Since Hipster Runoff is the moral compass of electroblogville, it is my duty to react to Pitchfork Media’s review of Steve Aoki’s “Pillowface and His Airplane Chronies.”
Please note: I haven’t listened to the CD. Please stop reading now if you are interested in reading a qualified opinion.
Sure the CD is probably less than mediocre, obvious, forced, and gimmicky, and I’d rather download a free mix off the internet, but it’s tough to get over the fact that Pitchfork used the review as an opportunity to deliver an an angsty middle-aged rant against the whole electro scene.
Let’s get past feeling OUTRAGED about such a low Pitchfork Rating, since I think that’s more of a formula of
[(LABEL x Hometown)^2 +/- previous album's standards + Obscurity Factor x Perceived Authenticity]= Pitchfork Rating
The Pillowface Review a rant that wasn’t only meant to dis the artistic integrity of Steve Aoki, but also YOU. This is about you, the reader of music/mp3 blogs. This is about your best friend, the guy who downloads Popular Tracks at the Hype Machine every 3 days. This is about the 15 year old in Australia who you’ve never met, who started a music blog with the dream of getting on to the Hype Machine (he lost interest after 10 posts). This is about every single one of Steve Aoki’s ex-business partners that he parted with on bad terms. This is about your ex-GirlFriend who got a DSLR for her 21st birthday, and planned to start a party pics website. This is about every blog who ever posted “D.A.N.C.E.”, no matter what the self-aware blurb that justified why they are posting it was. This is about every French person who ever made a Tecktonic video. This is abou a 13 year old in Wisconsin who will wear American Apparel for the first time in 2008, and for the first time, she’ll feel like she’s worth something. This is about a 20 year old in his dorm room at a university in Oklahoma who has dreams of becoming the next big electro act since he just got a Mac, downloaded Ableton, and learned how to make GIFs for his myspace user pic. This is about the GorillaVsBearses, the PandaToesers, the DiscoDusts, and even all of the crappy blogs that just write reviews of the same stuff that Pitchfork writes about, since we’re all getting the same information. This is about the next 1.7 years in Middle America, when more people start listening to even crappier imitations of the electro-dance glory days of today.
Let’s get a few things straight: I don’t know what makes a good DJ, or a good song. I’m just a blogger, not a student at the Berklee School of music. I only know that music is ‘good’ because a band is written about a lot, or because it sounds like a feel-good hit from my childhood. Or maybe I was really drunk the first time I heard it.
While I usually poke fun at the envious position that Steve Aoki is in (downing bottles of Grey Goose and getting paid for using iTunes DJ software), this Pitchfork Review is certainly dipping into the ‘blog-style, buzz generating’ content that they would probably put themselves above.
http://www.pitchforkmedia.com/article/record_review/48666-pillowface-and-his-airplane-chronicles
Bolded are some of the more memorable jabs from the review:
Steve Aoki
Pillowface and His Airplane Chronicles[Thrive (Red); 2008]
Rating:This mix, the first (and hopefully last) from Dim Mak major domo Steve Aoki, kicks off with Refused’s “New Noise”, a 10-year-old track that mixes Fugazi-loving ruckus with the merch-friendly electronic ambiance now heard on the quiet moments of your average Linkin Park single. After two minutes of this enjoyable ruckus, the disc jumps into a 16-track mix of modern-day post-punk and indie-approved dance tracks that I assume by the incongruous Refused intro is meant to signify the “new noise” of a 21st century American Apparelled rock/dance zeitgeist that’s not at all played out in the slightest.
Granted, this thing passes the American Bandstand test just fine, which is its primary purpose. That said, a broken dishwasher also has a beat to it, and sticking someone’s gussied-up 1987 Maytag front and center at the trendiest L.A. hot spot would undoubtedly get both scene-stealers and scene-makers on the floor in time for a Cobrasnake photo op. So we have a guitar-flavored version of the the boundary-busting credo offered in Green Velvet’s “Shake and Pop”– “I like electro/ I like retro/ I like ghetto/ House & techno”– never mind that kicking those doors down in a Daft Punk world doesn’t take all that much effort. That said, whenever Aoki tries to bring two (or three) purportedly great tastes together, the end result is the aural equivalent of mixing toothpaste and orange juice. In Aoki’s mind, Mickey Avalon can offer a verse on a perfectly fine little electro squiggle like K.I.M.’s “Wet ‘N Wild” without gumming up the works, while Pase Rock can pinch a horny-backpacker loaf on one of two Justice tracks and not sound like an assclown. For what it’s worth, Pase does his business all over “Waters of Nazareth”– take a wild G.U.E.S.S. what the other Justice track is (and guess which indie-rooted RMXGRP worked their magic on it).
