Archive for category Popmatters

Alan Ranta’s Review of “Yeah Ghost” by Zero 7

Artist: Zero 7

Album: Yeah Ghost

Reviewer: Alan Ranta

PopMatters, 2009

Writing Disorders: Detachment Syndrome, Scorn Disease, Idea Fever








Stuffy Phrase: “subtly introspective lyricism”

Stuffier Phrase: “space-case organic breakbeat instrumental”

Stuffiest Phrase: “indecipherably warped vocals and a few swirling, grainy digital manifestations”




You know Alan, just the other day I got an email from a reader asking me to dig into reviews by the A.V. Club. Before that, a critic I’d blasted complained that I don’t pick on the big guys like Spin and Rolling Stone. Well, there’s a very simple reason for that avoidance. They feature very short reviews, often only a paragraph in length. With the exception of Raoul Hernandez’s stuff, there’s a natural law at work here: a 1,000-word review has more stuff to pick apart than one a small fraction of that length. There is a limit to my patience, though. Over 1,200 words and I get bored fast. Sorry, Eric.

You pushed the limit with a tubby 1,100 words here, Alan, but there was so much dung in the stall that it held my focus long enough. Aside from your clearly orchestrated Wikipedia entry, you sold me on your first sentence:

“For some reason, trip-hop and lyrical chill music is typically grounded by prominent female vocals.”

Alan, I’m going to use this as a teachable moment. Why is it that so many music critics can’t help but write “female vocals” to describe notes coming out of a woman’s mouth? Have you ever heard a woman say she’s going to Marshalls for a sale on female clothes? How about someone in a bar asking where the female bathroom is? Can’t say I’ve ever attended a rally for female rights or gawked at an issue of “Female’s World” in the checkout line. In a woman’s world, why do certain white men in their 20s describe one of the iest, most expressive acts a woman can do like they’d identify a bull shark’s gender? On top of that, what’s with the paragraph devoted to talking about women like Arnold talks about men?

“overly y “yoo-hoo” and “yeah, yeah” overdubs”

“Ann-Margret would struggle to be this over-the-top y”

While you’re sorting out your feelings on the fairer , I’m going to just dive into something else that ruffled my feathers here:

“the backward-sounding guitar—a sound that is a lot more disjointed here than the similarly distorted six-string on the righteous “This Fine Social Scene” from The Garden—but it is not enough to save the song.”

Save it from what exactly, Alan? If anyone’s wondering why I get so incensed when critics use the third person to someone’s music, this is another teachable moment. Far as I can tell, the only thing this song wasn’t saved from was your own picky eating. No matter how thick you bloat your review, how many tangential references you make for gravity, or how many artists you mention in obtuse parallels, a music review isn’t a relay of facts. It’s subjective. Whether you gently fondle the art you chained to a rock or violate it with a “few obvious s,” whatever you choose to write about someone’s heart and soul is your opinion. Dressing your opinion as fact by obscuring your own responsibility makes absolutes even stinkier, Alan. And boy, do you roll out the absolutes in this review:

“The only Eska submission that brings anything worthwhile to the table”

“The only interesting part of the track”

“the only track on Yeah Ghost that has the same kind of gravity”

“the only track that hints at the kind of sweeping cinematic soundscapes”

Oh, and about those obtuse parallels –

“Henry Binns doing his best Peter Gabriel come Huey Lewis impression”

“That number would sound exactly like a Badly Drawn Boy producing a Cat Power song”

“starting off like an unreleased b-side to the Bangles’ “Walk Like an Egyptian” and ending up like a Nelly Furtado cover of “Closer” (Nine Inch Nails).”

Alan, what the hell is the point of describing tracks like that? Explaining a song to a curious reader by saying it sounds like another artist doing an impression of another artist with a touch of another artist isn’t the best way to enhance understanding or pique interest. It just burns space, which brings me to another question: if the third person version of you thought this album was mediocre at best, why did you write a 3-page lab report on it?

