Tsui Pen

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  1. it's called humour lads i'm sure the nucks are in on it as well
  2. ya, it's funny that a lot of us think it looks like a soccer jersey i think it's that the logo now looks like a shield -- that's a very soccer-like motif/design
  3. i wonder if this has anything to do with the nytimes piece about canada's economy being so bad that cauliflower is now $8 there. after reading that nytimes article, it got me pretty down about canada's economy. i'm glad there is some clarification on this. here is the article: http://www.nytimes.com/2016/01/21/business/dealbook/in-canada-5-cauliflowers-cost-more-than-a-barrel-of-oil.html
  4. didn't go through the thread, but are people listening to the new baroness? came out really late last month. sounds pretty decent
  5. like i mentioned above, p4k's egregious abuses come in the form of bad fact-checking. in terms of their prose, i understand it's subjective. so, sure, you don't like david's prose and prefer pitchfork's general pretentiousness. but why would a class on aesthetics inform anyone on how to write anything about music or pop culture? this is the second time you reference academia, which really is perplexing because music and pop culture were not born in a school. for your academic tastes, something seems tacky. alright, sure. but what does that really mean? it's an empty descriptor meaning "i don't like this". i find referring to what other bands the music sounds like to be extremely effective. way more than p4k's style of using elusive language. david actually veers far too close to p4k-style of pretentiousness but you'll notice reigns it in a bit by grounding his experience by referring to bands most have already heard. this clarifies the song's/album's sound better than using flowery/esoteric language p4k is known for. of course you are entitled to your subjective opinion, but my beef is that you make it a point to laud p4k and discredit all arts/culture/music sites, which just sounds like fanboyism. how can you make such a broad statement and not fear of looking kind of silly? i don't understand why you think joseph's words are so authoritative. i actually feel p4k sounds way more authoritative because many of its reviewers give no real reason for their demands. joseph's words come at the end of his review and you can feel he was pretty heavily affected by river run thee. it would be poor style to always write "in my opinion" or "from my experience" or "i don't mean to generalize but...". it feels a lot more personal than the aloof prose from p4k, but again, it's my preference. i read some of the quietus' pieces because some of the reviewers have a more personal touch and there is no strong editorial board controlling if the quietus should write favourably or not about an album. your last thoughts on john doran and joseph just sound really hateful and baseless. it may be kind of bad, but john wrote a book last year on music as therapy and its ability to heal. p4k's ryan schreiber sold his company to conde nast and just stepped away from getting small bands any exposure, like it used to do, straying away from its original idea even though he says they won't. there are consequences that are out of his control now that he doesn't own p4k.
  6. i make a living as a writer. as in, i come to a mid-size company monday through friday, sit down at my desk and get paid to write. i've been doing it for quite a few years now. it's silly to get into an argument with you, but let me clarify a few things. (1) i don't care how many degrees you have. (2) i quote awl because awl has a music section where writers get paid to write about music. this is relevant because we are talking about music writers. (3) i quote ny times because music writers don't live solely off music writing -- they expand into other cultural and arts related writing, such as the ones that appear in the ny times. it's difficult to take someone serious when they laud pitchfork so much and discredit other high quality music sites, such as the quietus and, though small it may be, the wire. writers don't stick to one publication, anyway, and you'll find your favourite writer probably writes for another site, as well. we can talk about hobbyist bloggers all you want, but that's like america comparing itself to third world countries to make itself feel better. let's make at least more valid comparisons. and it's funny you call out hobbyists for $&!#ting/loving on bands, because this is exactly what p4k does still; e.g., the grimes review quoted above in this thread; calling her a human tumblr, if i recall correctly. and let's at least get something straight, p4k doesn't do "quality control," their editors/proofreaders make changes so that there is a single tone/voice throughout the entire site. that has nothing to do with quality. this leads me to believe that they don't care for any individualistic thinking. for me, p4k is great marketing and to get your name out there, from a band's perspective. but i don't read them to gain insight into music, unless i want to read gossip about musician's/artist's lives, which they tend to do.
  7. that's cute that you think p4k doesn't have slave interns. a lot of their reviews of unknown bands are actually by individual writers/freelancers and/or interns who get paid less than major arts/culture/music sites. they play the "oh but you'll get exposure!" card well. there's strong editorial control and they decide what gets the most exposure, though. the big features about bigger bands and trends are written by your old men critics. &^@# it. let me just give you the numbers: awl: ~$50 atlantic: ~$125 village voice media: ~$50-75/blog post. pitchfork: ~$80/review, ~$100/concert review or interivew complex: ~$200/750-word listicle washington post (outlook/op): ~$250 ny times: ~$150 or ~$50/blogpost last two aren't for music reviews, but on the higher end spin pays more than p4k last i checked, which was admittedly a few years ago. also p4k is about branding and a particular "style"/voice. it doesn't matter if you're talentless (like a lot of their writers). they could get new writers to replace the old ones and few of their readers would know the difference. compare with something like grantland. a lot of writers, especially music writers (famous or not), get paid pennies, though. but you'll see alternative arts/culture/music sites compete with that p4k rate, i think.