Guests of similar quality pepper the disc, with only Kid Sister’s turn atop “Shake and Pop” being worth a damn. Turns by the vocalists for Hot Hot Heat and the Faint come off more like extraneous cameos than the spotlight-grabbers they should be. If only other folks followed suit: Har Mar Superstar fronts like Licensed to Ill is the be-all and end-all of hip-hop, Spank Rocker Amanda Blank manages to make a turgid remix of Does It Offend You, Yeah? even worse, and Santogold damages one of the mix’s more enjoyable tracks (”Licky [Work It Out]“), with her bargain-basement-Peaches turn at the mic.
If you’re the sort that accepts no substitutes, then you’ll be happy to know that the original shows up on this thing as well, thanks to Weird Science, a remix duo featuring a member of Moving Units and a certain Mr. Aoki. Peaches emerges relatively unscathed on their manhandling of “Boys Wanna Be Her”, but then there’s her turn atop a castrated version of Bloc Party’s “Helicopter”. Weird Science t
ake a perfectly fine guitar-driven track, strips out its frenetic drive, adds a lumpy sea-sick strobe-bass beat, and puts the track’s focus entirely on Kele Okereke’s and Peaches’ vocals, because that’s supposedly where the party is.After 50 minutes of this tired nonsense, with the highlights (like the bloops and bleeps of Yelle’s thankfully untouched “Je Veux Te Voir”, or the bits of Datarock’s strummy “Fa-Fa-Fa” that aren’t beset by hot hot air) sorely outnumbered by the lowlights, the mix ends with another turgid rock-meets-dance-with-guest remix, this time a track by Dim Mak group (and post-punk aficionados) Scanners with additional words of wisdom offered by Justice labelmate Uffie. By this point, whatever “new noise” Aoki seemed to promise at the start comes off as just futile sound and fury signifying the number of folks he has in his iPhone and/or under contract.
-David Raposa, February 20, 2008
I guess the problem with Pitchfork as it relates to 80% of Generation Y is that it is trying to preserve integrity and quality in both music and journalism. However, good journalism and good music aren’t terribly important to a significant sect of young internet users these days. Music should be fresh and free. Online content is usually just a picture, and an easy-to-consume blurb.
Maybe the entire problem with Pitchfork is that they mismanaged their perception. I remember I found out about Pitchfork because it was ‘a place that wrote really pretentious reviews.’ Maybe that worked in the days when it was cool to network with indie record labels by becoming Programming Director at your college radio station, but I’m not so sure about today’s zany landscape. It’s also interesting to think that Pitchfork was probably one of the first places to be universally known as ‘having an American Apparel ad.’ How seriously did you ever take Pitchfork, and when did you give up the desire to have an ultimate authority on ‘music worth listening to’?
The value of today’s Pitchfork as a ‘ good source for good music’ is questionable. No longer do we need a music ‘magazine’ to find out about new music. Doesn’t every one know an acquaintance whose band was featured on the SPIN/Rolling Stone website as the ‘band of the day’? Maybe Pitchfork was ‘revolutionary’ in that it was a magazine that linked you to an online music store, but the service just isn’t valuable any more. In fact, I’d probably encourage Pitchfork readers to utilize the iTunes store and Amazon.com auto-recommendations before talking themselves into being influenced by a Pitchfork Review. I am more focused on fitting in, and making myself aware of what people are purchasing and talking about in both mainstream and alternative circles.
I trust the Hype Machine, LAST.FM, iMeem, iLike, and other web based services. I trust the algorithms that determine what’s popular, and what most people are listening to, because most importantly, I want to fit in. I want to know what people are talking about. I find comfort in knowing about Vampire Weekend, but not having really listened to them, and knowing why it’s alright for me not to like them even though I ‘haven’t given them a fair chance.’
In a world where Radiohead was force fed to me through way too many different media outlets, the only solace I can find is in the power of choice — my own freedom to decide whether or not to like something for any stupid reason, how long I want to like it for, and most importantly, the freedom to determine whether or not I want these decisions to make sense.
Fortunately, the internet helps us perform this evaluation process this at a faster rate than ever, and with more information than we could ever need to make an educated (or unfounded) decision.
