While a novel and funny concept, and one well executed, a strong current of emotional ambivalence runs through Randall Christopher’s review-of-a-review, revealing a review that is as much a review of Pitchfork’s reviews in general as it is a review of Pitchfork’s review of the new Deerhunter album in particular.

It is nearly impossible not to notice an air of resentment for the seminal online magazine when Christopher categorizes the “typical Pitchfork review” as caviling, focused more on superfluities and speculation about artist’s “commercial motives” than about the music they make.

On the other hand, Christopher’s reverence for Pitchfork is unmistakable; unmistakable in the breadth of knowledge he displays about it. And, when it’s not devoted to deriding the magazine, his review of a review shines, offering insight and understanding rarely found in reviews of reviews.

Like Pitchfork, often too harsh to that which it loves, so is Christopher – he loves Pitchfork – and he watches her ever so closely, and with the highest of expectations – expectations too high for him not to be forever let down.

-Joel Taylor, October 2010

Pitchfork review of new Deerhunter album

Bear and Fox review of Pitchfork review of new Deerhunter album

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