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Supplemental writing and links from Matthew Perpetua, author of Fluxblog, and writer for Rolling Stone and Pitchfork.

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Jan
28th
Sat
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Why is pop music the only art form that still inspires such arrantly stupid discussion? The debates that surround authenticity have no relationship to popular music as it’s been practiced for more than a century. Artists write material, alone or with assistance, revise it, and then present a final work created with the help of professionals who are trained for specific and relevant production tasks. This makes popular music similar to film, television, visual art, books, dance, and related areas like food and fashion. And yet no movie review begins, “Meryl Streep, despite not being a Prime Minister, is reasonably convincing in ‘The Iron Lady.’
Lana Del Rey’s Image on “Born to Die” : The New Yorker

Sasha Frere-Jones gets the January 2012 award for accuracy!

A commenter wrote in reply to this: “Agree with the sentiment, but actors *act*; musicians create music. We’re not implicitly invited to suspend disbelief with the latter.” This is just so wrong, because the role of the musician is not necessarily to create music so much as execute it. It feels absurd to have to point this out, but going back centuries, songwriters are not necessarily synonymous with performers. That is a fairly recent thing — Bob Dylan and the Beatles are largely responsible for the expectation that pop musicians write their own material. But regardless of that expectation, the majority of musicians do not specialize in performing their own material - even within bands who do focus on originals. And for that matter, it is exceptionally rare for actors to perform material that they have written. What matters is execution, and how a performer inhabits a role. Sasha’s point is that the overwhelming majority of creative endeavors are the product of collaboration with specialists, so it is absurd that music - a medium that all but requires people to come together to make anything happen – would be considered an exception.
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Jan
26th
Thu
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ALL WATERS: Why are straight women always walking with their hands in the back pocket of their boyfriends’ jeans? Would I do that all the time too if I didn’t have to think about it? Alan and I hold hands in specific parts of the city and sometimes outside of those parts. But there is always a little ‘catch’; no matter how much I think the shame and fear is gone, there is always a little something in the back of my mind. I am almost embarrassed sometimes when we are holding hands, and that fucking infuriates me. I can’t even imagine that hesitation ever going away, and that makes me very sad.

Matador Records | Perfume Genius Biography

Mike Hadreas’ song-by-song explanations of each song on the new Perfume Genius record are amazing and incredibly thoughtful. This may be the best bio I have ever encountered, actually.

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Florence + the Machine
“Lover to Lover”
Live from somewhere, 2011

This alternate arrangement is really good – whereas the album version kinda goes full blare from the get go, this one is far more dynamic, allowing more space for Florence’s voice and the detail of the harp melody before hitting that big, belty gospel climax.

(Source: youtube.com)

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Wu-Tang Clan
“M.E.T.H.O.D. Man”
Live on Yo! MTV Raps, 1993

The audio on this isn’t great, but it’s kinda amazing to watch a young, extremely animated Meth in action.

(Source: youtube.com)

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This is clearly the only way you should dance to the drop in Skrillex’s “Nice Sprites and Scary Monsters.” 

(Source: youtube.com)

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Jan
25th
Wed
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Spiritualized
“Hey Jane”
Live on Other Voices, 2011

Have you heard this song yet? It’s going to be on the new Spiritualized album coming out in the spring, and it’s easily one of my favorite songs of 2012 so far. This live version only scratches the surface of where it goes on the studio recording. Also: Is it kinda weird that Jason Pierce has not really aged in 20 years? What’s that about?

(Source: youtube.com)

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Jan
24th
Tue
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lookingformyshadow asked: What do you think it needs a good review? How do you do to convince someone to listen or not listen to an album? Do you have a like a basic structure and from that you start writting or you just start writting whatever you want? Is it difficult for you to express yourself? Another question that has nothing to do with this: how imporant is for you the live performance of a band or artist?

I think the most important thing to do with a review is to figure out what you think is the most interesting thing about your subject, and what it does well, or what it doesn’t do well. Your job in the review is to convey those thoughts. It’s good to have a sense of what the artist is attempting to do - it’s generally a bad idea to give someone a hard time for failing to do something they weren’t trying to do, but at the same time, I think it’s fair to question whether an artist is working up to their full potential and maybe should be working harder/aiming higher. If you’re going to be negative, I think you should offer some sort of constructive criticism and point out what they did get right. It’s rare to find something that fails on every conceivable level. As far as structure goes — it depends on format, but for a longform Pitchfork type review, I like to open in a way that sets up a bit of context and lay out my take on the record, and then the subsequent paragraphs expand on those ideas. I try to write things in a conversational voice — you don’t want to get bogged down in jargon or get too stiff, just try to keep the language simple and direct, and crack a joke here and there. More answers: I have been writing every day for over a decade so at this point, I find it pretty easy to express myself in words and find that I don’t overthink and second guess myself very often. As for live performance — it can be a major part of a musician’s act, or a relatively minor part. You can’t really judge every artist by the same standards, you kinda have to take them on their own terms, but a great live act is always a positive thing. A bad live act isn’t necessarily a deal breaker.

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Aren’t Oscarbatory films like The Artist, Hugo, and Midnight in Paris the high brow equivalent of the Transformers, easing the viewer into the same warm nostalgia bath, just with the particulars adjusted to reflect a different audience’s adolescent fixations? Might they even be even more meretricious because they rely on the borrowed auras from the canonical works/figures they reference (Méliès rather than Mégatron) to activate feelings of barely-earned recognition, which somehow invokes in the audience the false spirit of learning, or at very least, the smug satisfaction of the pub trivia warrior?
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Jan
21st
Sat
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The Kidz Bop version of Adele’s “Someone Like You” is really funny if you’re tickled by the idea of hearing ultra-sad children sing along to a melodramatic love ballad.

(Source: youtube.com)

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Jan
20th
Fri
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I got to interview Carrie Brownstein and Fred Armisen today!

I got to interview Carrie Brownstein and Fred Armisen today!

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[Flash 9 is required to listen to audio.]

I reviewed Chairlift’s excellent new album Something for Pitchfork. Don’t sleep on this one! It’s an extremely smart and pleasurable pop record.

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Jan
19th
Thu
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We were also asked to write a song for Crown Royale Liquor several years ago. And we did, and we submitted that. That was also ultimately rejected because it had too many awkward sexual references.

The National Honored to Be on Academy Awards Best Song Shortlist | Music News | Rolling Stone

I interviewed Matt Berninger of the National, and kinda regret not pushing him to recall those “awkward sexual references.”

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It’s fun to viciously insult people,” he says. “And it’s fun to do that in real life. I mean, people hold back most of the time, but I get to do that in a booth, alone. And I’ve done that occasionally in my real life, once to a waiter. And maybe to some girl, but I was drunk.

FX’s bawdy spy series Archer returns | Rolling Stone

I interviewed H Jon Benjamin — that’s a quote from him above — and Adam Reed about Archer, one of the funniest shows on tv. The third season premiere airs tonight, and this post contains a clip from that episode featuring Burt Reynolds.

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