"I've never found this to be comedic statement, though I suppose it is amusing"

really?
honestly?

Not to sound like a total cocksmoke, but your whole first paragraph that's thing "I don't care what Pitchfork says" is completely voided by the fact that you not only wrote about this, but wrote A LOT about this.

I'm no p4k lover, for sure, but we've all got to either agree to *completely and totally* ignore it or else realize, no matter what we say, it's proving to be relevant to us.

@The Grim I don't think that P4k needs to, should be, or frankly, can be ignored. In fact, I don't have the bone to pick with P4k that many writers and music fans feel. I don't always agree with their reviews, but I admire them and think they have some very good writers in their midst.

I understand Sarah's frustration here, however. As someone who enthusiastically champions local bands, it's super exciting to see one that you've followed start gaining broader attention. But when a bigger publication like P4k moves in and slams a band like that -- well, that can be devastating. Night Canopy is a good example: that record and Cave Singers were both Pretty Girls Make Graves offshoot bands, and both released records last year. Night Canopy got a 5, Cave Singers got a 6.8. Guess which band is flourishing? I'm not saying P4k is entirely to blame, but I would bet that Night Canopy would have sparked a lot more national interest if they'd gotten a strong review. {Incidentally, I liked that record quite a bit.}

So -- it's not P4k's fault that they're so influential, but it IS frustrating as a fan to see a performer you're cheering for get potentially squashed.

Which is entirely relevant, whether you want it to be or not, ya know?

This, in itself, is why reviews can be borderline impossible. To subjectively critique rock music is a joke and anyone who can look you straight in the face and say they know better about music is a idiot. I've more or less decided that I know what music I like and whether what I like is "good" in other peoples' minds is irrelevant. Music is about personal connection with the sound and emotion, and if its not there for you, its not there. I think most hipsters like the likes at Pitchfork miss that point completely. Music isn't about one-upping your friends on obscurity and garbage like that. It is about enjoyment and it is high time people get off their high horses and start to realize these things.

Pitchfork has been invaluable for a lot of bands. I think it's possible to draw a line between the success of bands like Death Cab and the Shins (and of course BSS, Arcade Fire and Animal Collective) to Pitchfork. They've done what they do well enough to gain a large following, most of whom, yes, abandon Pitchfork once they've gotten into finding independent music themselves (now, right around the time they graduate from college). For the neophite, however, Pitchfork is probably the best way to gauge what is going on in the independent music world, because of their influence.

As we've seen with Travis Morrison's 0.0 rating and the subsequent cancellation of a tour and horrible sales, Pitchfork can give and it can receive. But at this point, Pitchfork's only going downhill in the same way MTV went downhill and Rollingstone. Once you reach the point where you're a business, decisions start being influenced, however slightly, by revenue and staying in business. Now, Pitchfork HAS to find a "Best new Music" band at least once a month to stay "hot".

Of course I wish they'd give a little more love to Aloha (although Chris Dahlen's given them some nice reviews, I'd like to see a 8.5 or something get them some sales) and I'm sure everyone has their band (PWRFL) they wish they'd give more love to, but whatever. They're running a business, and it's good for their business to find a Barcelona DJ or a New Jersey band like Titus Andronicus no one has heard of, and introduce them to their millions of readers. It makes people feel connected to 'the inside.' And there's nothing wrong with that. It's how a lot of advertising works. Make people feel like they have a stake in what's being written.

How many college undergrads discover their new favorite bands on Pitchfork now? And what's wrong with that? Eventually they'll leave the nest and find bands on their own, once they start hanging out in record stores.

Dude, I think you need to accept the fact that PWRFL Power is nothing more than a novelty act. Nothing. I don’t always agree with Pitchfork either, but this time they got it right. Sorry.

It's not about being right or wrong though... she likes PWRFL Power and the P4K reviewer didn't. WHO CARES? They often have borderline taste anyway... but then again I just say that because my taste doesn't directly align with theirs.

