Posts from 19th April 2001

Apr 01

Coming Attractions

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Coming Attractions — besides my long overdue first piece in and of itself as FT editor, soon I’ll be inaugurating a new and hopefully quite interesting interview series on FT entitled POP: ART, inspired in part by Tom’s excellent interview with Jyoti Mishra of White Town. The focus will generally be on pop without quotes or irony, however described, desired, defined and dissected by the interview subjects. Two interviews are being carried out right now, with more being planned, and so far all the results have been great reading and conversation. You read it here first!

Kill All Hipsters

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Kill All Hipsters: these ones seem nice, though. Browsing tips: search for a year in the 1960s, download what they recommend. Search for 2001 and avoid what they recommend if you value your brain. Via Scrubbles.


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kids can be so cruel, a lesson the boys learned at a younger age than most, but at the very least they had each other: they would always have each other. bonds were formed for the old familiar reasons: the insouciant indifference of the girls; the sting of acne at its most unkind; and a natural inclination to be really, really bad at both sports and dancing, an inclination that served to engender a severe mistrust of both activities. but beyond all of that, there was the music. sure, if you just wanted the hits, you had “don’t be cruel” and “the flame,” but a little digging was necessary if you wanted to truly discover their art: “man-u-lip-u-lator,” “wild wild women,” the whole second side of lap of luxury. and then there was the doctor, widely cited as the reason they wanted to make music. their union began as a tribute to, a celebration of, and an aspiration to the success — critical, commercial, spiritual — of 80s cheap trick (and “only 80s cheap trick,” they’d hasten to add). weezer, then, like cheap trick in their least charitable decade (if one doesn’t count the 90s): bad music, worse jokes.

and so it continues, even though we seemed to be in the clear as rivers cuomo struggled with his sanity, burning master tapes left and right, getting braces, and wowing them at harvard. but they’re back, and as the opening blast of “hash pipe” proves, their influence on modern rock radio cannot be overstated; it naturally follows, then, that the ire directed at them similarly cannot be overdone. the music could be the work of any of your 3 doors downs or that band that does the cover of “smooth criminal,” only as thrash rock, but weezer’s unique contribution can be found in the mannered falsetto, the lyrics about “hash pipes,” and the grunts before each verse — great stuff, fellas.

the song was halfway through and i figured that there was still a second half to go, still time for the heavens to open and for me to finally understand that most inexplicable of all things, weezer fandom. but, if anything, on this single weezer seem to abide by convention. at one point, i was hoping this was only just a joke, until, that is, i realized what i feared more: that it really is a joke, and that someone, somewhere is laughing. i’d love to know if weezer fans think “hash pipe” is any good, but i’m afraid i know the answer to that. to make a gross generalization, i’m willing to bet that many fans are so in love with weezer, with the guys individually, with the idea of them, that they’re willing to love whatever it is the band offers them. me, i’ll take eve 6 any day. at least they mean it. man.

AIR – “RADIO #1”

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AIR – “RADIO #1”

if they weren’t fearful of looking egotistical — and if it also made for a better hook than “ray-dee-ohh num-berrrr one” — the boys from air woulda/shoulda named this single of theirs “radio air,” because musically and lyrically, that’s what it’s all about. radio air, coming straight to you in francophonic sound, can be found east of parliament’s we-funk on the dial, but much closer than most would cede based solely on moon safari. “radio #1” sports heavy drums and a sludgy bassline that recalls nothing so much as the backstreet boys’ “larger than life,” all of which suggesting that their work on the virgin suicides score taught them how to change gears stylistically, and which is in stronger evidence on the forthcoming album. tune in, turn on, drop out.