Anyways, I guess I’m just trying to say that a) Pitchfork is for people with receding hairlines and b) if any one is going to make fun of Steve Aoki, it’s going to be us, because we’ve paid our dues by investing in the lifestyle (whether we are serious about it or not).
It’s also probably good for Aoki that Pitchfork overwhelmed his douchey image. We’ll see if it will be similar to the transition of the Green Ranger to the White Ranger.
But oh well. Most of the world doesn’t listen to the most of the music on Pitchfork, and even more of the world doesn’t listen to the top HypeM tracks. I guess we should all just give up our ‘good taste in music’ and start listening to The Fray.
Needless to say, this is a time to rally around Steve Aoki. Maybe you should leave him a supportive comment at his myspace (http://www.myspace.com/steveaoki), or send him a personal text message if you have his number in your cell phone. Tell him HRO sent you.
In conclusion:
78 Comments
it was a pretty shit attempt at a cd, someone had to say it sounded like shit and who better than the biggest baddest blog/music website in town
that said it would of been it would of been dope if he had made it 8 months ago?
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if it was released in 2006 i’d like it more.
if one of the purposes of the mix was to get people into new bands, it was slow as fuck. i really like licky (work it out) though.
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best post since ‘JUSTICE SHUTTLE.’ bravo. i haven’t listed to this mix, but i don’t need to. i used to take pitchfork *very* seriously, but discarded it for the reasons you mention, namely that it’s better to think for yourself… kill your idols
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wort.
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dEEp
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the same thing happened to PM Dawn awhile ago
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EPIC POST.
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pillowface, after looking at the tracklisting, really does suck - but pitchfork sucks so much more. it totally is run by bunch of old people, like what the fuck do they know. hipsters are so much more than steve aoki/cobrasnake fans, as this blog has demonstrated. pitchfork should stick to what they’re used to - indie rock/pop for people who still care about death cab for cutie.
p.s. why is the font smaller and more spaced out?
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I might not respect you but I would die for you!
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oh god the DRAMA
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LEGENDARY
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Wait, you’ve been keeping track of us kids at the university of Oklahoma?
I’m not sure if a single one of us know how to use Ableton..
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NEW YORK TIMES STATUS
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THIS POST WAS TOO LONG I DIDN’T READ IT
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From this day forth this post/blog shall set the standard for electroblogs everywhere. BRAVO, HR.
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I lost my faith but HRO helped me find it again.
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yeah that review was disgusting. while the mixtape was a piece of shit, the review was barely about the mix at all, and mostly about how jealous pitchfork is that they aren’t on top of all the hot new tracks/scene. everything they get is a month old, unless they are paying someone to premier it with them. the can go suck bradford’s cox.
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tl;dr
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“best post since ‘JUSTICE SHUTTLE.’ bravo. i haven’t listed to this mix, but i don’t need to. i used to take pitchfork *very* seriously, but discarded it for the reasons you mention, namely that it’s better to think for yourself… kill your idols”
Somebody didn’t get it.
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how could you have night highlighted “assclown”…
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Check out the amazon product page:
http://www.amazon.com/Pillowface-Airplane-Chronicles-Steve-Aoki/dp/B000VJE1S2
“Pitchfork: ‘Decadent Hipster Gold’” Where did they get that?!
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Pitchfork = DEAD
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first of all: nice post, i love your writing style.
and i liked the idea of an actual ‘mixtape’, i had the same plan a while ago but couldn’t be bothered, i prefer drinking and chilling over being productive but that’s another story.
and while i still respect pitchfork and their bitching is pretty fun to read most of the time, sometimes they just pick the wrong victims. i loved when they had to admit that fischerspooner’s second album was actually good after their review for the first one was pure hate.
but that tape/album actually isn’t that ‘fresh’ any more as most of the tracks are quite dated by now. hipsterness doesn’t accept no delays, no!
compare that to hip hop mixtapes where you always get the freshest unreleased stuff with exclusive additional parts, most of steve aoki’s mixtape has been around for ages.
nevertheless: thumbs up for that album from me. but i guess steve aoki himself just became a victim of the whole hipsterness drama.
just my two cents. group hug everyone now!
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Come on as if the mix cd is that bad?
Obviously the song choice wasn’t very post mod for online tastes - but it’s not like the cd is meant to be a show case of his dj skills.
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Give Aoki a break, I like him and as for those of you who do not,I really don’t give a fuck. It’s not worth writing on and on about how it’s been done before and getting all heated about it.
