The thing about rock music…”

The thing about rock music, in all of the forms that I’ve worshipped, is that it’s not about thinking. You have your cerebral performers, but rock music is about the body: the corporeal sensations of fucking, moving, imbibing, ejecting. It is not about the caverns of the mind. And those caverns are where Bach spent his lifetime chasing the intricacies of forms, twisting the ideas … Continue reading “The thing about rock music…”

The Magnificent Dance

“To the fiercest Clash fans, rockers till death, ‘The Magnificent Dance,’ with its tipsy percussion and Chic bass humming ‘bumm bumm (pause) tn-m mana-ma” for a groove — aided by ABSOLUTELY NO LYRICS — may have been The Magnificent Sellout. But not to me. I licked up its irregularly splattered percussion, I let its bass flickers use my body to write on the floor. This … Continue reading The Magnificent Dance

There is little

Critical language has for the most part been borrowed from other fields — few writers have been able to shake their liberal arts educations. The few new terms (tight, together, heavy) are vague and undiscriminating. A rock erudition has been established, and writers talk casually of ‘influences’ and ‘development,’ but it is all very distant. There are more reviewers, whose main function is commercial, than … Continue reading There is little