So, Emily Mortimer could redeem the Mac character by making her more of a frivolous dingleberry? Few things say "dingleberry" like a shoddy, half-assed Groucho impression.

So, Emily Mortimer could redeem the Mac character by making her more of a frivolous dingleberry? Few things say "dingleberry" like a shoddy, half-assed Groucho impression.

Not sure you're giving the debate with the guest proper credit: it's good not in that it shows Will's fallibility but that it shows a very complex, mercurial debate and Will's ability to step away from it even though he was ultimately in the right. The guest (name? name?!) gives a heartening speech, but he does so in…

Not sure you're giving the debate with the guest proper credit: it's good not in that it shows Will's fallibility but that it shows a very complex, mercurial debate and Will's ability to step away from it even though he was ultimately in the right. The guest (name? name?!) gives a heartening speech, but he does so in…

I mean, that's true for albums 1-3. Albums 4 and 5, not at all.

I mean, that's true for albums 1-3. Albums 4 and 5, not at all.

No kidding. Reads like an A, stamped with a B minus. Pitchfork's review reads like a 10, but it's stamped with an 8. Why uphold the sacredness of As and 10s? If a record couldn't be improved upon, it deserves the highest rating.

No kidding. Reads like an A, stamped with a B minus. Pitchfork's review reads like a 10, but it's stamped with an 8. Why uphold the sacredness of As and 10s? If a record couldn't be improved upon, it deserves the highest rating.

B minus?! No! This album is terrific. It's rare to see a band get linearly better with every album, but they've done it. I didn't think they'd top One-Life Stand, but then there was "Motion Sickness," "Flutes," How Do You Do?," "Let Me Be Him," and all the rest. Not a single weak song. Just so damn good.

B minus?! No! This album is terrific. It's rare to see a band get linearly better with every album, but they've done it. I didn't think they'd top One-Life Stand, but then there was "Motion Sickness," "Flutes," How Do You Do?," "Let Me Be Him," and all the rest. Not a single weak song. Just so damn good.

Wait, Donald Pleasence is a man?! Next thing you'll tell me is that "Flotation Toy Warning" means something.

Wait, Donald Pleasence is a man?! Next thing you'll tell me is that "Flotation Toy Warning" means something.

Agreed. This is fantastic, his best yet and inevitably rap album of the year, if not just straight album. Every stinking song is a winner. Best of all, it's not exhausting like his past work, which while great was also wearying. If the AV Club gave A pluses, this would be one.

Agreed. This is fantastic, his best yet and inevitably rap album of the year, if not just straight album. Every stinking song is a winner. Best of all, it's not exhausting like his past work, which while great was also wearying. If the AV Club gave A pluses, this would be one.

This is the attitude I worry about, though: "This sounds like nothing I've ever heard before." There are a great deal of completely unique and creative works of art that are also utter garbage. I'm not saying Death Grips are (I'm still on the fence), but it's a slippery slope. This idea that something is great merely…

There's nothing wrong with "listenable"—you're thinking "likable," a deadringer for "subjective." If you enjoy it, it's likable; it not, it ain't. You hate subjectivity because it's so ridiculously subjective. Etc.

Release the Stars is one of the top contenders of all time for Should've Been an EP.

Sure, it's a phenomenon, but is it listenable?

Enough!

Question dutifully avoided. If your point is that Thirteen was their high water mark, and it's all been downhill since, why are you reviewing an album four/five albums after Thirteen? The point would've been made with Monkey House, or Odditorium, or Earth To, or Are Sound. Why keep belaboring this? It comes off petty…