  8. that's not even the most serious of offences. their bad reputation is really because of their repeated factually incorrect writing, which is pretty embarrassing for a site like theirs
  9. this is the weird thing about the music threads on this site. i interact with a few music critics who don't write for pitchfork, but for the quietus, av club, the wire. some of those writers have written for pitchfork, sure, but when it was a higher esteemed publication. in my admittedly music snob circle, pitchfork is usually the butt of jokes. nobody really takes anything they say seriously and if your end of year list resembles a variant of theirs, well, it just looks like you only listen to the top indie hits, where "indie" now includes kendrick lamar, adele, and fka twigs. sure, a couple of their top 20 albums are included in my list and in the list of others' i am interested in, but what's fun about making a list that is just like pitchdork's but in a different order. might as well link me to just their list in the first place. having said that, music is a deeply personal thing. if you love p4k, knock yourself out.
  10. i was on holiday. first day back at work today, so here are my lists! Tracks 2015 20. Bruno Sanfilippo - Tea Leaves at the Bottom of a Cup 19. Courtney Barnett - Depreston 18. Tricot - 消える 17. Sufjan Stevens - No Shade in the Shadow of the Cross 16. Tobias Jesso Jr - Without You 15. Hiperson - You Don't Sacrifice Your Innocence Here 14. Mathew Roth - Wanderer’s Descent 13. Summering - Words 12. Lubomyr Melnyk - Ripples in a Water Scene 11. Twerps - Simple Feelings 10. Musk Ox - Arcanum 09. The Amazing - Fryshusfunk 08. Julien Marchal - Insight: I 07. Slow Meadow - The Grandeur of a Modest Moment 06. Ólafur Arnalds and Alice Sara Ott - Written in Stone 05. Bill Fay - A Frail And Broken One 04. Majical Cloudz - So Blue 03. Laura Groves - Dream Story 02. Beach Slang - Ride the Wild Haze 01. Bill Ryder-Jones - Wild Roses Albums 2015 20. Summering - Summering (Post-rock) 19. Courtney Barnett - Sometimes I Sit and Think, and Sometimes I Just Sit (Indie) 18. Bruno Sanfilippo - Inside Life (Neoclassical) 17. Tobias Jesso Jr - Goon (Baroque pop) 16. Lubomyr Melnyk - Rivers and Streams (Neoclassical) 15. Tricot - AND (Math rock) 14. Twerps - Range Anxiety (Indie) 13. Sufjan Stevens - Carrie & Lowell (Folk rock) 12. Laura Groves - Committed Language (Synth pop) 11. Majical Cloudz - Are You Alone? (Synth pop) 10. Hiperson - No Need for Another History (Post-punk) 09. Beach Slang - The Things We Do to Find People Who Feel Like Us (Rock) 08. Bill Ryder-Jones - West Kirby County Primary (Indie) 07. Bill Fay - Who Is the Sender? (Folk) 06. The Amazing - Picture You (Dream pop) 05. Mathew Roth - Immersion (Post-classical) 04. Slow Meadow - Slow Meadow (Post-classical) 03. Ólafur Arnalds and Alice Sara Ott - The Chopin Project (Neoclassical) 02. Musk Ox - Woodfall (Post-classical / label release this year) 01. Julien Marchal - Insight (Neoclassical)
  11. french composer julien marchal's "insight" is what seems to be called "neoclassical" these days, though his music has no references to igor stravinsky or maurice ravel. it's minimalist, melancholic piano work that is more related to olafur arnalds and some nils frahm, minus the beats and experimental components of these two, which is all the better for me. it does hint at some bach, chopin and satie influences, and demonstrates a beautiful, yet really subtle, concept of enjoying the sounds of the piano's dampers. it's an extremely beautiful album that sits in my top 5. highlights: insight: i; insight: iv; insight xiii.
  12. i'm going to continue posting stuff i've been listening to and then post my end of year list later. hiperson hail all the way from chengdu, china, but their sound is pretty deeply rooted in western music. vocalist chen sijiang is a cross between siouxsie sioux and cocteau twin's elizabeth fraser, emphasising expressive, rhythmic lines. the music is post-punk with some dream-pop passages and even mathy precision guitar, bass and drum work. the group does these wicked powerful chants that adds a lot of drive. the album is "no need for another history" and highlights are: you don't sacrifice your innocence here, the curtain, and entrance. this might be in my top 5.
  13. okay, after my whole spiel i wasn't going to bring this up, but god damn it, "ride the wild haze" speaks to my soul like no other this album is in my top 10, for sure. it's straight-up guitar music from the 90s with some shoegaze influences. you hear a bit of swervedriver but it's a bit more punk. the thing that kind of works against this album is that the songs sound similar to each other. the lyrics are not very creative but like you say, it's just nostalgia. it's so honest and reminds me of times when i was a confused, naive child.
  14. last rec from me for today. lubomyr melnyk's rivers and streams is an instrumental piano album that best fits the neoclassical descriptor. he makes extensive use of the continuous music technique that involves rapidly hitting notes, some complex, some not. the first track is mostly this, but does suffer from repetitiveness. maybe it's just too long, though. after that track, it's all smooth sailing. he brings in a couple other instruments very lightly in the background. the best track on it is ripples in a water scene. highlights are pool of memories, sunshimmers, and the amazon: the lowlands. i can't find any of the new tracks on the web
  15. bill ryder-jones's west kirby county primary is more of that pavement sound, but cleaner guitars and more polished. there's the occasional light crunchy guitars and the whole vibe is pretty 90s indie. two to birkenhead is the single that promotes the album, but the mellower acoustic guitar tracks are beautiful and balance out the album's sound. a couple songs are growers. highlights: wild roses and seabirds.