Pitchfork’s Sunday Review has become my latest must-read. Every week the Chicago-based online journal publishes an in-depth review and discussion of an album not currently in its archives.
Pitchfork was founded in 1995, meaning most of its Sunday Review albums are more than two decades old. It’s a great strategy. Most of us (well, many of us, anyway) are neither stuck in the past, nor interested only in new music. The last few days, my muse has led me to albums by Slaid Cleaves (2011), George Harrison (1974), Bonnie “Prince” Billy (2005), and Aaron Lee Tasjan (2018).
And, thanks to Pitchfork’s Sunday Review, the Talking Heads (1980) and Fela Kuti (1973).
In Sunday’s edition, contributor Dan Brooks pontificates at wonderous length the Talking Heads’ brilliant Remain In Light. He discusses its place as art without feeling; juxtaposes it to popular music of the day (Billy Joel, Pink Floyd), as well as its punk rock brethren (the Ramones); dissects David Byrne’s obtuse lyrics; and especially examines the rhythmic patterns, which were inspired by Afrobeat — funk and jazz blended with West African polyrhythms — particularly of its Nigerian-born originator Fela Kuti.
It gave me reason to return to Remain In Light and Kuti’s Afrodisiac — two albums I’ve listened to frequently over the years — with fresh ears.
With standard bearers like Rolling Stone reduced to pop-culture pap and music criticism being written by hobbyists, there’s a void of quality music journalism that puts the past and present in proper perspective. Thankfully, Pitchfork fills the gap.
LOST IN THE NOISE 