The new Thurston Moore album reveals the silver lining to indie-rock’s Great Divorce: i.e., the chance to hear what a Steve Shelley/Deb Googe rhythm section sounds like.
If listening to psychedelic rock is akin to taking a trip, then the new Foxygen album is like a prop-plane ride through a monsoon, while the new Absolutely Free album is a smooth space-shuttle journey along the rings of Saturn.
This week at Pitchfork, I put together a 20th-anniversary retrospective about the very thing that currently lets us enjoy 20th-anniversary retrospectives: the web browser. I asked Caribou, Ariel Pink, Owen Pallett, Flying Lotus, Japandroids, Feist, Bob Mould, Marnie Stern, Avey Tare, Damian Abraham, and many others about their first time on the internet and what they searched for. Amazingly, only three mentioned porn.
(My first time online involved presumably the most popular search terms in 1994: “Kurt Cobain autopsy photos”.)
Made my debut contribution to Pitchfork’s alter-ego film site The Dissolve today writing about one of my favourite music-in-movies moments (as an addendum to their own list of Top 50 achievements in cinema/soundtrack synergy).
Today at Pitchfork, I consider the legacy of Arcade Fire’s Funeral on the occasion of its 10th anniversary—and how that legacy has so often been reduced to a procession of cheery, tom-tom-strapping bands shouting “hey!” and “ho!” and “whoa-hey!” at predictable intervals.
Further reading: my interview with Win Butler from the Sept. 30, 2004 edition of Eye Weekly, back when he was still trawling the internet for reaction to his band’s music.
After 8+ years of reviewing albums for Pitchfork, I am proud to finally have worked a Guess Who reference into a review (though the other 99% of Jennifer Castle’s Pink City that doesn’t sound like the Guess Who should also fill you with Canadian pride).