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For me music has always been about auditory enjoyment. There is realm of musical knowledge that I like to dabble in. But thats the majority of my extent.
The electro-blog scene is young and fresh.
And seriously, I don’t give any credence to something that disrespect Daft Punk, shearly out of principle.
And i agree deeply with what you said about Radiohead. I get it already.
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so….should I buy the cd and order a Steve t-shirt, or not?
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This is kind of like the Kanye West vs. 50 cent publicity stunt.
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you post what everyone is thinkinh
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Funny, as Pitchfork completely praised Aoki’s album in their initial writeup.
http://www.pitchforkmedia.com/article/news/45374-spank-rock-kid-sister-faints-todd-guest-on-aoki-mix
Then they did a total 180 on the review. Maybe the reviewer got turned away at Cinespace or something? Anyhow, just shows what contradictory little snobs they are…
Joshua Glazer also wrote a lil something on this subject on the URb blog…
http://www.urb.com/permalink/2322/In-Defense-of-Steve-Aoki….html
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I just wanted to be a part of this post.
~ Your Only Friend
p.s.: this cd is so march 07.
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ohmigawsh did peepz actually reed dat?!!1!
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the cd’s average who cares, he is playing and going to the raddest parties, hanging with the coolest people.
he doesn’t care about pitchfork
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One night a hipster saved my life; and it was you, with this post.
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poor aoki and his airplane chronicles
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Carles, your post was epic. *clap clap*
mochiandbeats.blogspot.com
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Yes, this was quite the epic post. It goes right up there with the funfunfest post you did a while back.
I don’t know whose side I wanna take on this, pfork or Braoki.
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Best post ever.
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@lou: what did i not get?
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haha brilliant. i need to get past the horrific font issues and read this more.
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steve aoki is a wack dj - end of story
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I read this post when I was still under the influence. I thought it was fantastic. It was so long it was like some sort of long ass spiralling vortex of text.
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good post
Pitchfork has introduced me to new music in the same way that HRO or any other blog or music news site. It’s just that they have become known for slaying people whereas you almost never here anything bad about an artist on a blog - if you don’t like it people generally don’t write about it.
I enjoyed the album on two levels. Firstly it’s a fun party mix which I haven’t heard before. If someone sends me another mixtape with a mashup of three versions of D>ANCE I will shoot myself. He’s in a position to be able to get a hold of these artists and he has taken advantage of that but maybe he should have pushed that envelope to something more current.
The second reason I like it is because I think his distribution model is great. The whole viral distribution through the album widget and revenue sharing is a great concept if poorly executed.
Thanks again
nek
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anonymous posting is the best
anyways i really enjoyed the comment about everyone just listening to the Fray, lulz
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hipster runoff is a blog worth blogging about
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This Pitchfork review is as fucking tarded as Pitchfork is itself. Which is to say - snobbery for the sake of snobbery.
This reviewer - clearly someone who most likely hasn’t set foot in a dance club since 1992, and probably whacks off to Feist videos - clearly based his review on the MUSIC by how much he hates Aoki.
Now - having said that, Aoki’s ego needs to be knocked down about 100 pegs and it’s a bit disgusting to see him raking in huge bucks being flown around the world to DJ — because AS a DJ, he ain’t nothing special. He doesn’t SUCK - but he just happens to be the “we need a famous DJ” go to dude. So sue him - he’s milking it and making bank and getting laid (again - something this reviewer has no luck in).
So, if this idea & execution/selections was by anyone else, say Win Butler or Paul Oakenfold or Kanye West, would this reviwer be licking their balls heartily? MOST LIKELY.
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Hipster Runoff: a blog for the ages.
future generations will stumble upon this website, and will finally understand the early years of the 21st century. <3.
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i know that by blogotime I’m a few years late in reading this post. But who gives a shit when you’re posting as anonymous?
I had a good time reading the pitchforkreview of Pillowface when it came out. During, I ran through lots of interesting and pointless little thoughts about music, hipsterdom, Last Night’s Party, Aoki, pitchforkmedia-as-canon-maker, the phenomena of canon, judgment, enjoyment-as-sociological-function, popularity, critical taste. Of course, all of my amazing insights about contemporary culture evaporated with the passage of a few minutes, but, lo and behold, imagine my surprise to find a tongue-in-cheek illumination of all my little thoughts.
bravo, crls. i sure hope you get paid for this shit
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one more thing, man.