There’s more to pry into here Alan, but before the hypocrite police cuff me for writing an 800-word review of a review I didn’t like, I’m going to end on something lighter. It’s still morning on the east coast, after all. Just a bit of a little redundancy:

“That is a captivating, soulful lullaby of a tune”

Thanks for that, Alan. I thought for a minute you meant it was a soulful lullaby of a basketball game or broom closet. Thanks, Metacritic, for introducing me to Alan. I have a feeling we’re going to get along just fine.

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Chris Milam’s Bored New World

Response to Bored New World: How the Zach Braff Prototype is Slowly Killing American Music

Chris Milam

Chris, I’m going to preface this by saying that I listened to a couple of your songs on your website. I commend you for making your music available to the public because most people who criticize music either don’t make their own or aren’t willing to put it up on the chopping block. So, bravo to you.

That being said, I have to say that it’s pretty funny that you’re deriding “soft-spoken singer-songwriters mumbling timidly into their guitar” when your songs would sound right at home on an episode of “Grey’s Anatomy.” I’m not bashing your music. It’s actually quite pretty. But it doesn’t exactly scream out that you have fatter, hairier balls than the Shins or Snow Patrol.

Chris, it’s perfectly normal to believe that the world of music is dissolving into tasteless mush. It’s all part of a process called “getting old.” If you need any proof of your aging other than the self-diagnosis provided by your second paragraph, then I suggest you schedule a physical exam with your general practitioner. All throughout your piece, the writing’s on the wall.

“I first noticed this trend a few years ago”

“I also grew up watching old clips of Elvis”

“Youth culture is now practically sponsored by iTunes and Starbucks”

“the kids performing onstage don’t care about earning your attention or respect”

Why aren’t musicians as raw as they used to be? Why does this candy bar cost more than it did when I was a boy? Why does it hurt to pee? These are questions that are asked by every aging generation. And this article makes you sound two gallstones away from shouting “damn kids” from a screen door.

Remember when people griped over the glib virtuosity of early ‘70s arena rock bands? How about when critics railed against the soulless, kitschy sound of disco in the late ‘70s? Do you recall when they bemoaned the lifeless hum of synth pop or the silly costume parties of hair metal in the mid-‘80s? What about the corporate machismo of post grunge in the late ‘90s or nu metal of the early 2000’s?

The truth is, Chris, every musical era has its share of talent that everyone loves to hate that will later be called brilliant when adopted by indie bands. But we’re also in a very unique time. Music is thriving. Bands that in any other decade wouldn’t have a chance at getting someone to even listen to their demo tape now have their entire catalog available to the world on the internet. And I don’t mean to be crass, but if you’re wasting this amazing time to be a music lover by focusing on a narrow band of college rock…then you’re a bloody idiot.

Now let’s get to your critique. And I hate to say it, Chris, but you’re prone to forming an opinion and labeling it as earth-shattering.

“Turn on the TV at any given moment and you’ll see a Buick ad accompanied by an acoustic soundtrack as turtleneck-clad, neutered adults exchange wet glances at each other, car coasting into the snowy twilight of this, their American future.”

Dude, I don’t know how long you’ve been acquainted with television advertising, but generally ads geared towards the 26 to 48-year-old suburban demographic are more Cat Stevens than Sid Vicious. Most of those people settle down into marriage, children, and home ownership and look for products that will add comfort and stability to their lives. And if you’re an advertiser who wants to keep his job, then you choose music that pairs well with those goals. Love it or hate it, that’s capitalism.

Plus, how are you seeing a Buick ad at any given moment you turn on the TV? I suppose it statistically MIGHT happen if you only watch Lifetime or the Hallmark Channel at certain weird intervals on the hour. And if you are watching those channels with that kind of regularity, then it should be further proof that you’re getting old.

And then came the personal statements geared toward making you seem like a brooding badass…or even…a SMOKER.

“And I’m here, in the back of the room, in a smokless Nashville concert hall, wondering why the guy onstage is singing into his guitar lifelessly and, even more so, why everyone else in the room is listening.”

