Fwiw, here in NYC I frequently come across children of Gen-Xers in their early 20s who love classic rock AND the whole Seattle/alternative/”grunge” of the early ’90s. (It’s a question of authenticity for them: they feel the rock music of the 21st century is, for the most part, contrived and plastic; too tightly tethered to vague notions of hipness.)
I’m a Gen-Xer myself and ‘Superunknown’ is not the only record from that era which I still enjoy, but it’s the only one I play regularly, as if it had been released in the last 5 years.
Ryan Leas can’t put his finger on why the album feels massive to him. Perhaps it’s due the fact that when you listen closely to this 70-minute, tour de force you can sense that the band knew it was onto something; that their songwriting had turned a corner and the need to make a lasting musical statement was in the air. In other words, it seems like the band approached this record as much more than their latest batch of songs. Hands down THE hard rock record of the ’90s.
Yeah, that phone call was the way to go…IF she’d seen the video before it leaked. What was the point of Badu calling Coyne after the video was out there for all to see? I’m on Team People Need to Stop Jumping to Conclusions Before They Figure Things Out.
Ever since The Lips got exposure outside of indie/college rock circles Wayne Coyne has used his slight modicum of fame to be an asshole.
First, it was his infamous treatment of 2002 tourmate Beck–truth be told, he put the Lips in front of the biggest audiences they’d ever played for at that point–who according to Spin, Coyne considered to be “overwhelmed with being famous and being cool or whatever. So I started fucking with him.” Nice touch.
He’s been yapping about that tour for years now. “So I started fucking with him” doesn’t really sound like he was trying to make the best of the situation. Why didn’t Coyne just avoid the guy when he wasn’t dealing directly with him–we’re pretty sure he and Beck weren’t joined at the hip 24/7 on that tour–and move on. Jeez.
Fast forward to 2007: in the UK’s Guardian, he proceeds to rag on Nirvana’s ‘Nevermind’ calling it a “a poisonous, pernicious influence” and disparagingly compares it to Nickleback (!) while assuming newcomers to the 1991 classic will wonder “What are these drug addicts going on about?” Which is pretty rich coming from a guy whose band’s key musical ingredient is someone who was a raging junkie for a decade.
An appearance at a 2008 festival in Mexico elicited this choice remark from Coyne:
We recently did a festival…and fucking Nine Inch Nails and Stone Temple Pilots were worried about our confetti getting on their little guitar setups. And I’m just like, “Who gives a fuck?”
Now, we weren’t there and obviously don’t know what exactly went down with NIN and STP, but personally, when I perform live I make sure to get all our crap–gear and otherwise–off the stage for the next band, just out of respect. And, trust me, I’m not playing on the same bills as international stars who expect a certain level of professionalism, but it’s a courtesy to extend and welcome in return, so there you go. Coyne, meanwhile, needs to make an issue of it and poke fun at easy targets. (We can just imagine Spin readers gushing, “Ooh, he’s so cool, sticking it to the big, bloated, rock star prima donnas.”) Whatever.
Then there was Coyne’s scorn towards The Arcade Fire in Rolling Stone. I don’t care for The Arcade Fire, but Coyne’s shit-talking has become a real turn-off. I’d recommend he leave the trash talk to Noel Gallagher, who’s better at it and and actually has a sense of humor. Instead, he should be concentrating on making a decent followup to that crappy couple of albums his band’s made recently and put to rest being the one-man TMZ he’s kinda become lately. Enough, already.
Except that there are quite a few artists who have complained of Rubin not showing up at all, having the day’s work sent to him via messenger and then sending back notes. (Didn’t the dude from Slipknot have similar complaints.) He gets asked to produce b/c his name on a record generates attention and sales, especially if the artist’s career needs a jolt.
And to bolster your point you provide not actual examples but a comedic parody?
“I generally dislike Kickstarter projects…”
Why, Amrit? Please elaborate.
Berlin with distorted guitars. Next.
Um, I don’t know what the protocol is in lesbian bars but “a drunk chick at the bar trying to convince someone to come home with her” at a so-called regular bar is pretty common. The catch? 90% of the time it’s not someone who you want to leave with.
The ones who have a cohesive enough, full-length musical statement in ‘em should continue to release albums. Otherwise, go the singles/EP route.