“Contra blog-triumphal models of memetic bootstrapping, I believe most memes are—to borrow a term from Daniel Dennett’s rebuttal of punctuated equilibrium—”skyhooked” into prominence by high-traffic blogs.” Scott Kaufman @ Acephalous
Pitchfork serves this function: though some bands (such as Vampire Weekend) or musical movements (such as ‘electrowave’ [if that's what we can agree to call it]) manage to reach critical social momentum on their own, Pitchforkmedia (and other sites) are working from a slightly different pool of base information from which to draw potential memes. e.g. Bon Iver would have never been signed in a million years if it weren’t for pitchforkmedia’s review last fall.
You become tenuously aware of this fallacy on some level at the end of your post (when you reference the domination/non-domination of the Fray)–simply, that the algorithms you trust aren’t purely organic. Pitchfork serves this ’selective skyhooking’ function much more efficaciously than forums such as hypem or lastfm.
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it wasn’t a secret that the mix was going to suck - it was basically everything all of us hypemachine lurkers have been listening to for ages, and there are way too many good mixes floating around the internet for aoki’s to have been impressive.
that being said it’s ironic that HIPSTERRUNOFF, which is more or less based entirely in irony and sarcasm, has the more honest Aoki review post.
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best post ever
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Everyone loves a good “Us vs. Them” struggle…
As for the actual mix, it takes too long to make something legal and properly released to make it as current as the blog scene is. Shelf life around here is about 2 weeks.
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hey pitchfork, where are Tapes n Tapes now! hahaha.
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orange juice toothpaste mmmmmm
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>As for the actual mix, it takes too long to make something legal and properly released to make it as current as the blog scene is. Shelf life around here is about 2 weeks.
Oh man this is so true….
And… Aquafresh IS doing an orange-flavored toothpaste. Next time I brush my teeth, it’ll be with “Wet n Wild” and “Mickey Avalon” let me tell ya.
Well said.
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Wow, that post was effing epic! Love your writing style.
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I agree with the guy 100 posts ago who said that pitchfork and steve aoki both suck really bad.
but yeah, if like, idunno oprah or kanye west or barack obama or PRINCE WILLIAM or HUGO CHAVEZ made this same mixtape, thats fine and id support it, its just all the most obvious dance hits from 2007. The idea of having stupid retarded friends talk over them is pretty fucking retarded though and that is pure aoki retard bullshit. i wonder if there is a way to digitally crowdsurf over someone elses songs.
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ye, pitchfork is really awful.
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I listened to the ‘mix-tape’ and 2.5 isn’t that harsh. You can get better via this brilliant thing called the internet (even legally yo!) and there is something about Aoki that screams PUNCH MY STUPID FACE.
:-*(
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“This is about a 20 year old in his dorm room at a university in Oklahoma who has dreams of becoming the next big electro act since he just got a Mac, downloaded Ableton, and learned how to make GIFs for his myspace user pic.”
i think you’re talking about THIS! dude…right?
:]
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this post was super fun, tho i ogtsta admit i didn’t know who steve aoki was really, and i have never read pitchfork past the greeting page. my fav part was the “this is for __” section, props. the 17 year old wearing AA the first time; hilURious. post more stuff like thiss, tho more current
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awesome article, your pitchfork formula is especially true
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wow…. i don’t know what worked better on me in the end, all of the comments or the post itself, either way, thank you for dissing pitchfork publicly, they fucking SUCK.
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i like this line the most:
This is abou a 13 year old in Wisconsin who will wear American Apparel for the first time in 2008, and for the first time, she’ll feel like she’s worth something.
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anyone willing to spend time complaining about a poor review on pitchfork is obviously too self-conscious about their tastes and style. freeedome of choice is fine and all, but pitchfork is paid to be pitchfork and honestly, why doesn’t everyone just read a little VICE already and realize that your shiity nu-rave and electro is dead.
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The Pitchfork review was spot on. I think it’s painfully obvious that in 2 years we all will be as embarassed by this record as we are by the Garden State soundtrack.
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If any one is going to make fun of Steve Aoki, it’s going to be us, because we’ve paid our dues by investing in the lifestyle (whether we are serious about it or not).
While the mix was stale, unoriginal, and just annoying you’re so fucking right man.
Honestly, pitchfork may be better writers than us, they may know more obscure music trivia then us, hell they are probablly much smarter than us - but that’s sort of why this whole culture is fun. We’re stupid and we know it.
Like i said, this culture is fun, nothing more, nothing less.
