Knifed & Spooned

Knifed & Spooned is a publication dedicated to the review of record reviews published on Pitchfork. Pitchfork reviews are each disseminated before being assigned a numerical value on an arbitrary scale, which we prefer not to divulge. Contributions are made by journalists, editors, established artists and readers like you. This site does not review records and should be viewed only as meta-commentary on a singular phenomenon of popular culture.

Monday, November 20, 2006

A Review of Stephen Troussé’s review of Jarvis’s Jarvis 4.4

It’s not easy being relevant. It’s probably safe to assume the alternative is no easier. Jarvis Cocker is probably referenced at least once a month in a ‘fork review, which is more than Albarn, Coxon or any of the dudes from Menswear manage. Troussé doesn’t blow any more hot air into Cocker’s inflated status, but finds fault with the following:


1. Opening a record with an instrumental.

Apparently, Cocker should stick to writing 6 minute synth driven lyrically rich ditties about profound subject matter like a song called “Underwear”, written so women will throw their underwear at him.

2. It isn’t 1991.

It’s 2006, and Cocker’s still here (kinda). Everybody knows that artists are supposed to go to the shores at thirty and walk into the sea with their mouths open into the salty embrace of death. If Cocker insists on continuing to make records, he should just reprise Separations over and over and over…

Troussé writes “What awaits the disappointed romantic, when he concludes that life isn't elsewhere, is the evil of banality... and maybe the banality of evil.” Cocker in 2006 is a disappointed romantic. Whether Troussé is touting the promise of “Quantum Theory” or “Big Julie”, his hand is revealed as that of the listener looking for the optimistic romantic of 1991. Troussé’s review reveals little more than which romantic he prefers. For my enjoyment of the record, his preference is irrelevant.

-- Dan

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