How to respond to a Pitchfork review
“However, if [‘Robocop 4 – Fuck Off Robocop’] is truly amongst the worst songs of the year then I am a giant bat and Pitchfork a cave into which I will shit golden effigies of your face.”
A new list from the NME, and some thoughts about pop-hackery
Secretly, what modern mainstream pop-hackery confirms is that there’s a fundamental sadness to the role of music writer, or at least there is if you let it take hold – you are employed to basically be a hanger-on, an eavesdropper, a spod, a geek, someone who won’t shut up about something the rest of the world just get on enjoying.
Wendy Saddington and Peter Head @ Camelot Lounge, Marrickville, Sydney, 29.04.12
Fuck ‘em. She’s the real thing, as honest, brutal, haunting and pure a songstress as Australia has ever had the honour of laying claim to
Inside the earth you hear music …
Don’t watch with mother(fuckers) like you. Avoid adults; your irony-addictions will sap you of the ability to be moved.
Ringometrics Redux 2012/16
Anyone who can roll with a white soul hook as insipid as the one on ‘Peso’ can’t be trusted. Untangle that.
Read:Response: (to) Omar Shahid on Lowkey, Logic, Immortal Technique, English Frank, Mic Righteous
Rappers are working class. Critics are middle class. They don’t understand each other.
Young Marble Giants – Colossal Youth (Domino reissue)
By Neil Kulkarni
Howard Monk | Things I am embarrassed about – Number one in a series
So you’ll have these obscure bands being lauded, and mortals like us trying to figure out just what it was that XXXX found in their music.