They have some good writers, and they have some writers that don't pay as much attention to the music as they should. They will not disappear though.. they are an influence to be reckoned with.
IGshr*e

MIkael Wood? THE MIkael Wood? Just popping in here?

Good Lord, I guess we're under the eyes of anyone, including the greats, when we post on the Interwebs...

Personally, I'm happy to see someone not drinking the PWRFL Power Kool-Aid. He's a nice guy (and an incredible guitarist), and he is quite funny, and I'm happy for him and his success, but the way people go ga-ga over his stuff has been confusing to me for some time. It's nice to hear a contrary opinion. Don't worry about Kaz, he'll be fine.

And no, I don't have the stones to back this up with my real name, so feel free to ignore me.

The first time I saw PWRFL Power I thought he was charming and funny but each time I started to enjoy it less and less - I've seen him probably 4 or 5 times now, which is more of a testament to his booking agent working around the clock then anything else. I think I agree with Mikael, but I'm trying to fight it because I think it'll make me an asshole for thinking so, but yeah, novelty act all the way.

"A. Non" is much closer to my thinking for what I'm willing to say here.

I've reviewed his live performance on TIG >>http://threeimaginarygirls.com/mteerie07oct
I found the first few times seeing him perform that he was really charming and funny, although as ChrisB said the more you see the more of the same it becomes. I did subsequently interview him for KEXP's blog >>http://blog.kexp.org/blog/?p=4321
during which I discovered he has a great insight into the dog eat dog tendencies of the music world (even if I didn't type it all on record.) I do agree that his PWRFL Power act is rather kitschy, as it is somewhat intended. As has been said in prior comments, he is a classically trained musician and has respect from others in the community, so I have no doubt when the PWRFL Power well dries up, Kaz will surely have something else in the works.

c'mon. who cares? Pitchfork is entitled to their opinion.

I have disagreed with three imaginary girls reviews too. Posting about this is just validating pitchfork.

My point was more along the lines of "if you don't like Pitchfork's editorial, it's incredibly easy to avoid it," but I don't think I made myself very clear.

My point was more along the lines of "if you don't like Pitchfork's editorial, it's incredibly easy to avoid it," but I don't think I made myself very clear.

sad.
kaz (PWRFL Power) isn't a gimmick, he's completely genuine. but of coarse you wouldn't know genuine if it smacked you in your hallow skulls. you're all the type of people who just "don't get" daniel johnston or jad fair. oh wait, maybe you do now, after seeing the photos of kurt cobain wearing their t-shirts in photos taken over 10 years ago. i.e. the metal heads in my high school who thought punk rock was, "pretty cool" after seeing dead kennedys or misfits stickers on the guitars of metallica and slayer. none of you sniveling babies deserve to be living in the greatest music city on earth. we have it so good here, you have no idea. all you can do is complain how bands like fleet foxes aren't original or how they're just "folky beard rock" that will soon be forgotten. tell that to the sold out show rooms of people who love and appreciate them. (unlike you whiney bitches) this goes for grand archives and whoever else you hate too. you don't have to like everything. just appreciate it and feel thankful for once. ..that we have websites like this one who defend one of our own like kaz. however, that maybe to much to ask from most of you.

i loved the PWRFL power record, but i read the pitchfork review, and then re-read it to see if i thought the reviewer actually listened to the record (which reads like he did listen to it), and i can respect the reviewer's opinion. he didn't like the record, but pointed out what he did like about it.

the pitchfork review was written WAAAAAAAY better than the tiny mix tapes review, where they gave kaz a 0/5 and panned the record all the way through, only glossing over the fact that kaz is a pretty brilliant guitarist (a point that should have taken the record to at least 1/5).

and, for a relatively obscure act, any pitchfork review is a good one, unless you're given the dreaded 0.0. a sub-6.0 review will only hurt your band if you're wilco, and by that point, you don't even need pitchfork for publicity anymore.

