Ready for the third review ?

20 times more to be exact.

When reviewing music, you talk about music in its technical or aesthetical aspects.

If you want to write a dissertation about ethics or politics, then you're shitting outside of the potty. If you want to stop being an ignorant self-entitled douchebag then study law or philosophy and avoid making a joke out of your "deep" opinions on music.

whats the problem with the record? because "smack my bitch up"? :D can anyone gimme a tl;dr? am at work have no time to read it now.

toxic masculinity

The whole album and the culture behind the music is full of toxic masculinity and overall negative attitudes that don't help our modern day progressive attitudes.

so they seriously give this classic of electronic dance music a 5.9 because of a mean word they said? yikes. damn söyböys at pitchfork

The mid-’90s in America was a time of testeria, a masculinized panic at the small steps toward equality made by women, the LGBTQ community, and people of color. Men experienced even the threat of a slight slip in status like a slap to the face. In a 1993 essay for Newsweek called “White Male Paranoia,” the writer David Gates made their case: “Generations of white males judged women and minorities not by what they did but by what they were. Turnabout is fair play. White men are now beginning to say: only fair play is fair play.” Talk about a jilted generation.

Fin-de-siècle pop culture played along. Proto-incels mistook Chuck Palahniuk for Charles Atlas, as if Fight Club’s ironic exegesis of the closet were actually macho boosterism. “Friends” and “Seinfeld” lionized developmentally arrested males who chafed at the inconveniences of their white and almost entirely heterosexual world. Perhaps relatedly, there was a feeling that rock’n’roll, like straight white men, was in dire straits. After grunge, what was left for men and their guitars? Hip-hop took over as a force of cultural rebellion, and however brilliant and multi-faceted its examination of capitalism and power and race, women struggled to be heard. A woman wouldn’t top the Billboard Hip-Hop charts as part of a group until the Fugees in 1996; a woman wouldn’t do it herself until Foxy Brown in 1999.

Dance music was certainly male enough to make it in America, though it wasn’t exactly macho. Howlett abandoned the “U.S. rave kids” who thought they were poseurs and injected the poison of toxic masculinity. “Firestarter” arrived in March of 1996, announcing the debut of Keith Flint as frontman in a black and white video through which his charisma shown in Technicolor. He mugged and acted the fratboy fool, wearing a stars and stripes sweater, ball-bearing necklace, an inverted Mohawk, and some Alice Cooper eyeliner. If men couldn’t be kings, court jesters still got the mic.

they gave it 7.9 in the original review when it came out

oh my fucking god who the FUCK cares?
do you know why pitchfork still has any relevance at all, OP? it's because of faggots like you who are so vehemently obsessed with them you keep mentioning them as much as you can just so you can make sure everyone knows how much you hate pitchfork
"LOOK HOW DUMB THESE GUYS ARE LOL I'M GONNA KEEP MAKING THREADS ON Yea Forums ABOUT THEM JUST TO MAKE FUN OF THEM I'M NOT OBSESSED I SWEAR"
for the love of god just let them die

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Yes
They even took offence to The Breeders and Art Of Noise samples being used in Firestarter, which the review seems to imply is a co-option of female written music
>Today, The Fat Of the Land is easy to swallow, even if mix of party-on and patriarchy leaves a strange taste in the mouth. As usual, Kim Deal knows the score. “Firestarter” was, after all, built on women’s work: that charmed and pissed-off “Hey!” throughout belonged to Anne Dudley, one of the virtuosos behind Art of Noise; the song’s raucous guitar line belonged to Deal, whose Breeders track “S.O.S.” birthed it.
awful review

So I wondered how the guy who wrote the review (Jesse Dorris) looks like so I googled him and found this photo...

*breathes in*

HAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHA

typical söyböy

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>"a masculinized panic at the small steps toward equality made ... people of color"
>"White Male Paranoia"

>The Prodigy was literally half black.

holy shit, they're identical

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Testerical white man detected

Yes, Pitchfork is always finding ways to hit a new low.

They are too transparent in that the reviewer enjoyed the album but has to portray this progressive persona that does not allow him to rate it higher than 6.

post a pic of your face

>3.4 We're glad he's dead :^)

the memes create themselves

here

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cute

Yes, it's sad that the edgy clown frontman died. But let's not kid ourselves, the music isn't really that good. I just finished a relisten of this particular album and only the singles stand out to me. The rest does nothing for me. I find a 5.9 to be quite high, my personal score would be a 4/10. But I'm not a raver, take my opinion with a grain of salt.

Besides that RYM even says that the funny blue haired man only appeared on, what, four tracks? And he didn't even have writing credits on three of those. So a new review by P4K would be unnecessary.

Hi Jesse

>and only the singles stand out to me
Climbatize is the best tune on the album

Smack My Bitch Up triggered so many people at the time

i read that review, why is it only one paragraph about the actual music and then a fucking essay about drugs and toxic masculinity?

You've obviously never read the Gorillaz Singles review where they call Demon Days their weakest album.

Shit was so cringe how they went out of thier way to re review it to shit on it just to virtue signal. That album is a fucking classic that both rockers and ravers can agree on, and it does exactly what rave music is supposed to do. Make you want to go mental on ecstasy and wave glowsticks around like a jack ass.

Oh, but p4k thought it was too masculine

the beats and production was incredible, but because they were a meme band it was unfashionable to admit that

Christ, twitlibs really do read their pet neuroses into everything, don't they?

wow

for the love of Christ

>The mid-’90s in America was a time of testeria, a masculinized panic at the small steps toward equality made by women, the LGBTQ community, and people of color. Men experienced even the threat of a slight slip in status like a slap to the face. In a 1993 essay for Newsweek called “White Male Paranoia,” the writer David Gates made their case: “Generations of white males judged women and minorities not by what they did but by what they were. Turnabout is fair play. White men are now beginning to say: only fair play is fair play.” Talk about a jilted generation.

>Fin-de-siècle pop culture played along. Proto-incels mistook Chuck Palahniuk for Charles Atlas, as if Fight Club’s ironic exegesis of the closet were actually macho boosterism. “Friends” and “Seinfeld” lionized developmentally arrested males who chafed at the inconveniences of their white and almost entirely heterosexual world. Perhaps relatedly, there was a feeling that rock’n’roll, like straight white men, was in dire straits. After grunge, what was left for men and their guitars?

when was that review written? if it was before the fall, i can kinda see the argument for that. if it was after the fall and humanz, that's just laughable

It's labeled as Fat of the Land review. Not the history of Prodigy and techno music with bonus mini review.

my söy detector went through the roof on this post.

was the smack my bitch up video not made to flip the toxic masculinity script?

The absolute state of music criticism

>mix of party-on and patriarchy

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Not diverse enough

How these fags get any attention at all is beyond understanding

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You can practically feel him swell up with pride, eager for the retweets of women and shitskins calling him 'woke'.

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