by the seventies it had become codified, established, and even conservative; particularly since its courtship of the country music audience with its “Southern rock” gambit (which begat Lynyrd Skynyrd, Allman Brothers, America, Molly Hatchet, Crazy Horse, et al)
... but Crazy Horse paired up with Neil Young, who tends to get seen as one of the godfathers of punk.
Lumping in Crazy Horse with what punk was trying to eliminate is just going against the historical record here.
I wouldn't call Neil Young a forebear of punk, but I would agree that some of his equivocations are just really dumb, and that section in particular.
A college rock variant was therefore necessary for casual middle-class rock fans, left cold by heavy metal, punk rock, Southern rock, and the breezy West Coast sound of Steve Miller Band, Fleetwood Mac, and the Eagles.
Started back in '83 Started seeing things a differently And hardcore wasn't doin' it for me no more Started smoking pot Thought things sounded better slow Much slower, heavier Black magic melody to sink this poseur's soul
Not whatever the hell this guy's trying to make up.
See: Meat Puppets tripping in the desert and hanging with Savage Republic; REM listening to Wire and arguing about band names while drunk in a Georgia hotel.
A college rock variant was therefore necessary for casual middle-class rock fans, left cold by heavy metal, punk rock, Southern rock, and the breezy West Coast sound of Steve Miller Band, Fleetwood Mac, and the Eagles.
Started back in '83 Started seeing things a differently And hardcore wasn't doin' it for me no more Started smoking pot Thought things sounded better slow Much slower, heavier Black magic melody to sink this poseur's soul
Not whatever the hell this guy's trying to make up.
See: Meat Puppets tripping in the desert and hanging with Savage Republic; REM listening to Wire and arguing about band names while drunk in a Georgia hotel.
Yeah, college rock was an organic evolution from the harsher strands of punk, not a rejection of it.
Charting the evolution of Hüsker Dü is all that's needed to demonstrate this.
How does this person explain Kurt Cobain, who was influenced by all the things that he mentions college rock being a rejection of, despite the fact that Cobain can't be described as anything other than an outgrowth of college rock?
I suppose that's what happens when someone starts out with an argument before they've actually tried to prove it. They end up cherrypicking things that prove their argument, and ignore things that don't, even when those things are bigger in number or more significant.
I would also mention that having a political conscience isn't something you need to spell out in your music to still have, as Cobain is evidence of. Then again, he would probably hate Cobain for it if he knew about it, because Cobain had no truck with the skinheads and people of similar mentality this guy seems eager to romanticize, despite the fact he's probably never met a real skinhead in his life.
I don't think he's romanticising skinheads or hardcore types. Intentionally. I don't think he's romanticising skinheads or hardcore types intentionally.
I should make clear that this guy was the frontman for Nation of Ulysses, so he has some legitimate musical credentials. The problem is he seems to think he's Green Gartside but lacks the sense of humour and nascent self-awareness, at least here. He also lacks the excuse of living in a London squat during the Thatcher administration and doing metric fucktons of speed.
Yeah, I think I was a bit too harsh with my last post.
He is still pretty obviously looking back at a scene that was already long-gone by the time he was of age to start a band and treating it with rose-coloured spectacles, however.
They weren't really a hardcore band, though, anti-drug attitude and violent live act aside; if anything, they seem like they were more an American answer to The Pop Group, if way less funky.
The band was known for their extremely physical performances, during some of which Svenonius recalls breaking his arm, his leg, and breaking his head open on numerous occasions. Audience members were also hurt during performances. Svenonius described Nation of Ulysses performances as "an extraordinary freak-out kind of thing [...] really masochistic, lots of blood [...] cacophonous, and violent, and aggressive.
… That might explain why his mental state has ended up like this.
At the very least, I do see now that my comment implying he's never actually been in a dangerous situation in his life was pretty off the mark. I apologize for that.
It also makes me wonder what's going to happen when the Pitchfork types become old enough to start thumping their chests about how great they were in their prime and how the youth, like, totally missed out.
Holy fucking shit (40,000), Car Seat Headrest were reviewed on Pitchfork and Consequence of Sound and in Rolling Stone and this is so, so wrong, yet I am so, so happy.
An experimental-leaning garage-rock/power-pop project from Williamsburg, Virginia. I was first exposed to his work through his collaborations with the utterly demented furry cartoonist Cate Wurtz, alias Partydog, specifically a song that accompanied one of the Lamezines.
If you want to know why I love his work, go look up "Bodys" from Twin Fantasy or "Kimochi Warui" from How to Leave Town. Or, fuck, just listen to the new version of "Something Soon".
Constantly surrounded by controversy and chaos, Los Angeles's own Dizaster has been one of the most prominent and prolific battle rapper's in the world. Loved by many, but hated by most, Dizaster will go down in history as one of the most influential and entertaining battler's to set foot in the ring.
I know that RA really liked Hauschildt's latest solo record but I'm only just getting into their respective catalogues. I mean, the Emeralds back catalogue in itself is fairly deep.
Comments
How does this person explain Kurt Cobain, who was influenced by all the things that he mentions college rock being a rejection of, despite the fact that Cobain can't be described as anything other than an outgrowth of college rock?
I would also mention that having a political conscience isn't something you need to spell out in your music to still have, as Cobain is evidence of. Then again, he would probably hate Cobain for it if he knew about it, because Cobain had no truck with the skinheads and people of similar mentality this guy seems eager to romanticize, despite the fact he's probably never met a real skinhead in his life.
He is still pretty obviously looking back at a scene that was already long-gone by the time he was of age to start a band and treating it with rose-coloured spectacles, however.
Forgot Washington, D.C. still had a hardcore scene going on for a while after most other places gave up.
At the very least, I do see now that my comment implying he's never actually been in a dangerous situation in his life was pretty off the mark. I apologize for that.
It also makes me wonder what's going to happen when the Pitchfork types become old enough to start thumping their chests about how great they were in their prime and how the youth, like, totally missed out.
We're fortunate to grow up in the age of the Internet, so Pitchfork can't distort what actually happened as easily as Rolling Stone could.
Hipster!RS gave it an 8.1, too. The review is full of stupid name-dropping but it's just glowing.
like
when Anthony Fantano reviewed clipping. but like, 5 billion times moreso
If you want to know why I love his work, go look up "Bodys" from Twin Fantasy or "Kimochi Warui" from How to Leave Town. Or, fuck, just listen to the new version of "Something Soon".
It kind of is. I have talked to this guy on Tumblr and he wrote at least one song about Moya from Microwave Planet and now he's on Matador.
a floating points full length yaaaaaaaaaaaaaaay
if you slow down the chipmunks so they sound like people they become the best sludge metal ive ever heard
this is powerful
good for him
anyways, what is the significance of dressing up as eminem for haloween?