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pitchfork gives SBS a 5.2


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Do all of these reviewers have one bucket of Wilco buzzwords and jargon that they summarily pour out on to the pages?

 

When any of these guys have something fresh to say about Tweedy and Sky Blue Sky, give me a holler, will ya?

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Pretty much exactly what I expected. For the most part, I really like Rob Mitchum's work on that site, but in this case it seems like he didn't give it the chance to grow on him. It's fair, when you're writing these things for a living, you've only got so much time to devote to each one.

 

I hope the next album is straight up noise rock, just to show the nay-sayers who think they have the band pegged.

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I hope the next album is straight up noise rock, just to show the nay-sayers who think they have the band pegged.

But that would be giving the naysayers what they want, and f them.

 

I can't say I expected anything different from Pitchfork here. But "Dad-rock"? Really guys?

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drummer Glenn Kotche is given no room to stretch beyond routine time-keeping, and Cline is used for his capacity to rip and wail rather than his ear for texture and atmosphere.

Crazy talk.

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Crazy talk.

 

I really like the album, but I do think that Glenn and Nels sound somewhat "restrained". I'm only saying that knowing that both of them are one of the best at their respective instruments. I was blown away the first time I saw Glenn. It's kind of like having a kid who gets C's at school without ever opening a book...you know that he/she could do better.

 

I guess that's why both of them have their side projects which being in Wilco gives them the resources ($$$) to have those projects. I think that Nels even said as much on his webpage when he first joined the band. I'm just worried that Wilco won't give them the challenge that they need and they'll shop their talents elsewhere.

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See, the thing about Pitchfork is they suck! They just want more YHF is all, and are stuck seeing the band a Sonic Youth impersonators--who really aren' that innovative anyway after twenty years of the same music. I like them, but they're not that cutting edge anymore-- and avant-garde weirdos. They just can't see that this record is just as much of a statement as YHF or AGIB--it's just goes about making that statement much more quitely.

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But that would be giving the naysayers what they want, and f them.

 

I can't say I expected anything different from Pitchfork here. But "Dad-rock"? Really guys?

 

I suppose that's fair. I don't really want anyone to be pandered too, I just always love those "cram it in your cram hole" moments where people bash an artist for 'going soft' or 'losing relevance' or something when all they've done is shift styles, and then a year later, come back and blow everyone's minds and make them look like fools for having pronounced them dead in the first place.

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