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Seems like a good place to post this: http://www.cokemachineglow.com/dailyops/6110/snarkinglot-wedidntcare-2011
cmg really is embarrassing and frankly retarded
what the fuck is a hipster???
If only there was some kind of information resource that was out there that might have more info...
I mean, it basically is P4K's weird stalker... I kind of assume they thing they're a much-needed counterweight to P4K's sort of cultural hegemony, but stuff like this always comes across as uncomfortably weird. Like, you wouldn't be surprised if the author's apartment is wallpapered in pictures of Ryan Schreiber with his eyes scratched out.
but CMG is light years ahead of Pitchfork, especially recently. Pitchfork is slowly becoming the proper corporate tie-in innocuous publication of its dreams, which is a shame because even though they were such assholes before, at least the writing was engaging. CMG can be annoying, but at least they keep it mostly real.
is being up its own arse.
this pretty much made my day!
if "proper corporate tie-in" means, in 2011 alone, providing top quality streams worldwide of monumental gigs, as well as being the first mainstream publication to properly champion Odd Future*, as well as proper interesting like EMA, Dirty Beaches & Sun Airway (i'm looking purely at the homepage)
that's without mentioning Altered Zones, which, while being far from perfect and largely made up of other great blogs, it's Pitchfork that's responsible for (i'm guessing) pretty much all of it's hits - and that site is lightyears ahead of CMG in terms of championing "forward thinking / keeping it real" music.
*surely the biggest risk a "corporate" publication could take? admittedly it's one that's paying off, but still.
It's far from being perfect, and often hugely away from my own tastes in music, but it's more than anyone could hope from indie's biggest publication for in relation to forward-thinking music and "keeping it real"
CMG, on the other hand, is summed up perfectly by the above post. It's so rare that their reviews of the more major releases aren't some creepy reaction to the zeitgeist (see: Pitchfork) instead of an artist's merits. I think they actually champion a lot of decent music that's elsewhere ignored; david thomas broughton for one. But it's very rare that even a piece of writing they have that's focused on the music isn't overly wordy and bloated, and frankly, boring. The more interesting "shock" pieces are only ever weirdo stalker pitchfork pieces that are badly argued.
Having said that, I ought to pay attention to one or two of their writers in particular, because it comes out with the odd diamond. For example, the reviews of Have One On Me and The-Dream's Love-King last year are amongst two of the best pieces of music i've ever read.
Many readers wouldn't really be aware of AZ and most Pitchfork readers won't also read AZ with the same regularity. Pitchfork basically buy a bit of extra underground credibility in exchange for boosting the web hits of the blogs concerned. They do some excellent things with media and the like, no doubt. But the fact that Pitchfork's take on things becomes in 98% of cases the majority indie opinion is cause for concern. CMG has a fraction of the resources that Pitchfork has, and most of their content is genuinely enthusiastic and aimed at championing good acts. The handful that attempt to aggressively attack the received opinion (which is almost synonymous with Pitchfork opinion) always seem to catch on here, weirdly; but more importantly provide a massively valuable counter to the prevailing concensus. There need to be more objectors, not fewer; and detractors who frown on the negativity of a CMG review of a Pitchfork fave ought to examine that attitude a little more closely.
This particular example wasn't a review, but instead a blog post on their semi-regular 'snarking lot' series, which does what it says on the tin. I like LCD Soundsystem a fair bit but I agree with the feeling of discomfort about the unqualified reverence which seems to accrue to them, given their essential quality as synthesizers of sound rather than innovators.
because it's negative about Pitchfork favourites, they frown on it as it can be incredibly pompous and not so much the plucky underdog as the bitter annoying one.
You do realise this article only exists because P4K did a massive retrospective article about LCD, don't you? And while I'm sure it's not the majority, a LOT of their reviews seem to be reviews - or at least commentary on - the P4K reviews of the same record. It's just creepy and weird and obfuscates what genuine passion/talent there is in the CMG roster.
over which I assume there is no real editorial control from anyone other than the writer of each individual entry. Thought maybe that was worth pointing out. idk, I just like that they write about great music that no one else writes about lol.
i'm not going to one of their parties.
As antagonistic or contrary as that CMG article is, the comments beneath it more than make up for it. It seems one writer's vitriol has engendered a pretty interesting conversation about the nature of the writer's hate and the merits of James Murphy's music.
The writer even gets in on it (comment #25) and affectionately refers to his article as "insuffereble bullshit".
So, y'know, make of that what you will.
makes funk-inflected music that is at least mildly genre-straddling
somewhat nasal voice
Honestly, I don't think LCD Soundsystem have ever written a note of music as good as anything off the first four Talking Heads albums, but you don't need to take this circuitous route if you want to call hyperbole on Sean's, er, hyperbole.
'those who make truly modern music only get appreciated twenty years later' - the rest of us poor sheep will remember that
So all this jabber about retirements and live broadcasts of final shows and James Murphy making people see again is all a bit too much to take in
They've always been a band which I thought was alright. Like, fine. Not really sure I could see my self ever being really THAT taken in by it. When it came out somebody always put on All my friends at all the parties I went to. I enjoyed it for ages but never actually wanted to listen to the album. Hm interesting FREE EARL
Maybe I'm just one of the blind Jimmy Murphy was unable to make see
He seems to be calming chatting through points of contention with how the music industry is developing
Part of me already thinks their music 'sounds better' now that I don't have to analyze them within the current context of the buzzosphere. I can think of them as an 'old friend' who I never have to hang out with so I can just reflect on the positive vibes that we once shared, even if they had major flaws and I would never want to depend on that person now that we are both 'grownups'.
for some reason links arent being put in, but that quote was from hipster runoff