So lobby your representative for smokers rights legislation, Hunter Thompson, and go to a venue where they play music that you like. Or just keep pouring on the melodrama. Oh my god, do you pour on the melodrama.

“I’m still in the back of a smokeless room, waiting for someone, anyone with a kick drum and an amp, a vein in their neck and a thorn in their side, hungry and desperate and raw, to step up and sing something with a heartbeat from the Other America, where there’s something to prove and nothing to lose.”

You’re probably going to be waiting a long time, Chris, because those people are already in bands playing the music that you think doesn’t exist. You might want to try listening.

Listen to Chris Milam raw

Response to Bored New World: How the Zach Braff Prototype is Slowly Killing American Music

http://ripfork.com/wp-content/uploads/2009/10/milam-150x150.jpgChris, I’m going to preface this by saying that I listened to a couple of your songs on your website. I commend you for making your music available to the public because most people who criticize music either don’t make their own or aren’t willing to put it up on the chopping block. So, bravo to you.

That being said, I have to say that it’s pretty funny that you’re deriding “soft-spoken singer-songwriters mumbling timidly into their guitar” when your songs would sound right at home on an episode of “Grey’s Anatomy.” I’m not bashing your music. It’s actually quite pretty. But it doesn’t exactly scream out that you have fatter, hairier balls than the Shins or Snow Patrol.

Chris, it’s perfectly normal to believe that the world of music is dissolving into tasteless mush. It’s all part of a process called “getting old.” If you need any proof of your aging other than the self-diagnosis provided by your second paragraph, then I suggest you schedule a physical exam with your general practitioner. All throughout your piece, the writing’s on the wall.

“I first noticed this trend a few years ago”

“I also grew up watching old clips of Elvis”

“Youth culture is now practically sponsored by iTunes and Starbucks”

“the kids performing onstage don’t care about earning your attention or respect”

Why aren’t musicians as raw as they used to be? Why does this candy bar cost more than it did when I was a boy? Why does it hurt to pee? These are questions that are asked by every aging generation. And this article makes you sound two gallstones away from shouting “damn kids” from a screen door.

Remember when people griped over the glib virtuosity of early ‘70s arena rock bands? How about when critics railed against the soulless, kitschy sound of disco in the late ‘70s? Do you recall when they bemoaned the lifeless hum of synth pop or the silly costume parties of hair metal in the mid-‘80s? What about the corporate machismo of post grunge in the late ‘90s or nu metal of the early 2000’s?

The truth is, Chris, every musical era has its share of talent that everyone loves to hate that will later be called brilliant when adopted by indie bands. But we’re also in a very unique time. Music is thriving. Bands that in any other decade wouldn’t have a chance at getting someone to even listen to their demo tape now have their entire catalog available to the world on the internet. And I don’t mean to be crass, but if you’re wasting this amazing time to be a music lover by focusing on a narrow band of college rock…then you’re a bloody idiot.

Now let’s get to your critique. And I hate to say it, Chris, but you’re prone to forming an opinion and labeling it as earth-shattering.

“Turn on the TV at any given moment and you’ll see a Buick ad accompanied by an acoustic soundtrack as turtleneck-clad, neutered adults exchange wet glances at each other, car coasting into the snowy twilight of this, their American future.”

Dude, I don’t know how long you’ve been acquainted with television advertising, but generally ads geared towards the 26 to 48-year-old suburban demographic are more Cat Stevens than Sid Vicious. Most of those people settle down into marriage, children, and home ownership and look for products that will add comfort and stability to their lives. And if you’re an advertiser who wants to keep his job, then you choose music that pairs well with those goals. Love it or hate it, that’s capitalism.

Plus, how are you seeing a Buick ad at any given moment you turn on the TV? I suppose it statistically MIGHT happen if you only watch Lifetime or the Hallmark Channel at certain weird intervals on the hour. And if you are watching those channels with that kind of regularity, then it should be further proof that you’re getting old.

And then came the personal statements geared toward making you seem like a brooding badass…or even…a SMOKER.

