Pitchfork

I don't have any fixed system.

At one point I was trying to devise a system where I could like consistently like sort of, cause you, did you remember, did you ever read like Pitchfork?

I read a little bit of pitchfork back.

Well, I guess they weren't

So there was no that like the sense of fame and success weighing on him had not actually occurred yet when he was like, I'm cutting and running.

it may be um and there's okay so there's not a lot of fucking writing and like uh reporting on this album at the time i think because he was just in the lab he was just like in turning the crank like there's no like funny story it's just like you know how what i was doing with thief i sort of did that again but the songs were a little better um so who knows however uh There's one feature story from Pitchfork that was contemporary in promotion for the album.

It was very, very positive.

But the main thing that are sort of interesting is that Dan himself says this...

This is the first time this has happened.

I've tried to have this happen many times, and I've been stymied by the fact that the internet is a dying and useless tool.

But in this story that Pitchfork did on Dan, this feature, Dan has a... bit where he is complaining about how sometimes reviewers read this ridiculous crap into the record that's not there at all.

And one thing that people have to do, not just for this record, but like throughout Destroyer's whole career, is try to find ways to interpret it as Dan slamming the new pornographers, saying that actually I hate that shit and that's not good music to me, which I don't think that's true because he keeps... being in

Track six is Get Naked, I Got a Plan, produced by, of course, Danger.

This is definitely the sexiest, most hypnotic track and Pitchfork's Tom Ewing called it the centerpiece of the album.

Dangerous sings the chorus himself in a distorted, almost decaying voice.

Britney offers like these sighs and these chants and her voice is also very, very strong in it and like does suit this entire record 100%.

It was definitely not on American pop radio.

Producers hadn't really smuggled it into a mainstream pop album before.

Then, blackout leaks and Pitchfork reported that a dubstep forum thread about Freak Show ran to seven pages in 24 hours.

The scene was shook.

Yeah, I mean, I think it's funny.

I remember I used to go on Pitchfork a lot to go check out the reviews for different albums that were coming out.

And Pitchfork uses a 10-point scale, but it's a decimal 10-point scale.

Oh, so it's actually 100 points to get a scale.

Exactly.

It's still put

on even, well, in 2004, Pitchfork featured the record at number 31 on its top 100 albums of the 70s list.

Well-deserved.

You know?

I feel like that record's been pretty critically acclaimed.

I think, again, Pitchfork dragged that one down.

Pitchfork, not as on board with Fontaine's DC as a lot of other places.

I mean, the British press loves this

record.

It

rules, yeah.

I think it should have been in the eights from, uh, from, from Pitchfork.

I

mean, this was originally announced on Pitchfork as the final fall album.

Yeah.

And woof, what a way to go out.