Kevin Barnes, eccentric frontman of indie pop outfit of Montreal (that’s a lowercase ‘o’ mind you!) did something yesterday that not many artists do, for several reasons: he responded to a critic. The main reason, though, is quite simple – you can’t look good. Following his discovery of the 6.7 semi-dismissal from Pitchfork, he took to his blog to give his own snarky, critical response to a snarky, critical review. You can read it here but if you don’t want to, here’s the crux of the issue: Kevin Barnes feels misunderstood. His calls for a “fair and balanced review” amongst the slew of insults and sarcasm did serve a purpose though: it brought an important question back into the spotlight. Just what does a review serve to do?
Let’s put it into a wider context for a moment: the press are a huge part of a musicians life. The influence of a website like Pitchfork alone is enough to rocket the career of an upcoming independent artist into the spotlight or have it crumbling away like a fistful of sand. The evidence is clear enough to see: bands like Vampire Weekend can credit a lot of their current level of success to the hype Pitchfork spun around them (this isn’t a jab at the bands ability, for the record) and Fleet Foxes went from folk minnows to a debut album that charted in seven countries in the space of a year, on the back of a no-holds-barred 9.0 review from the unofficial indie taste barometer. The ‘Best New Music’ tag has become an absolute commercial guarantee, so it’s easy to see why bands would be eager to earn that branding. It subsequently displays, however, just how potentially damaging a bad review can be. Critics, with full knowledge of this, hold some dominion over the livelihood of a working independent musician, particularly rising and low profile artists.
What all this about Pitchfork means – Best New Music and the subsequent commercial success – is that people trust them. The independent music listener (consumer) has more faith in Pitchfork than most publications. This can be credited to a lot of things: Pitchfork’s honesty, style, taste, even the sheer magnitude of their fans contributes to legitimizing their opinions into fact. But that’s exactly where the tricky business begins – where is the line drawn between opinion piece and tastemaker? Though it hasn’t come to the point where a Pitchfork review single-handedly determines the commercial viability of an indie band, it’s scarily close. Considering a lot of the low profile music they get to isn’t touched by most other wide scale publications, it’s even scarier. Pitchfork is, in a sense, breeding like-minded acolytes. Is it possible new bands are latching on to trends in order to fit in with whatever is trending at the moment? Very. And who determines what’s currently trending? Pitchfork. In theory, they’re attaching themselves to styles and images that young artists are then encouraged to perpetuate, lest they be ignored. Of Animal Collective’s seven reviewed LPs, only one has received a score lower than 8.6, so is it any wonder every basement-artist and their mother have played their hand at being the next Animal Collective? It’s very circular. It’s not as if this is a profound phenomenon either, it’s pure logic; you just need to replace the characters. What happened when Twilight became the biggest thing with tweens since The Backstreet Boys? You couldn’t blink without some stupid new vampire gimmick trying to cash in on the craze.
What this all brings us back to is Kevin Barnes’ negative reaction to that criticism. First, let’s establish two things: 1) of Montreal are well into a successful career, 2) a 6.7 is not a bad rating (almost our equivalent of a 3.5, which is what Rudy Klapper gave it in his positive review). Secondly, of Montreal are far enough into their careers where a 6.7 from Pitchfork isn’t going to tip the scales on their success more than the actual reception of their music with their already-established fan base will. Now with that in mind, Barnes comes across as a bit of a brat. He’s acting as if his music was never up for interpretation in the first place. He consistently mocks Pitchfork’s take on his sound, even going so far as to suggest they didn’t listen to the full album, and implies that Pitchfork has always had it out for him. Something he might’ve missed though was that Rob Mitchum, the man behind the review, was also responsible for that glowing 8.7 take on 2007’s Hissing Fauna, Are You The Destroyer? Pre-meditated murder? Hardly.
What connects Barnes’ toys being thrown out of the pram and my thoughts on Pitchfork’s status as a publication is that Barnes clearly doesn’t want his music to be read this way by the ‘drones’ that Pitchfork readers have been tagged as by the cynical anti-hype machine and he’s clearly angry about it. Does he have power over that? No. Is he scared people will agree with Pitchfork? Evidently, yes. This brings up something that’s important to realize about music reviews. Critics are prone to suggestions and assumptions – most reviews specifically do so with angles and irrelevant details that they interpret to play into the significance of the record. I do it all the time. It’s central to the idea of being a critic: subjectivity. What a professional critic amounts to is nothing more than an eloquent and excitable music fan. There are a lot of those kinds of people, evidenced by this website alone. What a Pitchfork, or Rolling Stone, or Vice Magazine writer amounts to is the one eloquent, excitable music fan who was eloquent and excitable and entrepreneurial enough to earn themselves that title on their business card. You have to remember that they are no less subjective than the rest of us. There is no algorithm or secret to knowing what good music is; only how we interpret it through our own ears and tastes. It’s just that not everyone’s tastes get plastered across the internet for thousands to read.