"and, for a relatively obscure act, any pitchfork review is a good one, unless you're given the dreaded 0.0. a sub-6.0 review will only hurt your band if you're wilco, and by that point, you don't even need pitchfork for publicity anymore."

That is very true and wise, douglas.

Woah, calm down there Grime.

I don't think I've ever said that I hated PWRFL Power or Fleet Foxes or Grand Archives or wished anything malicious against them. Nor will you find anyone in this thread who did. The amazing thing about Seattle is if you aren't into those above bands, there's roughly 19,000 more bands that may be more to your or my liking.

I'm not sure why you jump all over us for not liking PWRFL Power and say we don't deserve to live here (although Mr. Nomura lives in Brooklyn) but then say "you don't have to like everything". I usually prefer powerpop and electronica and hip-hop more to acoustic folk-rock, but that isn't absolute. I genuinely believe that people who know me would say I am very supportive of local bands. Moreover, regular readers of this site know a lot more about what I like than what I dislike.

If I've said it once, I've said it a thousand times. You can listen to PWRFL Power or the Fleet Foxes and I'll listen to the Young Sportsmen or Kay Kay and His Weathered Underground. Seattle truly is big enough for all of us.

i never said "you don't deserve to live here".
but, thank you for putting words in my mouth.

my initial response was not towards readers like yourself. you seem like one who appreciates all kinds of music and what goes on in our city.
it was directed towards those who get on here and have nothing better to do that talk garbage about bands they know nothing about. ..and if you don't think it exists, then open your eyes. yes, a lot people love bands like fleet foxes and PWRFL Power.. and Kay Kay and his weathered underground.. the list goes on. seattle is so diverse and there so many great bands from here. most of which will probably never see their names on this website or on the pages of the stranger or weekly. some are going to make craiglist posts that they'll pay any band to let them open, because venues like the tractor won't give them a chance.. even though they are just as good if not better than the touring or local acts who play there. things like this happen and we want to post things about how "folky beard rock" sucks or how "dumb" it is to write a response to a review that pitchfork did instead.

it's sad.

"none of you sniveling babies deserve to be living in the greatest music city on earth" is putting words in your mouth?

But I do see what you're saying. I want more bands to be playing more shows - even more bands I don't like. A "scene" can't thrive if it's the same 12 bands playing every week. I don't see what the harm is for a place like the Tractor to let a band play a show on a Tuesday night and give them a chance - maybe they'll bring all their friends who'll drink lots of Maker's and PBR and put on a good show and everyone goes home happy.

Wow.. HATE HATE HATE. Hahahaha...
IGshr*e

Okay, now that I'm not so amped up on my coffee, let me rephrase here more civilized:

Look, coming onto a message board to complain about the comments is like going into a church to raise a fit about all the Jesus portraits. It especially is pointless when the rest of the comments have been a lively and good debate, and you look even worse when you deny something you said which we can all clearly read. I'm getting really tired of seeing this in every message board and blog.

It is particularly ironic when your name is one letter different than "gripe". Seriously, if you think you are a better music lover than the people on a music website, then ignore the internet, which is as easy as not turning on the computer (wow!!) and go hang out in Easy Street.

Did someone really compare PWRFL Power to Jad Fair? PWRFL Power, Kaz, whatever he’s calling himself this week is a HACK. It’s really that simple. We won’t be talking about him in six months from now. Come on people! Can we talk about something else?

Right on Elle! Smack!*&%$

IGshr*e

see, this is why he's genius.
people go crazy over his music.

"We won’t be talking about him in six months from now"

that's what some people were saying a year ago about him..

I've seen Kaz and I thought he was funny, but it was obviously an act - an act I didn't need to see again. I get why people like him, but it doesn't have any "replay value." It's funny once and then you're like "ok I see what he's doing." He's no genius for sure. He's just a guy who came up with a funny routine. He's basically a vaudeville act. Can anybody say Trachtenburg Family Slideshow Players? How boring and dumb did that get? If we're talking about him in another year I'd be surprised.

