Discussion in 'Pop & Justice' started by xOJakeXo, Dec 15, 2020.
The way this is flawless funkery! I’m loving this. I don’t understand hate for the title track.
Yeah Pay Your Way In Pain remains the only thing that feels like parody to these ears, but I don’t really have an issue with the title track at all.
I think they both tread the line between parody and camp more than the rest of the album. The title track put me off a lot on first listen, because it felt both overly literal and parody. It bothers me less now and I let it play through during my spins of the album. I have a feeling it will sound better live, too.
The title track is one of my favorites. It reminds me (sonically) of The Pod-era Ween in parts. The screams caught me completely off guard, and I just loveee how funky it all gets at the end.
Favorite moment today is the way My Baby Wants a Baby swells into that immense refrain that closes the song and she lets the words just topple out in all their frustration and futility:
What in the world, what in the world would my baby say?
"I got your eyes and your mistakes"
I wanna run, I wanna run, I wanna chase
The еnding I can't see
Then I won't have no legacy
'Causе I won't write no symphonies
Won't have no streets named after me
Won't even have your sympathy
No one will scream that song I made
Won't throw no roses on my grave
They'll just look at me and say
"Where's your baby?"
Pay Your Way In Pain is one of my highlights on the album.
1 Paul Weller - Fat Pop (22,073)
2 J. Cole - The Off-Season (9,239)
3 Rag'n'Bone Man - Life By Misadventure (7,933)
4 St. Vincent - Daddy's Home (5,845)
5 The Black Keys - Delta Kream (5,816) *
I wonder what's taking Pitchfork so long to pan this, ddd.
She’s headlining Pitchfork Festival so... I’m predicting a 8.0.
Maybe she pulled the review?
Screaming. That story was absolutely insane.
6.7 from Pitchfork. I'm not really sure about their take on it and a lot of it seems like a reach.
Have not read the review but score is apt for me.
Zzzzzzz. A predictable reach of a review. It’s mostly just the writer grappling with their own projection.
Pretty funny that Justin Bieber managed a higher score somehow, with MLK sound bites sandwiched in among songs about fucking his wife.
Why do people always wait for a Pitchfork review only to be a) disappointed every time with the low score and b) moan about the review being wrong.
Because gays need to fight the real power
I know he is persona non grata around here but Daddy’s Home got a glowing review and a 9 from miss antonia.
Her best since Strange Mercy though ?
Because they typically articulate their points well and give a deeper dive into the music and creation of it than most critical reviews that read like a summary of the liner notes with a few adjectives sprinkled in. Their reviews can provide some additional talking points and I think it's nice to read someone's take even if it doesn't align with mine, personally. Like, these are two of my favorite reviews ever.
That said, this review feels like more goal post shifting which has become increasingly prominent as they struggle to reconcile critical analysis with social analysis: I appreciate that they are at least attempting the conversation but here it reads like they don't have the range and instead jump to their conclusions without enough evidence to make it convincing.
Not the Pitchfork reviewer being someone who is infamous on Tumblr for being obsessed with Finn Wolfhard (Mike from Stranger Things) to the point of writing pedophilic self-insert fanfiction about him...
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