Robert Christgau: Dean of American Rock Critics

Consumer Guide:
  User's Guide
  Grades 1990-
  Grades 1969-89
  Expert Witness
Books:
  Going Into the City
  Consumer Guide: 90s
  Grown Up All Wrong
  Consumer Guide: 80s
  Consumer Guide: 70s
  Any Old Way You Choose It
  Don't Stop 'til You Get Enough
Writings:
  CG Columns
  Rock&Roll& [new]
  Rock&Roll& [old]
  Music Essays
  Music Reviews
  Book Reviews
  NAJP Blog
  Playboy
  Blender
  Rolling Stone
  Billboard
  Video Reviews
  Pazz & Jop
  Recyclables
  Newsprint
  Lists
  Miscellany
Bibliography
NPR
Web Site:
  Home
  Site Map
  What's New?
Carola Dibbell:
  Carola's Website
  Archive
Venues:
  Noisey
CG Search:
Google Search:
Twitter:

Consumer Guide Album

P.S. Eliot: Sadie [Salinas, 2011]
With one slow and excellent exception and a few deviations, all 13 punky songs on the second album by the first (recorded) band built around Alabama's twin Crutchfield sisters are defined by a crude, catchy, commonplace guitar riff and proceed over drumming that keeps its figuration simple and repetitive when it doesn't bang outright. Simultaneously hesitant and forthright, singer Katie Crutchfield sounds above all brave as she pronounces and occasionally mispronounces her lyrics, which dwell on botched communication both verbal and emotional. Her language is usually plain ("Your eyes go crossed like mine/You'll regret that when you're older") but sometimes gawkily high-flown ("Your endeared negligence," "The cold and correlated closely flock"). On my favorite track, "Pink Sheets," it combines the two: "Rose quartz, star charts/We heal our broken hearts/With warped reality/And practical psychology." But always there is the sound of becoming that the young treasure for one reason and the ex-young value for quite another. A-