these days, your average pitchfork review ends with a link to the relevant group(s) myspace page. it's nice of them to do this. for instance, a band called "lemonade" has just had their self-titled (debut?) record reviewed. the album gets an 8.3 and is "[recommended]". aside from saying that one song goes on too long, there isn't a single negative word about the record, which must make that song pretty fucking long.
but i digress (frequently). what's important is: it's another douchebag indie dance record. after my last post, in which i asked what's so damn special about yet another kind of electronic folk/pop, the experience of listening to lemonade's myspace songs presents an almost spooky parallel. another group of white kids makes another record that recalls the eighties. the songs aren't terrible. to me, though, they aren't even particularly memorable. i've heard so many fucking indie dance records that i can no longer tell one from the other.
noentheless, pitchfork sees lots that i don't. it would seem that the songs are "rife with rhythmic density and intensity." the band employs a "muscular, aggressive approach to dance music." one song has "a pounding 4/4 beat that would go over both in Williamsburg warehouse parties and Dubai super clubs." (does the spectrum you've just been given leave you any hints as to which social class is being marketed to?)
my point, again, is: so the fuck what? they've rejuvinated 80's dance music? again??? but -- WHY?
if what you want is an enless march of "muscular, aggressive" dance music "rife with rhythmic density," [DENSITY?] you've certainly had your desires met in the last decade. you were a pig in shit in '04. but for the rest of us (those of us who don't see the point in rehashing genres that have already been resurrected, co-opted, and pastiched all over again), these cracker-ass indie dance bands are getting rather tiresome.
what's the appeal? why does this shit continue sticking to the wall? i have a theory.
reviewer sez: "As the [final] track fades, it's overcome by a chorus of sampled voices all uttering the same statement: 'we're all having a good time.' Given Clendenin's cryptic, fragmented approach to singing, you can't fault Lemonade for using these dying seconds to state the obvious." after hearing the song in question, the line is clearly an ostentatious attempt at irony, which seems to be entirely lost on the critic. regardless, this is what music means to these people. they want their bands to have a good time, they want to be reminded of good times they temselves had in high school, they want simply to forget that the last twenty years even happened.
what better way to escape the desolate creative landscape that corporate media has fashioned for this american generation? the critic wants to hear that record that reminds him of his first blowjob -- a simpler time, before critics and the internet destroyed american cool music with their solipsism.