Thursday, April 03, 2008

When did record reviews turn into steaming turds?

Oh that's right:

When Trent Reznor got his Just Blaze on last year to produce the Saul Williams slam-opera The Inevitable Rise and Liberation of NiggyTardust!, he sent it out into the world through a just-blazed distribution path, biting Radiohead's weeks-old pay-what-you want idea. Then, when not enough people paid actual money for the thing, he bitchily blogged about it.
WTF, Mr. Tom Breihan? You are an imbecile and a cunt. I can't seem to find a permalink to Trent's post, "saul follow up and facts," but I remember it being a rather intelligent discussion of whether or not the experiment worked out and he shared his sales figures -- something no one ever does. It was a big deal, and there wasn't anything bitchy about it! There just wasn't.

Breihan goes on to call the release of Ghosts I-IV another in the "Radiohead model," and I just want to punch my monitor, the way in which he is offering part of the record for free and the rest for really freaking cheap is revolutionary. And to then go on and say it only works for big names without providing any figures (or probably actually knowing anything) showing how it hasn't worked for smaller acts is asinine.

And this is why I never read pitchfork, because every year when I give it a shot, it's the usual load of "I'm going to tear someone down because that makes me awesome," bullshit with a lot of name dropping and calling people out for being copycats.

Heh, and over on the NIN blog:
get a shitty, poorly written "review" of GHOSTS by an asshole who probably didn't listen to the record on Pitchfork: CHECK

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