The real Bangs was a hit-or-miss stylist who probably couldn’t be published on most music websites now - not because of his truth bombs, but rather because a lot of his writing is riddled with purple prose and reactionary contrarianism. He’s now a cuddly big brother figure to aspiring critics everywhere, a lonely teddy bear who’s always there to snuggle you when you’re in the weeds. But the real Bangs has long since been overshadowed in the popular consciousness by Philip Seymour Hoffman’s portrayal in Almost Famous. And there are still pieces of his that I revere, particularly his beautiful appreciation of Van Morrison’s Astral Weeks, which is one of the greatest rock-crit essays ever, and his definitive Elvis Presley obituary. When I was a teenager, I looked up to Lester as all young rock-critic dudes do. However, I really do believe that Ellen Willis is a better critic than Lester Bangs. But I know deep down that I have gone off half-cocked (or full of whiskey) on occasion. I know I should be offended by the implication that one of my tweets might in fact be B.S. Put “Believe” on repeat until you see the light.Ī while ago I remember you tweeted something to the effect of “Ellen Willis > Lester Bangs.” Do you actually believe this and why? - Ross from Louisville In your case, I would suggest sticking with that Amen Dunes record. But it’s in our best interest to get over that. So, yes, I think what you’re describing is fairly common and probably a weakness of human nature. This is when you hear an album, think to yourself “this is pretty good,” and then decide that you hate it because everybody else is like “OMG it’s a total masterpiece.” Every year, there’s at least a couple of albums that fall into this category, and I can be slow to get past my personal baggage and appreciate those records for what they are. Now to your first question: In a recent episode of my Celebration Rock podcast, I confessed to Pitchfork reviews editor Jeremy Larson that I often have to resist the “good is the enemy of great” trap.

Also, I happen to think that record is really, really good, so I’m more than happy to add fuel to the hype fire. Whether you think the hype about Amen Dunes is justified or overblown, I like that critics are still willing to get behind a relatively obscure underground act and nudge them into a conversation that is otherwise dominated by pop artists. Rescuing great music from the scrap heap of indifference and giving it a signal boost is the noblest part of this profession. For all the talk about whether criticism still matters, there are still numerous instances every year of albums that would wither away in obscurity if not for the boosterism of music writers. The only reason we’re talking about Damon McMahon’s latest album Freedom is because some critics have talked it up as one of 2018’s best indie releases. Let’s be honest: Probably not.Īmen Dunes is hardly a mainstream pop act. Let me answer the second question first: Would you have even heard about the Amen Dunes album without reading those enthusiastic reviews written by scribes like yours truly? Maybe.

Would I have liked it more if I was going in with a blank slate? - Joe from Philadelphia Please keep them coming at you think reading a critic’s praise of an album could ever have a detrimental affect on the listener? Like, I listened to that Amen Dunes album, but I didn’t like it as much as critics did. Welcome to another installment of Ask A Music Critic! And thanks to everyone who has sent me questions.

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