Kevin Barnes may not think the “falsetto-funk” of his record was something to be shocked by but Rob Mitchum definitely did. Is Barnes, the man behind the music, correct in saying that’s not how you should interpret it? Absolutely not. Music might be the most visceral of art forms – it is nothing without interpretation. Does this mean Mitchum is right in saying that’s what the album sounds like? No. That’s just how Rob Mitchum described his reaction to it. The 6.7 rating is indicative of nothing but Rob Mitchum’s taste. Music is an experience, not something that can be put into words and descriptions. While Barnes wasn’t wrong to be afraid of Pitchfork selling his work to listeners as something that he never thought it was, he should perhaps be more afraid that this is how it was interpreted in the first place. Furthermore, publications should not be used as a musical compass as much as a reference point and artists like Kevin Barnes should react to negative press with the reassurance that their fanbase isn’t comprised of robots. Is there such a thing as a “fair and balanced review”? Apologies to Mr. Barnes but I’m afraid not. The trick is putting it all into perspective. A music review is a means of promotion; what we should really be concerned about is when publications are treated in a way where marks on a scale of 10 can make or break a commercial career.
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honestly one of the best posts on the blog.
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i used to love of montreal but now they just piss me off, i tried to listen to a song from the new album and turned it off halfway in
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Also, "lower case!" is retarded as well. Hey guess what dumbass, it was stupid of you to not capitalize that O when you named your band.
"should budget allow? no one talks like that" - i cant even comment. im more angry at his response than he was at the review.
11.27.10
It sounds like Barnes overreacted. Considering p4k's average rating is probably a 6, I think he should be pleased it wasn't much worse. Like you said, a 6.7 on pitchfork is close to a 3.5 on sputnik, so it's not a bad rating really.
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and could Barnes come off as a whinier bitch?
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woooooooow
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great staff blog I have yet to get new of Montreal and I will probably avoid it.
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I think it's partly why Pitchfork is so influential and effective. Few of their reviews read like actual descriptions of the music's melodical and lyrical attributes, so much as the emotions associated with it. In doing so, they're defining the music for people, often before they've had a shot at making up their own mind.
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^this came out a few days later as being fake and Torq apparently had nothing to do with it.
The write-up was classy as usual Kir.
Though while I agree with mostly everything you said, when the question of reviewer's power comes up in passing conversation, I can generally squelch it with a simple mention of Ke$ha or Soulja Boy or Flo-Rida. Artist who are trashed by generally every major & minor publication--interwebs and otherwise--yet still seem to achieve massive sales and airplay in the US.
Yes sometimes critical press can help make (as well break) a career; yet more often than not I find it really all comes down to the listener and generic catchy-ness more often than not. (depends on the genre as well I suppose. "indie" rock is inherently based on experimentation and pushing borders where club-rap obviously isn't)
Pitchfork have been staunch Kings of Leon haters for some time--yet that band fucking sellsellsellls; as well as their scathing review of Mumford & Son's debut doesn't stop the fuckers from selling out shows here in the ol'USofA.
but then again...who's really heard of Black Kids since their debut?
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albeit a bit egotistical ;)
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http://community.livejournal.com/stars___/31532.html
"this came out a few days later as being fake and Torq apparently had nothing to do with it."
my b
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Which in turn makes me wrong (my b) and yay thanks for bringing that to my attention because it was a half-way engaging read.
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apparently that blog post is what I was referring too, albeit slightly abridged.
regardless it's not Torquil and is still somewhat right.
< 3 Natey.
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Obviously hype doesn't just come from critics as well, it can come from major record companies who might have links with the media that help them to hugely promote some singers/groups with big public campaigns.
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This was a great read, Kiran. Probably one of my favorite blog posts here.
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The same bullshit that goes on over there that's happening here is one of the main reasons the review site is god awful.
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i thought it was even stranger that he would suggest something like that this far into his career - it's like he's either never read a review before or he's just gotten angrier and angrier with every album that didn't get its full treatment on the reviewing table!
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lol kevin barnes
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oh, i was always under the impression that pitchfork's ratings were somewhat arbitrary but the BNM status was what was discussed as a group..
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the review wasn't even that critical, for this guy to expect everyone to interpret the album the way he wants to is ridiculous. music is subjective and people are going to see it in different ways
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That being said, Of Montreal is pretty much the type of indie rock band I can't stand and their frontman seems like a douche-monkey.
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Most intelligent reply in this article.
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