I think Pitchfork was more than fair.

Much like novacaine, the novelty of PWRFL Power will wear off much sooner than you think.

The novelty of his act wore off after the first performance I saw at last years CHBP. Personally, I think there are a lot more bands that deserve the recogntion, press time, blog time, etc that PWRFL Power has received in the last year. I'm actually glad he moved to Brooklyn so that other deserving bands can get the slots on all the shows that he has taken in the last year (200+ shows...what a waste). That's my two cents and what I've been preaching to anyone that would listen to me.

Pitchfork comment:
I use Pitchfork as a resource...sometimes I find it useful, other times I find that it is a waste of my time. That being said, I've also had the same frustrations with local sites - TIG and Sound on the Sound. I don't really waste my time bitching about them, because they make more of effort to recognize music that most of us and it's always going to have someone elses underlying point of view that may not agree with mine.

"...because they make more of effort to recognize music that most of us and it's always going to have someone elses underlying point of view that may not agree with mine."

Exactly. And that's the beauty of sites like this.. you get info and insight into music that maybe doesn't fit into what you normally listen to. That's how we learn about new things.. right?

IGshr*e

Actually, I have to agree that I don't really see the point in discussing another music site's opinion, either. I mean, I would really feel crappy if I started seeing my articles nitpicked and criticized on a competitors website. If we started making blog posts about EVERY review we didn't agree with, we'd just have a review of reviews website.

It's a vicious cycle....

IGshr*e

A "review of reviews website" - what an awesome idea!!

If you know Kaz, then you know that he is obsessed with being “Kaz” The person that posted as "The Grime" obviously IS Kaz. He compared himself to Daniel Johnston and Jad Fair (two bands he's played with) and he can't spell worth shit (i.e. "but of coarse you wouldn't know genuine"). He gave it away when he wrote: "there so many great bands from here" and then wrote: "because venues like the tractor won't give them a chance.. even though they are just as good if not better than the touring or local acts who play there." Kaz forgot where he was writing from. He started out saying "here" and then said "there" because he's in NYC now. His ego is too big to stay away. Hi Kaz!

i enjoyed seeing pwrfl power live... kaz is a real good guitar player and a weirdo. it's easy to resent him

Reply to ChrisB for his eyes only

Wow. 37 posts about little old Kaz. If he's guilty of anything it's probably simply playing too many shows. As evidenced by all the people above saying "I liked him the first time I saw him, but then..."

And maybe he was guilty of being just a little too unique. Being alone in your uniqueness is dangerously close to being mistaken for kitschy, or a gimmick. Or accused of being a fake.

Bookers and reviewers loved him 'cause in a land where a 1000 wannabes pop up after any new 'seattle sound' catches on, with stellar sound-a-like demos to pass around, and either dorky glasses and perfect Death Cab tones, or just the right beards and a pedal steel (probably including myself in that last slam), he was his own singlular genre. People paid attention, whether they liked it or not. THAT put him in a class by himself in Seattle.

I know for a fact that he's not a gimmick though. I had the pleasure of recording him at my studio, and he whipped out 6 songs in three hours (and half of that time was mostly setting up mics, and getting tones), and we recorded all of them in 1 take, with one song that took a 2nd take, all singing and playing his classical acoustic at the same time, on 3 mics.

After he left that day I was laughing to myself, not at anything kitschy about him, but because it was beyond my comprehension-- I could barely believe what I'd just witnessed. It was amazing.

Part of his novelty knock I think comes from the fact that his recordings have a very lo-fi, "home recorded" quality, which I thought was disappointing too-- which is exactly why I offered to record him myself. (You can hear a beautiful, never released version of "My Bird Is Dead" we recorded at www.myspace.com/theplayroomseattle )

I consider myself fortunate for that studio experience. Fortunate to have that solo, one-on-one time with him, as it's quite different from his stage persona-- more reserved, gentle, and calm.

