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ouch! CMG gets the claws out
only two got less than 74, so... yes?
Your quote from it makes it sound contrived, but it's not in the least. It's actually a pretty intelligent piece of music journalism with a decent argument and an interesting angle.
but i like the element of trolling in taking that quote out of it.
I guess I missed that part.
It's way better than How to Dismantle an Atomic Bomb.
Nice to see a writer come out fighting with a strong thesis and then defend it.
Although I did notice he didn't really spend much time discussing the songs on FRR!
gets caught up in too much of the context and misses out on just how good of a record it is. I've never much cared for BSS before (and def didn't see *too much* news around them - and I read a lot of alt news sources) but this record is just full of great jams. Sure, the sloganeering can get a lil overbearing, but that's not really a new aspect of the BSS project
complaining about all the reviews getting too caught up in the back story, then giving the actual music about 2 paragraphs out of 9 at the end...
also is it CMG policy to always have some sort of jab at Pitchfork?
Haven't heard the album yet anyways.
unreadable drivel - never made it to the end of any review on there
it's really great; their review of Street Horrrsing is spectacular (http://www.cokemachineglow.com/record_review/3402/fuck-buttons).
and sometimes it gets too caught up in the mystique of "CMG" as this alternative site for people who read alternative sites. too much concern with where they stand and how to be most reactionary and not enough concern for what they're talking about.
but all I could think about was U2 when they played ATP last time.
but that is a flat out dog shit article that dosen't even constitute a review. Its fine to slate the new album but express a just argument when doing so. The U2 comparrison is just nonsense! So we're buying into BSS because they are BSS? Well it sounds like they're judging the album because they are BSS. Hypocritical trash. For the record, I think 'Forgiveness Rock Record' is a lot fun, love it.
I disagree with its premise but, as others have said, I enjoyed reading the piece for its vim.
that Coke Machine Glow is full of talented writers who don't know a thing about actual music. I tried reading a bunch of reviews on that site before but any actual judgement or valuable points made about the music are usually so obscured by the writing style that you can't ascertain a thing except that the writer went to a good school.
And that review is a definite miss. The writer's too giddy having a go at p4k (it's clear that's the entire raison d'etre of the review, which is fine, all in good fun innit) to actually engage with the music. In which case it's like, good luck proving your point dude (he doesn't). It'd be pretty fucking hard to give Forgiveness Rock Record a bad review if you're talking about the songwriting.
but I started reading it, and while it may not be a great review, I think it does a good job of making a more general point, namely that people often approach music from a far from objective standpoint, and rather than assessing an album on its own merits, perceive it as the album they want it to be. Which probably explains why the writer drags in that little dig at Pitchfork, because they're surely one of the worst culprits. Perhaps a review is not the right place to say that sort of thing, but he's said what matters: he's said the album's bad. Who really cares what it sounds like once they know that.
Something that it's impossible to be objective about.
but I think it's quite evident what I mean by it. I don't mean that reviewers should seek some universal truth, or even that there is such a truth to seek, just that they should try to forget the names and faces behind the music whilst they're formulating their opinions. Basically, what the guy says in his review.
But it's harder in practice than in theory. It's clear that the writer in this instance has a bias against BSS so having a go at those who "like the new BSS record because they like BSS" seems to me to be a bit meaningless in this context. As opposed to a fawning review from someone who loves the band it's a negative review from someone who clearly doesn't. It doesn't seem that much less biased than the very p4k review it repeatedly attacks.
but i now can't listen to 'forced to love' without thinking of bono.
to be honest the article does make a lot of good points, although as it's been written after most other reviews it's setting out its stall as a counterpunch.
I don't think they in any way justify the opening remarks about it being a bad U2 album, although I understand the point that BSS get greater kudos than U2 because there's a greater sense of goodwill towards them. But you could make that comparison between BSS and any band seen as uncool.
In many ways the review seems to be reviewing the critical consensus, rather than the band, which is unfair to BSS, but I think it's undeniable that many of us will overlook flaws in a record if we're predisposed to wanting to like the record in the first place.
I think the comments regarding the contents of the songs are fair, though, as BSS seem to be aiming towards overt political meaning without really saying anything in particular, and since they can assume most of their audience is on side, they don't really need to try and make the point to hard either.
But having talked about being prediposed to liking something, I went in prepared to support the view in the review because, while a huge BSS fan, I really found FRR disappointed. Bombastic, lacking in memorable tunes and way too over-produced. But I know I'm in the minority there.
They really need to give it a rest with the p4k, they're starting to look really bitchy.
but it's true, they gave Drunk Girls their best new music tag.
i agree with you. it's more of a rant on p4k than a review of the album.
when U2 sells out stadiums and BSS plays small shows or festivals at best is what has me confused the most.