Just like with any other album, there are a couple of songs here that would end up towards the bottom of my personal ranking, but one of the really cool things about this album is how those same songs are listed on here time and time again by other people as their standouts and/or favorite tracks.
I think review scores are a useful framework for thinking about a review / how you want it come across while drafting / the type of language you want to use to articulate an opinion but no review or critical discourse has ever been improved by leaving a score at the bottom of the piece. So many of Pitchfork’s older reviews are easily top-tier music criticism but people only ever talk about like, which Jimmy Eat World albums deserved higher scores or whatever
In fact I think it works the opposite way too, Fiona Apple’s new album is remarkable and I’ve seen way too many tweets about how “it’s good but it’s not a 10”
With Pitchfork’s recent turnaround on Swift coverage, I definitely thought this would be scored a little higher. But who cares, the review itself is great
for anyone interested in the amharic translation... Anyone who comes after the Queen of Darkness, Taylor Swift, will die alone and burn forever. They are filled with your dark fears and demons. You will never be happy and no
probably headed to Highway 61, Blonde on Blonde, and then Blood on the Tracks next. I’ll stop after that for a while to digest those records plus what I just listened to.
Amazing how I've gone my entire life without threatening a single person because they felt differently about an album than I did
re: the Swifties on Twitter...I get that this is the "indie" version of Taylor, but it's still pop music. Plus, if a pop artist dips into a new genre you'd still want someone with the best grasp on their previous career/context to write about it.
In all seriousness I haven't listened to those songs (or Danger Days) in a loooong time. I'll probably go back to them at some point.