I wouldn't consider him a friend, really, as we've never spent any time together outside of that day in the studio, but he's definitely someone I respect professionally.

There are always folks who simply won't like your music, that's part of the chance you take by getting out there and sharing with the world, part of what leads to the neurosis of so many musicians, people who are totally dependent on the approval of others, yet totally at the mercy of that approval. Music critics and showgoers have way more power over musicians than they'll ever fully know.

I can't remember who the quote is from, but it was a famous author, and when a fan told him "I wish I could write like you," he replied "You're lucky, 'cause you don't have to..."

I for one miss Kaz. Nobody writes like him. (Although the Daniel Johnston comparison isn't far off... and they've taken a liking to each other, I hear...)

It's interesting "facts about rob" you should defend PWRFL Power as being an 100% genuine act, when Kaz himself just referred to it as a "singer/songwriter rip-off", or a spoof, when talking to me about this post yesterday.

spoof or not, i do have to agree with facts as far as his opinion on kaz possibly being "a little too unique." kaz took something as rote and overdone as the singer/songwriter genre, and turned it on its head (positively or negatively, depending on your opinion) by marrying prodigious guitar-playing with semi-awkward lyrics. i'm sure the first time anyone reading this listened to pwrfl power, you were like, "what the FUCK is this?"

that's probably how he got the pitchfork review in the first place.

and it kinda sucks that the "novelty of a pwrfl power show" wore off on some of you guys, because i love the shows; i love singing along, and i could literally watch that dude play guitar for days on end.

elle-
yeah, but that's kaz's PWRFL Power persona... it's still genuine music. That'd be like saying Grand Archives or Fleet Foxes are an America or Fleetwood Mac rip-off. It may be true, but that doesn't make them less genuine in their own right. At this point in music everyone is a rip off of someone to some extent. And if he IS a rip-off, who is he ripping off? He certainly doesn't sound like any group of singer-songwriters I've ever heard? I still say he is his own unique entity. And i agree with douglas- i think he's an amazing guitar player (although i wish he'd play the acoustic again, it made it that much more impressive unamplified).

i agree with pitchfork. for the life of me, i could never understand why this band ever made it past the bar circuit or house shows.

to me, pwrflpower is the most hyped and marketed next big thing (that honor might have to go fleet foxes) and at the same time, biggest let down. it's hard to hide one's disdain when such an artist is showered with media acclaim, headlining major shows, in television commercials, touring nationally and internationally, and graces the cover of many local magazines/periodicals.

superficial reasons of disdain aside, the fact remains, and no one has contested this; his songs aren't great. every person trying to implant some positive feedback mentions his improv/performance shenanigans, his virtuoso classically trained guitar skills, his honest lyrics; but these elements don't come together to form a decent listenable song. i'm not saying his songs need to be pop masterpieces with infinite replay value, but singing in pitch should be a prerequiste for any group.

some people have mentioned that they "get why people like him". please please explain this to me, because the only explanation i can come up with is an emperor's new clothes scenario where people hear the hype and force themselves to like it.

i don't consider myself an elitist and recognize my own biases as someone who doesn't enjoy "eclectic" forms of music, instead someone who likes "sparkly indiepop". i also worship stevie wonder and the beach boys (ie. songs that are pop masterpieces with infinite replay value).

i think whether or not his songs are great is a matter of taste. i, for instance, think his full-length has three or four great songs ["it's okay," "tomato song," "soft boy," and "banana song"]. i'm not sure if it would make any sense if someone said, "oh, i love pwrfl power, but none of his songs are great."

i understand where you're coming from as far as the "emperor's new clothes" scenario goes, and i'm with you on the stance that i really can't stand people who force themselves to like something because it's hyped up.

i'm not sure if you need to be an elitist or have an eclectic taste to like kaz's music. i mean, i don't consider myself an elitist, and although my tastes venture pretty far into the realm of weirdness, i think kaz's music is just like all music: either you like it, or you don't.

