Last updated on May 14, 2019
One of the weird things about music criticism (and there are a bunch of them that I’ll list someday) is that every critic approaches music with a different set of formative influences. In many fields, there’s a set of readings that you have to understand before you’re able/allowed to contribute to the conversation: in this field, you just have to listen to enough music to create an aesthetic that determines what music you call “good.”
Some people think that the best rock is subversive, while some think it’s that which has the best riffs. Authenticity is chased by some. Some rap critics are concerned primarily about production, while other critics are lyric obsessives. Those are highly simplified examples: If your aesthetic is coherent and easily understandable, you’re probably not idiosyncratic or “interesting” enough. (Being fickle, rarely a positive quality, seems kind of endearing in this field.)
But there’s usually an underlying commonality in how people form an aesthetic: people who write about music like or hate things for reasons that often have nothing to do with the band in question and much more to do with the first music that a critic ever loved. That is to say, it has much more to do with the way the person views what good music should be, because the first music a person loves automatically constructs a framework that is almost immutably set in synapses.
There’s a good reason for this: the emotional connection to a first musical love goes beyond rationality, which comes later in the process of becoming a music critic. Example: would you believe that the ~6 times I saw Relient K live in high school has a nearly direct correlation to why I’m so excited about Common Grackle‘s western swing and rockabilly? If so, you give me a lot more credit than I expect.
But it’s true that I love a band with:
a. melodies that I can sing along with (and get stuck in my head)
b. witty and occasionally sarcastic lyrics
c. meaningful things to say about culture via those lyrics
d. heavy rhythmic elements (that I can dance to)
e. absurd amounts of energy (so that I can scream along in catharsis at appropriate moments)
f. occasional group vocals (see point e)
g. the ability to write a killer ballad/slow’n’pretty/solo acoustic song (see a-c, e)
h. variety in song structure and sound
i. thoughtful arrangements
j. emotional issues (see all of the above)
This is because Relient K has all of those things, and when I first heard The Anatomy of the Tongue in Cheek, I was under the impression that the members had crafted the greatest piece of music ever created. When I realized that types of music other than pop-punk were also awesome (approximately two years later), it was too late. My brain had been imprinted with these characteristics as “The Fundamental Elements of Rock.” (Fun fact: One of the only other bands that has ever hit all of these fundamental elements over multiple releases is the-soon-to-be-gone post-hardcore powerhouse The Felix Culpa.)
I say all this because I am fascinated with Common Grackle’s The Great Repression, while many people will think it’s bizarre. This is because I see an album that embodies points a-j. Other people may only see a western swing album and run for the hills. As a music reviewer, it’s my job to convince you that Common Grackle is awesome, and hope that my argument will overtake your distaste for/lack of knowledge about western swing (which I will do tomorrow, because I don’t want to shortchange CG). This is a challenge because you have your own set of “fundamental elements” that have been ingrained over time.
This is why many blogs don’t write long essays about music: that’s not what people go there for (also: attention span). Blog readers don’t need to be convinced to hear new music in the way that readers of newspapers (or even journalism-heavy rock mags like Rolling Stone) do; if a reader is at the blog, he/she either passively or actively wants new music in his/her life. Words about that are nice, but are ultimately inessential to the goal: hearing new music.
So, why review music, right? Just post the MP3 and get out of there. Well, Independent Clauses isn’t really a blog trying to inform readers, because there are tons of those blogs. We’ve tried to be that before, but it’s not what we excel at. We’re best at being a blog written for the bands that we cover.
Blogs operate on a hierarchy: Independent Clauses is near the ground floor, and Pitchfork is the penthouse. Bands have to get press from one level of blog/media outlet before moving up to the next (i.e. getting a small break leads to bigger breaks leads to “the big break”). This isn’t some huge racket. It’s just the way that bloggers and media types find out about music: outwardly expanding concentric circles. It used to be that all bands wanted to move up to increasingly larger circles, being heard by more and more people. This is not always the case in the new music world. But Independent Clauses hopes to be a leg up for bands that do want to get bigger.
The Felix Culpa, whose final show is Friday, was a young band on a tiny indie label (Common Cloud Records) when we first reviewed their work in 2004. In 2011, Consequence of Sound included them on a list of the year’s most notable break-ups. (Good company: TFC placed behind Dear & the Headlights but in front of Kim Gordon/Thurston Moore.) That is incredibly meaningful to me; IC was a bit part in that. The band’s upward success means that IC has, in some small way, succeeded as well.
But even those bands who are content to stay where they are in the world like to hear what people have to say about their music. It’s a fundamental human trait: we want to know what other people think about our work and (by extension) us.
This sort of egocentrism is not universally reviled or beloved: at its extreme, as many people love Chad OchoCinco as hate him for exactly the same reasons. It’s just the way things are. We have voices, and having those voices validated and appreciated is a vital thing. The extreme of not needing this approval is a sociopath; the extreme of needing this is codependency. Most of us exist in the middle, where it’s nice (even flattering) to know people care.
And I do care about people, even people that I haven’t met and won’t ever meet: I believe that everyone matters and should be taken seriously. No one is below me, my time, or my words. Everyone matters.
“Taken seriously” obviously differs for various artists: humorous bands want to know if their joke is funny, not if their album rivals OK Computer; bands that aspire to write pretty albums (like Josh Caress’ still-brilliant Letting Go of a Dream) want to know if their music is pretty.
I try to take people’s claims on their own terms, and see if they hold up. Often they do; sometimes they do not. And when they don’t, but I see what the claim was, I try to give some advice for next time. Even if an album stinks, there’s at least one musician behind it: there will be more music from that person (even reclusive Jeff Mangum bears this out). And the person is worth helping, even if the album can’t be helped.
I can’t help everyone; I have an aforementioned framework of what I consider good music, and I rave about bands that fit within it. Hopefully, other blogs continue to write about music that I don’t like, so that artists who fit into the frameworks of other writers can be celebrated too. I don’t “reject” artists because their work is universally terrible: it just doesn’t fit in my mental structures. It is not a reflection on the artist as a person; it is hardly a reflection on the artist as an artist. If anything, it’s a reflection on me. As hard as I try to be objective and open-minded, there are just some things I don’t like. That’s another weird thing about music criticism: I am just as disappointed when I don’t like a band as the band is, because I want to write well of everything. I want to use my skills to help people.
Do I love music? Yes, very much. But that’s not why I keep writing reviews: I could just live on Spotify if my aural passion was all that drove me. I would never have made it to here, post #1500, if all I loved was music.
But I don’t like Spotify, because it hurts artists. I care deeply about the well-being of those people whose music I listen to and whose albums I fund on Kickstarter (my new favorite moneysink). I want to help artists, in any way I can, to pursue their dream of being an artist. I want to validate their talent, point out where they can hone skills, and send them on to bigger and brighter things with a press quote in their pocket.
And that’s why I haven’t quit on this commitment: I don’t do this for the music (although it’s awesome), readers (ditto) or because it’s a good business move (there’s going to be less and less money in it). I run this site because everyone matters and deserves to be taken seriously. Thank you for helping me realize this, The Felix Culpa.