The Last Drop » pitchfork

Other Top Drops: Cover Me Bad

TopDrop — Mon, 14 Dec 2009 06:14:05 +0000

Continuing in my further neglect of actual album review lists for 2009, I choose to propagate badness. As in album artwork. Which never ceases to produce laughter year after year. That moment when someone said “yes, that’s EXACTLY what I want” to bird nest on there forehead will always remind me that artists are a rare breed . My personal favorite happens to be the very first one on the list. Diana, I had to stick it to The Boss. Simply ludacrous. No one’s working on that dream.

How did Adam Lambert not make this list???

And Thus It Was Written

TopDrop — Tue, 11 Nov 2008 02:08:00 +0000

The almighty (self appointed) deities at Pitchfork have released the next 500 commandments to your local Mt. Sinai/Barnes & Nobles. At least the condescension is limited to just modern music (1977 – 2006) so the list of obscure references mixed in with the most overplayed hip hop won’t be as draining. Still, it is admirable that Pitchfork is attempting to boil down greatness into 500 songs. And that Pitchfork has changed the way that music is being appreciated, sold, found, and distributed. So why not go out and get the mother of all coffee table books. You’ll need something to replace that old Madonna Sex book that’s been lying around conspicuously.

Pitch Perfect Literature and Where to Find It.

The Real MTV

TopDrop — Tue, 08 Apr 2008 11:57:00 +0000

Is on. Right now. A slimmed down version, but chock full of interesting little nuggets. I’m impressed with the simple interface and bandwidth options (easier to watch at work…). So far, it’s very digestible given that the original site has now fully clogged with banner ads and random news elements. As much I want to hate, I can’t find too much fault with Pitchfork TV just yet.

What do you think?

Pitchfork TV on blast

The British (music) Monarchy

TopDrop — Mon, 29 Oct 2007 20:19:00 +0000

A recent Pitchfork rant/soapbox ministry tried to highlight the centralization of British music journalism. NME has crossed over from a bastion for independent music critique to mainstream press and overall tastemakers for British rock. Similar to a Chicago blog that is often quoted by artists to increase their “indie cred” which may also help them get signed? Maybe. However, British rock still has BBC Radio One that has reversed their fan base – going from a Top 40 mainstream audience to focus specifically on pushing the envelope and developing the overall British tolerance for new music. A strange business proposal (estrange your fan base for a niche audience that is fical) and most likely only possible through the federal sponsorship of the BBC. Although NPR has done well to represent diverse music in their broadcasts.

Even with the suggested influence of NME as the end all for making bands, the UK still seems much more open to fostering a less machine-like progression of new music. The fact of a band like The Gossip that would hardly be marketable in the US – a three person punk band led by a large lesbian that makes many references to her size and sexuality – becoming a huge success in the UK is true testament to the culture of live performance. The clubs still rule the roost and it is virtually impossible to break on a larger scale without having a strong live performance background. Regardless of the British press, you still have the asset of word of mouth to drive your career. In many ways, it simplifies the formula, if only to place a slightly larger reward for bands that can survive live. Something the US can and should learn.

Pitchfork Poptimist – English Settlement