pitchfork on pitchfork on pitchfork

November 25th, 2006


Sometimes– occasionally — Pitchforkmedia.com music reviews assume that you’re familiar with every 7-inch side project that they’ve ever tangentially mentioned in every mid-afternoon cell-phoned-in-from-the-tour bus news update they’ve ever published. Bear witness:

The Dan Bejar/Spencer Krug/Carey Mercer triple-team performs spirographic sprints around, say, Amalgamated Sons of Rest, the 2003 Will Oldham/Jason Molina/Alasdair Roberts gangwarble. In the event that you are an anxious consolidator of last.fm stats trying to weed out fluke acts, you might switch “Swan Lake” to “Destroyer” in the artist-blank and not totally be lying, since Frog Eyes have already backed Dan Bejar, and Bejar’s preoccupations seem to win the album’s field day: “A Venue Called Rubella”, as the title hints, plays like an outtake from Rubies (okay, like a trippy, prancing alternate take of “3000 Flowers”) and its lyrical shout-out to Streethawk continues Bejar’s habit of mythologizing his own discography, which he, um, continues via “The Freedom”‘s repine for City of Daughters.

…whaaaaaaaat? The “indier-than-thou” record store clerk name dropping on display is overwhelming. William Bowers usually writes solid, evocative stuff — reviews that inform to the qualities of the music itself, but this review presupposes too much indie cred for any one sodden hipster to bear, and as a result winds up referring mainly to itself.


One Response to “pitchfork on pitchfork on pitchfork”

  1. Elliot says:

    Q: How many indie rock fans does it take to change a light bulb?

    A: What, you don’t know? Pssh.