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John Mordecai
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Fuckin’ idiot this guy is. Lucky you for not getting how depression works or why people commit suicide. I’ve always felt DISDAIN for Henry Rollins. Thinks everything he says is so fucking profound. Another one of those, “I can’t stand anyone who doesn’t fit in to MY worldview.”
It’s DISDAIN, Henry.

I think he’s always got good things to say, and am excited to see if Adore gets a better treatment this time around; that album was criminally underrated in 1998. People just didn’t get it. “It doesn’t rock, therefore it sucks.”
But that said, I think saying he remains the only relevant and vital artist from the alt-rock 90′s is something of a stretch… Trent Reznor steals that by a long margin.

Look at that, in a new interview with Corgan today I read this about the book he’s writing:

“I would say that 90% of the bad things that have happened to me in my life are my fault, or my responsibility, or I didn’t have enough courage or strength to walk out of the room when bad thing number 800 was happening… I’m trying to write a spiritual book, and if you’re going to be spiritual you have to be accountable. To be accountable means you have to be willing to look at yourself in a way that’s usually fairly uncomfortable.”

So, I guess he probably gets it that he’s been a bit pompous at times…

I guess to be fair though, we weren’t there… by all accounts James and D’arcy and Jimmy had their issues. You could say Corgan was a tyrant who tore the band apart, but keep in mind that MAYBE he was reacting to the situation around him. It was a dysfunctional band through and through.
Also, I thought Adore was a nice album.

Yes… Was wondering if anyone else felt this. Both Superunknown and Down on the Upside have all good songs, but damn, they’re long!

Look, it’s different for everybody. We all know (or are IN) bands where there’s a chief songwriter/head honcho. It’s just what works for some bands. We all work differently and creativity comes differently. Personally, I like Smashing Pumpkins more than I like Soundgarden, but that doesn’t matter — both wrote great songs, but one group wrote as a band and the other’s songs were written by one guy. The results were good, so it doesn’t matter. It’s different for everyone. So to criticize on that alone is pointless. Either way: both bands had better output in the 90′s, so why beef?

 0Posted on Aug 14th | re: Here's A Tour Of Bethany Cosentino's House (32 comments)

That’s what I’m thinking: no way in hell.
But someone raised the point of the various commercial endorsements; feasible that helped. But I can’t see it lasting enough for her to keep that house…. unless her family’s loaded.

I’ll add that I don’t think they’re trying to screw anyone over, but are more than likely faced with unfortunate circumstances. Still, i guess if fans/consumers are pissed off at them, that’s not good.

ATP is the rare gem of music festivals and I hope they don’t disappear. Having been to a number of them in New York and in the UK (full disclosure, I was once in a band signed to their record label and played a couple of those fests), and they were so much fun. You’re not outside in shitty weather amongst many many thousands of people, but in these kitschy old holiday camps and resorts which lend their own charm, and the bands are all staying there with you. It’s so communal, incredibly unique and quite memorable.
I hope they sort this stuff out. My own dealings with the people who run ATP were limited (I wasn’t the point person for that stuff) and I’ll leave everything else out (long story short, the band parted ways with the label), but they were nice people who really care about music and putting on festivals and remaining independent of corporate money.
This kind of thing seems not surprising given the current state of the world economy, but it’s a bummer. I hope they survive.

Ya know, I think I like the Machina II version better. I find this one a little too slow and “tame,” if that’s the right word to use. The later version was at least a little more lively. That said, this probably could have been a more notable hit for them in 1998, but hearing it I understand why it was left off the album; doesn’t seem to fit. But I may still prefer it to “Perfect,” which I skip almost every time.