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Haha I camped at Coachella next to 1 of the 2 journalists covering it for ‘p4k’. He just symbolized to me the whole Pitchfork vibe. He was (I think ??) in his early 30’s, not really at all open to new music, from completely outside the whole scene of indie music of all kinds, and really confusing and pretentious. That made me realize what pitchfork is, just a bunch of slightly too old people who can’t accept what’s happening to music and music culture, and can’t even get into it enough to be consistent with their tastes. Also, I really liked the “This is for…” rant at the beginning of the post.
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Why would a review have to be positive? Good on pitchfork for telling it like it is. It is reassures me that people just express their opinion no matter what.
Doesn’t matter if its pitchfork or some hype bullshit blog. At the end of the day, they just point out that the guy has no skills, no taste, no creativity and that he doesn’t even try to come up with exclusive songs. Any idiot can get ableton and mix justice together with some other trendy band.
Went to one Aoki party. His tracklisting was terrible, played ‘mainstream’ hits (only Justice, klaxons, erol alkan etc wow very risky AND creative). I guess it doesn t matter since he was too busy crowd surfing while ABLETON was playing his set. The whole room was weirded out. Isn’t a DJ supposed to be behind the decks. I guess not.
But again, who cares?, the photos on COBRASNAKE the day after made the whole thing look like it was the best gig ever.
REALLY SAD.
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YOU fucking groupies don’t you see that steve aoki or what ever the fuck he is clown or dj hahaha , he is just making money out of you people!
ah yeah he sucks big time no joke
so what happened to the good music is it music or busines???
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While I hate Pitchfork as much as the last guy, this post was shit. Carle’s usually on point and HILARIOUS, but pulling out the cred card because blogsters can RELATE to Aioki as the end-all, be-all ticket to be able to tell him he sucks… c’mon. So the pitchfork reviewer isn’t in the scene and thinks the scene sucks. So what? He’s right! Hell, Carle tells us that everyday, ironically or not. The truth is, Aioki’s mix isn’t a perfect representation of the scene that this Pitchfork writer apparently hates, but it is a product of it. Much of the scene’s output IS garbage, and Pitchfork called this particular neu-celebrity on it. His rep is based on trendiness and hollow hype. What, they can’t call him out on that? To conclude - Pitchfork usually sucks, the CD sucked, but in this case, HRO was wrong and a little too transparently defensive. Pitchfork was on point, intention being an ad hominem argument or a real review. Don’t get your panties in a wad, Carle.
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“If any one is going to make fun of Steve Aoki, it’s going to be us, because we’ve paid our dues by investing in the lifestyle (whether we are serious about it or not).”
Whoa, CRED ALERT
This quote made me shake my head in sorrow. I don’t think I can ever like this blog again. Are you kidding??? Apparently you are serious about it, since Pitchfork isn’t allowed to call bullshit on a crappy CD unless they’ve done a gonzo investigative piece on the party culture. Apparently “We dress like what we listen to” isn’t just a lame behavior, but a prerequisite for reviewing electro mixes.
I’m disappointed in this blog today. Not that you care what I think, but dude right above me is right - Pitchfork is paid to review music, and they tagged Steve Aioki’s CS correctly - a lame lifestyle mix that’s too old and badly done to be worth anything. It actually worsens the culture it came from - explaining the scathing scene remarks in the review. It IS style over subsstance, like all the stereotypes the damn review listed. Don’t take it personally, HRO - he’s right. Don’t think only you have the right to say so.
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yeah, HRO is starting to seem a little cocky to me… but i still love this blog, it has so far exceeded my expectations on talking about interesting shit by far. see vice magazine? you dont have to go to north korea to have a good article
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<3 ppl posting that hro jumped the shark 5 months after a post
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don’t try cultural criticism again please
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Woah… deep stuff on HRO.
You just burst your own bubble Carles.
Ironic isn’t it?
PS: I don’t give a fuck I’m x months behind.
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aoki is incredibly lame. his mix is terrible. pitchfork might be serious boring 30 yr olds, but hey, aoki’s lame ass antics do more harm to the electro scene than any bad review.
go check out the hacker’s last album, turn the lights off take a heap of K and thenc ome back and talk about electro.
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i am so behnd here but i’m not the only one so i just wanna say this:
Whether or not anyone likes Steve Aoki, he’s living proof that it’s easier to be a successful DJ/label head/LA herrb wen your dad owns the Benihana chain.
Also, am i losing my touch or did HRO get so ironic and satirical that you can’t tell if he actually has soem real feelings inventes in this Aoki nonesense???
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