I get that, but to me, this is a perfectly good waste of time and content that could be used to talk about an underground artist who could use the press. As the saying goes, “no press is bad press,” and even just by recognizing that this group exists gives them a victory of some sorts, so let’s just ignore it and hope it goes away. Jeez, it’s like every form of pop music needs to be turned into a science or thesis statement as if it’s some human psychology experiment…
It’s not what has happened to this place, but rather what has happened to music in general: The indie music scene as we know it is an endangered species and instead it’s that low bar that is being rewarded for not giving us much.
We honestly don’t need to be discussing shit like 5 Seconds of Summer on this site. I understand “poptimism” has become increasingly relevant in recent years and more important to driving content revenue, and the blurring between mainstream and indie is real, but honestly — What the fuck happened to this site?
It’s hit me that it’s not Coachella, SXSW, etc. which have changed for the worse, but rather music in general. The pop machine has infiltrated what used to be indie music publications with higher filters, and now we’re staring hard into the reality that all of the progress independent music made in the Aughts is going to be undone because we’re all of a sudden glorifying (or at least thinking too hard about) empty pop music like it’s something more than it should be.
I felt it was misandrogynistic, to be quite honest (that was a joke…), but then again I’m so confused these days within the realm of the music discussion about what we can and cannot say or show anymore, because everything is e̶m̶b̶a̶r̶r̶a̶s̶s̶i̶n̶g̶ offense.
So, this takes place a week after the awesome FYF Fest, and it makes me a bit worried for them this year because they’ve already got to contend with the fact that they aren’t going to be able to hold it at their usual spot at the Los Angeles Historical State Park. I’m pretty sure they have their lineup mostly locked down because they’re announcing it in the coming month according to what they’ve been posting (hence they probably won’t have to worry about Made In America stealing away their acts,) but I have to wonder how much a chunk out of their ticket sales a bigger budget festival in L.A. under Hova’s brand will have on them if the lineup delivers the names it did the past two years.
Then again, it could work against Made In America. FYF used to be on Labor Day weekend, too, but they bumped it up by a weekend last year because they realized most people in Los Angeles didn’t stick around the area for the last long weekend of the summer, and thus sold less tickets. Add to that, so many festivals around as is, they might be over-stretching themselves if they don’t deliver a huge lineup.
As it gets closer, I’m getting more anxious and dreading having to make it out to Indio. I’m at the point that I’d be willing to pay someone to take my place so I don’t have to go to this thing this weekend. Anybody by chance have Aaron Paul’s number?
Very burly and beardy, but then again, that’s Boston.
My favs are:
#7 (The black and white filter is a contrast to the norm of seeing post QOTSA pics in color / mostly red)
#13 (looks like something of a My Bloody Valentine / Nine Inch Nails album cover crossbreed.)
It feels really weird and scary when songs begin to be named after years well past your birth year in a nostalgic sense and not in a then-futurist “1999.” I was good with stopping at “1979.”
Two 10 Best lists under the Toth 2.0 by-line, and both have alternative / live cuts in them. Alongside your “‘w/ sax’ version” mention a few comments up, I’m just sensing a pattern here is all I’m saying, chap.