I mean, god, the whole damn premise is a Ferris Bueller reference, right?

In a similar post-rock-before-NIN situation, I saw most of Godspeed You! Black Emperor's set at Mountain Oasis in Asheville, which was coincidentally the set before NIN's at the same venue. They were great, but there were THE most obnoxious NIN fans standing right next to us, talking loudly throughout the set about…

Woah woah woah come on Bloodflowers is a fine fine album

Yeah, especially considering Brent DiCrescenzo doesn't work there anymore (and from what I can tell, the site has basically disowned him)

Can anyone give me an actual criticism of the writing on Pitchfork though? All anyone ever says is that it's "elitist" or "pretentious" but I've never heard a real criticism. If "elitist" is "I like some things and don't like others," isn't everyone elitist by nature? I think in terms of writing ability their critics…

(Personally, if we're strictly talking about music and not cultural importance or influence or anything, I like 1989 more than Thriller)

She was talking about it to Lily when they were walking down the road near the end of the episode.

This episode was just what this show needed, i.e., something actually interesting after the last few episodes.

That (totally wrong) Scott Pilgrim grade seems to be one they've disowned somewhat, though, or at least I recall someone (Dowd, maybe) calling it Edgar Wright's masterpiece.

I haven't read The Book Thief since I was in 6th grade or I Am The Messenger (which I read twice) since I was in 8th, but I ought to revisit them, because as I remember, Markus Zusak is a phenomenal writer. And yeah, I have no desire to see this movie.

Oh yeah, they definitely got classified as emo back in the mid-late 00s, but other than the punk/pop-punk influence, none of those bands really sound anything like each other, much less what those who are versed in emo consider to be emo.

They get lots of shit for the recent part of their career, but Sing the Sorrow, Decemberunderground, and Crash Love are all seriously great albums in my book.

I wouldn't really call any of those bands emo at all, though My Chemical Romance did have a pretty big emo/post-hardcore influence. Panic would most easily fit under pop, and FOB (well, up through Cork Tree) was basically straight-up pop-punk.

Patrick also took over cooking for Carol when she went to walk with Daryl at the beginning of the episode, which doesn't bode well.

@avclub-e0a1578b57e32929a77892fadf0d0b40:disqus please, this isn't Pitchfork we're talking about

Glad I'm not the only one who's psyched for this. The song is really cool and despite people mocking it, these guys *did* come from hardcore, and their first two albums are great pop-punk. And since SR&R saw them exploring pop more than ever, it's great that they're going full punk for this one.

I also love their merch pricing. It's super affordable.

All We Love was through Epitaph iirc, but Deathwish does have Converge's merch and vinyl and such. Also last year's Code Orange Kids album was a monster.

Except Pitchfork actually has some damn great writers. The only AVC music writers I can tolerate are Heller and Marah (edit: David Anthony's good too). Most of the music reviews here now are just irritating and poorly written.

Reading Kenigsberg's ludicrous attempts at criticism has made me like Dowd more by the day (though I never really disliked his writing like some people here did).