Who cares if it's entertaining to him, it's really entertaining to me.

The whole thing basically started with Mark saying The War On Drugs sucks during some stage banter while he was irritated by their bleed over. Then when he explained himself he made the terrible mistake of not saying "I'm sorry" as if it's some horrible offense to say someone's band sucks.

As if "Benji" is the perfect template for a band trying to hold onto commercial relevance. If he rehashed Red House Painters you might have an argument.

Which seemed contradictory because one side she's framing Mark as the powerful industry insider bullying the weak and naive newbies, and then saying Mark's problem is that he's jealous about not being popular. Then again she correctly identifies "suck my cock" as a school yard taunt no one has ever put an ounce of…

Even the mainstream should have scraped his shitty band of their shoe the second their song stopped charting. But, oh, I forgot that Aaron plays acoustic guitar and that's so deep of him.

I always wondered what was up with that shouty guy. The first time I heard Sugarcubes was through a bootleg recording. It started off with Birthday and Bjork sounded phenomenal then suddenly this guy is shouting and then it turns out he sounds like that on the recordings too.

I've been noticing it more in European cinema and television in general. Godard had a real affection for American characters that were simultaneously obnoxious and endearing. With Fulcher it seems more about the way people react to him, and the way Rich reacts to people reacting to him. There is also the fact that…

I love the shoe store sketches. No other sketch comedy show could pull that sketch off without making generic fighting choreography jokes.

The whole series is on Youtube.

I love Fulcher but it took understanding that he's always playing the American to understand where he's coming from.

James Blunt did pass the Never Mind the Buzzcocks test.

But, you're describing modern music criticism in a nutshell. Apparently the first track is supposed to say something about the entire album, and the something has to be that this album is exciting. Unless of course you're the Beatles then you have to say that the album is not exciting.

Radio Song is great if you have a sense of humour and you're not prone to grinding your teeth over trivial betrayals to coolness. Lotus is one of REM's better tracks.

The opening symphonic track is ceremonial and gives the metal band a chance to take one more sip from the chalice before marching into battle. Also, it's a fucking metal album, not an essay.

It's not ironic when the lyrics are meant to be bad and are in fact just bad.

I just see "Army of Me" and "Hyper-ballad" as that far removed from each other.They're both cold mid-tempo electronic numbers. If they album started with "It's Oh So Quiet" they're might be an argument. How monotonous does an album have to be?

So Bono is insecure. That explains everything.

Knowing this is an old comment… Not a fan of the Lawrence Arms but have to say that it sounds a lot more like punk than hard rock. It's still basically fast 3-chord riffs. If you compared it early hard rock such as Zeppelin, and Aerosmith you could complain about it not being gritty, shouty, or bluesy enough. In the…

I'm actually surprised that Patience has attracted a long run of out-of-the-box covers. The G'N'R version is terribly bloated but the melody and lyrics and fantastic.

It would have been much cooler if Pink Floyd implied the end of the band by tweeting an Ebay auction for the giant inflatable pig.