Yeah, Etienne is no longer the drummer and I don't think he recorded on Days (I might be wrong). The drums (and the musicianship in general) sound a lot tighter on this album, which I actually think is to its detriment. If you listen back to the drum tracks on their s/t debut (the propulsive railroad beat of 'Beach Comber'; that weird rubbery flex in 'Pool Swimmers'; the flat thud of 'Suburban Dogs'; the splashy toms in 'Fake Blues'; the ride/jam block groove of 'Let's Rock The Beach'), they're much looser, which is fundamental in cultivating that insouciant atmosphere. That said, it's still a lovely album, with some gorgeous turns. I think it'll grow on me with time, but I don't think I'll come to love it like I do their debut.
I think Stereogum are basing this on his stage presence though, which doesn't come across on record, of course. As they said: he's a handsome dude, he dresses smartly, carries himself well and puts a lot of power behind his vocal performance (I know, I know, "if I like him so much, why don't I marry him?" etc, etc). Plus, as anyone who's witnessed their live performance of 'All Hands And The Cook' will testify, the guy can hold a throat-rippingly high note for a ridiculous length of time:
http://www.youtube.com/watch?v=Eg2S6ffvkr8&feature=related
It wasn't, Denis. Not that you'll be inclined to believe me, of course. In any case, if Tom Hanks has made a pretentious movie I can't think of it: he's made a career out of playing the 'everyman'.
Your reasoning is contradictory. You know why all three people left it off their 'best of the rest' list'? Because, as you said yourself, "they didn't think it was that great". I sincerely doubt that the omission is borne out of editorial politics. What would they have to lose by including it, or gain by leaving it out? The vast majority of Pitchfork's demographic will also read Stereogum, because the larger part of their editorial output covers the same genre(s) and artists, so from an 'audiencing' perspective it would make good business sense to include James Blake/Panda Bear in their top 20. You can bet that the ONLY reason they weren't included was because the Stereogum staff liked it less than the albums represented above.
And in response to your final point: you know another website that counts Panda Bear/Animal Collective among its perenially covered artists? Stereogum. Type 'Panda Bear' into the search bar and see how many posts have made mention of his name. Would it make sense, after following Panda Bear for years and documenting details of the album release extensively prior to its release, for Stereogum to suddenly neglect him due to an anti-Pitchfork agenda? No, it wouldn't. They simply weren't enamoured with the album itself.
Neither, I'm guessing. The album was far from universally appreciated. A lot of people have expressed their distaste for it (even those who enjoyed his earlier output and were anticipating a great album). Moreover, it's pretty hard to claim its non-inclusion is a result of 'anti-Pitchfork' sentiment, when the top 20 includes about 10 albums (by my count) that have been similarly championed by Pitchfork.
I can see that 'coming across as a complete tool' isn't substantial enough criteria to dissuade you from leaving a snarky comment. Ascertain this (imagine me grabbing my junk).
Just in case anybody thinks my argument here is linked to my overall feelings about album: I actually like The Suburbs and don't support Brandon's take on the album. I enjoyed reading it regardless!
This was posted today and is already #1 most commented on post. I'm guessing it'll be the most viewed shortly too. The popularity alone (be it inspired by negativity or positivity) is reason enough to keep the feature running. You helped contribute to this popularity: well done, you!
Personally, I find the idea of 'just moving on' without stopping to reflect on music of the recent past a really contemptible approach to appreciating music. Not everything needs to be so bleeding-edge current and 'on the pulse' that it renders the music itself disposable. You can't seriously tell me that you've never bought an album and thought "this is terrible!", only to find that you love it 6 months down the line (or vice-versa: loved -> hated). Everybody has had this sort of experience, and it's a testament to the enduring quality of the artform that our relationship with it can change over a significant period of time. This double take feature, in my opinion, celebrates that relationship while casting a level critical eye at the music itself divorced from the headlines/hubbub it generated on its release.
If you want up to date news and reviews go to Pitchfork, Drowned In Sound, Cokemachineglow, Tinymixtapes, Rolling Stone or NME (whatever suits you). This is a blog, which is supposed to have opinion pieces like this as part of its core content. I still think it's a great feature, so keep 'em coming, Stereogum.
Comments