dear elle,
would you by any chance want to hang out with me and the other non hipster piss ons at easy street? we'll be going through the albums that you already owned.. uh, like years ago?

we have so much to learn from you.

and the plot thickens....
IGshr*e

I recently had the pleasure of seeing PWRFL Power perform live at a small venue in New York, and I have to say that he puts on quite a show. His style is wild, and he gives you the impression that he is "winging it", then only to expose that his technique is well rehersed and persise. As a guitarist, he is leaps and bounds ahead of many big name artists, each song displayed in intricate patterns, rich with complex rhythms and full of life. I totally agree with Sarah Joann Murphy.
Kaz's music is about so much more than what you initially hear, and I feel that PITCHFORK has an obligation to it's subscribers to give an album more than a quick once-over before panning it. I am not saying that PITCHFORK's panel does not listen intently, but I at times feel as though they "paint with broad strokes", because their reviews seem quite general and unrefined. Music quite often (when made well) is not about what you initially hear, but what you think and feel long after the music has faded. And I challenge anyone to witness a live performance and attempt to deny his validity as a well trained artists with a mind full of creativity. Although PITCHFORK has been influential in many artists careers, I feel that they have lost their creative ears, and are no longer looking to discover the "next big thing", and are now listening for artists and bands that sound like the "last big thing" that they discovered. Personally, I truly think that "PWRFL Power" has a bright future. True, at times his voice is a bit on the amatuer side, and the "shtick" may be over-acted, but that only adds to the appeal of Kazutaka Nomura... of course in today's market it takes a little more than shtick to be taken seriously as an artist... unless you were previously employed by Disney or Nickalodeon, in which case the target audience is less concerned with the music and more concerned with the image the artist presents. But I digress, Pwrfl Power most definitely has musical talent and a unique songwriting style and ability. I persnally feel as though his sound is more mature that majority of what is out there, despite the fact that his lyrics may possess the candor of a 13 year old boy with a crush.

I recently had the pleasure of seeing PWRFL Power perform live at a small venue in New York, and I have to say that he puts on quite a show. His style is wild, and he gives you the impression that he is "winging it", then only to expose that his technique is well rehersed and persise. As a guitarist, he is leaps and bounds ahead of many big name artists, each song displayed in intricate patterns, rich with complex rhythms and full of life. I totally agree with Sarah Joann Murphy.
Kaz's music is about so much more than what you initially hear, and I feel that PITCHFORK has an obligation to it's subscribers to give an album more than a quick once-over before panning it. I am not saying that PITCHFORK's panel does not listen intently, but I at times feel as though they "paint with broad strokes", because their reviews seem quite general and unrefined. Music quite often (when made well) is not about what you initially hear, but what you think and feel long after the music has faded. And I challenge anyone to witness a live performance and attempt to deny his validity as a well trained artists with a mind full of creativity. Although PITCHFORK has been influential in many artists careers, I feel that they have lost their creative ears, and are no longer looking to discover the "next big thing", and are now listening for artists and bands that sound like the "last big thing" that they discovered. Personally, I truly think that "PWRFL Power" has a bright future. True, at times his voice is a bit on the amatuer side, and the "shtick" may be over-acted, but that only adds to the appeal of Kazutaka Nomura... of course in today's market it takes a little more than shtick to be taken seriously as an artist... unless you were previously employed by Disney or Nickalodeon, in which case the target audience is less concerned with the music and more concerned with the image the artist presents. But I digress, Pwrfl Power most definitely has musical talent and a unique songwriting style and ability. I persnally feel as though his sound is more mature that majority of what is out there, despite the fact that his lyrics may possess the candor of a 13 year old boy with a crush.

PWRFL Power sucks.... sorry...
i saw him at battle of the bands for capitol hill block party and i could never understand why he beat out the sutures!