RuflesCando

Yeah. The album leans heavily on Mitchell, Baez, and King, which could help to sway them; they also love Natalie (Weyes Blood). They prefer originality but also call it a day if a derivative work is good enough.  I don't agree that they follow the latest trends in music but they do have editorial choices that are influenced by context (Apple's profile on The New Yorker by Pulitzer Winner Emily Nussbaum definitely helped her 10 to come to fruition). Normally they are just NY and NY Media related (Condé Nast) regarding buzz so the city has to welcome it in general. Criticism is technic and knowledge but also feeling and timing; also the review is personal to the writer but the grade is an editorial choice, probably a consensus to keep the Pitchfork brand as the most relevant and refined publication on music today.  Many times they changed the score of an album years later, tuning itself to the actual afterlife of work rather than the feelings on publication day (what will probably happen to born to die in a few years, considering how influential it was, that score is definitely going up). I expect in worst cases a 7.5 up, an 8.1 on a normal, no heat feelings, and an 8.8-9 on best cases. I've been wrong before but I'm usually good at this I think. 

i DO want to believe

Yeah, I was afraid of just repeating what you said! Sorry if I did that! Your comment made me think about how probably Pitch would deal with this. I hope we're right and they like it (if they don't and the album doesn't deserve the pan, it's 100% on them to relinquish once again Lana's talent and artistic intelligence only to in a few years admit they were wrong (like they did with BTD on the LFL review)

Yeah, I was afraid of just repeating what you said! Sorry if I did that! Your comment made me think about how probably Pitch would deal with this. I hope we're right and they like it (if they don't and the album doesn't deserve the pan, it's 100% on them to relinquish once again Lana's talent and artistic intelligence only to in a few years admit they were wrong (like they did with BTD on the LFL review)

I think you’ve put more concisely what I was trying to get at (Im not great at conveying what I’m thinking and feeling through words). They aren’t trendy in the sense that they give good scores to what’s trendy in the popular sense, but they always want to appear like they are at the top of line as far as *taste* is concerned, and I think your paragraph expressed that. 

Yeah. The album leans heavily on Mitchell, Baez, and King, which could help to sway them; they also love Natalie (Weyes Blood). They prefer originality but also call it a day if a derivative work is good enough.  I don't agree that they follow the latest trends in music but they do have editorial choices that are influenced by context (Apple's profile on The New Yorker by Pulitzer Winner Emily Nussbaum definitely helped her 10 to come to fruition). Normally they are just NY and NY Media related (Condé Nast) regarding buzz so the city has to welcome it in general. Criticism is technic and knowledge but also feeling and timing; also the review is personal to the writer but the grade is an editorial choice, probably a consensus to keep the Pitchfork brand as the most relevant and refined publication on music today.  Many times they changed the score of an album years later, tuning itself to the actual afterlife of work rather than the feelings on publication day (what will probably happen to born to die in a few years, considering how influential it was, that score is definitely going up). I expect in worst cases a 7.5 up, an 8.1 on a normal, no heat feelings, and an 8.8-9 on best cases. I've been wrong before but I'm usually good at this I think. 

Yeah. The album leans heavily on Mitchell, Baez, and King, which could help to sway them; they also love Natalie (Weyes Blood). They prefer originality but also call it a day if a derivative work is good enough.  I don't agree that they follow the latest trends in music but they do have editorial choices that are influenced by context (Apple's profile on The New Yorker by Pulitzer Winner Emily Nussbaum definitely helped her 10 to come to fruition). Normally they are just NY and NY Media related (Condé Nast) regarding buzz so the city has to welcome it in general. Criticism is technic and knowledge but also feeling and timing; also the review is personal to the writer but the grade is an editorial choice, probably a consensus to keep the Pitchfork brand as the most relevant and refined publication on music today.  Many times they changed the score of an album years later, tuning itself to the actual afterlife of work rather than the feelings on publication day (what will probably happen to born to die in a few years, considering how influential it was, that score is definitely going up). I expect in worst cases a 7.5 up, an 8.1 on a normal, no heat feelings, and an 8.8-9 on best cases. I've been wrong before but I'm usually good at this I think. 

Yeah. The album leans heavily on Mitchell, Baez, and King, which could help to sway them; they also love Natalie (Weyes Blood). They prefer originality but also call it a day if a derivative work is good enough.  I don't agree that they follow the latest trends in music but they do have editorial choices that are influenced by context (Apple's profile on The New Yorker by Pulitzer Winner Emily Nussbaum definitely helped her 10 to come to fruition). Normally they are just NY and NY Media related (Condé Nast) regarding buzz so the city has to welcome it in general. Criticism is technic and knowledge but also feeling and timing; also the review is personal to the writer but the grade is an editorial choice, probably a consensus to keep the Pitchfork brand as the most relevant and refined publication on music today.  Many times they changed the score of an album years later, tuning itself to the actual afterlife of work rather than the feelings on publication day (what will probably happen to born to die in a few years, considering how influential it was, that score is definitely going up). I expect in worst cases a 7.5 up, an 8.1 on a normal, no heat feelings, and an 8.8-9 on best cases. I've been wrong before but I'm usually good at this I think. 

i DO want to believe

i DO want to believe

i DO want to believe

Fantano is definitely not a critic, if you think he is then thats on you

Fantano is definitely not a critic, if you think he is then thats on you

It's incredible how this woman skated herself into disappearance. I'm not rasing hopes for a trailer anymore

It's incredible how this woman skated herself into disappearance. I'm not rasing hopes for a trailer anymore

all it takes is one gay or gal getting their hands on a CD, vinyl, and/or cassette early to hear everything in LQ  wish I worked @ target so I could snatch a copy when the shipment came in (although this time around I definitely won't spoil it for myself if it l***ed in potato quality cause that brings back war flashbacks listening to my voice memo recordings of Honeymoon from the Urban Outfitters listening event on repeat ) 

It's incredible how this woman skated herself into disappearance. I'm not rasing hopes for a trailer anymore