Tuesday, January 31, 2006

Hey, hey now. This is much ado about nothing.

The first article I have ever read on Pitchfork is this one they have on The Cloud Room, "The Smash That Wasn't." The substance of the article was mildly interesting for the close-up view of the life of one of those thousands of bands hovering on the outskirts of awareness, and the good intentions that lead to unfortunate mistakes as they struggle from semi-semi-obscurity to semi-obscurity. Note that I say "the substance of the article" was interesting--there was a story in there somewhere. The writing was some of the most god-awful doggerel I've ever seen.

But, I followed the story deep down into Pitchforks trendoid, blank-stare of a maw and discovered that at the end of Pitchfork's alimentary canal lay the beginning of Gothamist's. Now, I feel like a twice-shit coffee bean, and all I can say is: "For what?"

I've got nothing against The Cloud Room, y'all, but all of you people who have somehow gotten it into your head that the song is in any way more than average on the Catchy Pop Song index are fucking kidding yourselves! News Flash! The song is kinda okay! Not bad! Shows promise! Needs work but a good start! All you people have seriously chomped the lotus on this one. Get some perspective, and realize that there's no way on earth that this modest musical offering should have provoked all of the idiotic ego spasms (Chris Ott, whoever the Sam Hell diddly-poo fuck you think you are, I'm looking at you).

Seriously. Of all the tunes to get so worked up about.

(Go ahead and listen to the inoffensive, decent song "Hey Hey Now." It's not the life-changing masterstroke of a hit single everyone thinks it is, is it?)


nm said...

it's pretty damn good. f

nm said...

umm, not sure where that "f" came from. it wasn't the start of a "fuck you" or anything. the song's not that good.