“And I’m here, in the back of the room, in a smokless Nashville concert hall, wondering why the guy onstage is singing into his guitar lifelessly and, even more so, why everyone else in the room is listening.”

So lobby your representative for smokers rights legislation, Hunter Thompson, and go to a venue where they play music that you like. Or just keep pouring on the melodrama. Oh my god, do you pour on the melodrama.

“I’m still in the back of a smokeless room, waiting for someone, anyone with a kick drum and an amp, a vein in their neck and a thorn in their side, hungry and desperate and raw, to step up and sing something with a heartbeat from the Other America, where there’s something to prove and nothing to lose.”

You’re probably going to be waiting a long time, Chris, because those people are already in bands playing the music that you think doesn’t exist. You might want to try listening.

Listen to Chris Milam raw

Evan Sawdey’s Review of “Dark Horse” by Nickelback

Link to Evan Sawdey's Review of Dark Horse by NickelbackArtist: Nickelback

Album: Dark Horse

Reviewer: Evan Sawdey

PopMatters, 2008

Writing Disorders: Scorn Disease







Most Emo Phrase: “an unabashed celebration of the heterosexual hedonism”

Funniest Line: “from the sounds of it, he’s as horny as ever”




As always, my purpose on this site is not defending bands. That’s up to them. My purpose is to make fun of music criticism because music criticism is stupid. I don’t listen to Nickelback.

Evan, this review isn’t much of a review. It’s more of a journal entry of a beef you have with the lead singer of a Canadian band. Take this:

“Instead of coming off as macho, however, Kroeger sounds sophomoric, inane and downright stupid.”

Regardless of whether or not Kroeger is the next Charles Bronson, the way you cast your vote in the negative is pretty funny. It sounds like something the nerd mutters in his mind when the dumb jock starts sucking face with the cheerleader. DAMN BOBBY JONES…you’re too sophomoric to get to third base with HER.

You can feel however you want, but I figure whatever bones I have with that guy, he’s got more money and fans than I’ll ever accumulate. And that’s pretty macho. And while I’m sure if you were asked if you wanted to be him, you’d say “icky NO,” you could probably learn to sport the Scott Stapp hairdo as easily as the rest of us. That is, If it meant getting something more than a free Nickelback album for writing a 500-word review on a website.

“Dark Horse is one of the most introverted, self-serving albums you’re likely to hear all year.”

Yeah, screw those introverts. Good thing introversion is uncommon in rock music.

“Virtually every song on the disc tackles sex or drinking (or both)-an unabashed celebration of the heterosexual hedonism that Kroeger feels entitled to.”

Entitled to? Well, yeah, man. He’s got barrels of money, at least one girl per concert who’d smoke his cigar for a VIP pass, and probably enough booze to fill Lake Baikal. Though I suppose maybe he should abash his celebration more. I get what you’re saying now. Sex and drinking is best done on the down low. Especially if it’s heterosexual. Yucky eww.

Next, the poetry judging competition!

“She rocks it like the naughty Wicked Witch of the West” he declares on “Shakin’ Hands”, a line that’s laughably bad not because of Kroeger’s poor word choices, but because Kroeger delivers the “it” without even a hint of irony.”

Gee Mrs. Evans, can’t you be a little easy on Chad this term? Seriously, are you grading papers in freshman English? Listen to what you’re saying to this guy: “Your music is LAUGHABLE because you didn’t incorporate words I found more appropriate, NOR did you exhibit irony that I felt was necessary!”

“Kroeger objectifies women in a way that borders on downright offensive.”

But if he’d objectified women differently, it wouldn’t be downright offensive? I take offense to you, Evan Sawdey. Women are NOT objects.

And I love your closing paragraph.

“In the end, yes, Nickelback is “critic-proof”, as evidenced by Dark Horse debuting at number two on the charts shortly before this review ran, proving no criticism-no matter how scathingly bad-can keep this band down.”

I think you meant to say “no matter how scathing.” The way you wrote it, you’re saying that Nickelback is immune to bad criticism, not criticism that is negative. How ironic, Mrs. Evans.

Let’s see if you’re critic-proof.

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