It's fun to see all these "indie music mp3 blogs" (as they were known in the 00's) grow older and be able to witness the revisionist history. I remember Stereogum would once make simple posts questioning why System Of A Down has fans yet, you can be sure as shit, if SOAD released new material, it'd be highlighted on here (as it should!) Not knocking the site by any means as I'm glad all these areas of the interwebs have loosened up in terms of music coverage beyond jangly white-guy guitar music.
I wonder if Save Ferris is also potentially playing the Pitchfork Fest. That site LOVED that band:
https://web.archive.org/web/20110713120604/http://jonnyleather.com/blog1/2010/04/critical-differences-pitchforks-lost-archives-save-ferris-edition/
Weezer fans are a sensitive bunch. Even their most "whack" stuff isn't that offensive. Can we get a ranking of their albums? That'd be a much more interesting read. For what it's worth, my ranking (worst to best): Make Believe, Red, Hurley, Raditude, Pacific Daydream, Maladroit, Everything Will Be Alright In The End, White, Green, Pinkerton, Blue
Always thought these guys were incredibly over-rated and their whole schtick was super irritating back in '08 but maybe I was just bitter that there was a new thing coming up under me as I was about to turn 25. Nonetheless, this album is fine and the other ones are fine but I rarely go back to it like I go back to, say, Boxer, Vampire Weekend s/t, Dear Science, For Emma and many of the other acclaimed "indie" releases of the time.
Little context about the opening band Mark Tremonti references. The Tea Party were, from what I recall, very big in Canada which is probably why they had that set up while being relatively unknown in the states. I....think...I remember hearing them played on the radio around the same time Creed broke in late 97 on 92.3 K-Rock in NYC. Other cool fact about this album is, according to his autobiography, Butch Walker was initially offered the opportunity to produce this album and passed.
Ah, I actually attended that Ozzfest in 2001. It's hard to over-state just HOW popular that music was. It morphed into several sub-genres and, though emo gave it a run for its money, was one of the last times guitar-driven music was a dominant force in the pop culture landscape. I'm curious as to the level of disdain Alternative Press had to the scene since, it seems, basically the same thing has happened to the magazine as of recent. Every time I see AP on a magazine stand, there's always a tatted up post-screamo/nu metal, whatever band on the cover (Bring Me The Horizon, PIerce The Veil, etc.) which doesn't really seem that far removed from Slipknot, Linkin Park, Papa Roach, etc.
I recommend still going. Caught them a few weeks ago in NYC and they were excellent. They were celebrating the blue album's 22nd anniversary and busted out a few rare jams (Brodels, Hive, Random)
Why thank you and, yes, those two seem to set a great example for forging your own path and staying relevant. It helps to have the power of the brand but, perhaps, maybe audiences are more accepting of being challenged so long as it's coming from the "right" artists? For example, if Katy Perry put out a "difficult" record, it might draw more press coverage but how would that fair for ticket sales? She seems very much like a singles act who lives hit to hit (throw Rihanna in this same category). On another note, funny enough, I think Beyonce has become what Madonna has been straining to be for the past decade.
Yeah I think they were. Pop music has always been youth-obsessed but seems to be more so now than ever. Alt-rock also seems to flame out around 33-35 with the exception of the likes of Green Day who made their big rock "operas" in their mid/late 30's. Pearl Jam was in no man's land by the time the members were in their mid-30's though they were happy being a gang of rock journeymen.
I'm curious to see if there is still the same amount of interest in Beyonce music as she enters her mid-40's. She could be like the ULTIMATE golden standard (Radiohead) who has everyone salivating for anything new as they approach their 50's (!!). In stark contrast, the likes of U2 and Madonna are now finally realizing (too late?) that they are nostalgia acts where any new material they play is merely an excuse for concert attendees to go to the bathroom.
Interesting article. I've often theorized that once music acts reach their mid-30's, it becomes harder and harder to penetrate and be relevant in the pop culture sphere. There are, of course, some exceptions to the rule (Beyonce, Jay-Z, Kanye West) but overall, that seems to be time period where singers/bands struggle to maintain relevancy.
This is not meant to cut down Katy Perry or discourage ANY act from putting out musing in their mid-30's, 40's, 50's, etc. but more so making the point that appealing to youth culture is (understandably) harder as you approach middle age.
"Indie" Rock 4 eva!!!
Hopefully they got a good deal. I remember the days when articles like this would cause a shitstorm on the internet, even up through 2011 when TV On The Radio played a pop-up Heineken show. Kind of cool that what label a band is on really no longer matters in the age where everything is able to be listened to by a simple mouse click regardless of if its self-released or on a major label. Also cool that labels like Columbia and Capitol still bother with bands like this.
As much as it would be cool to see this album performed start to finish, I HIGHLY doubt they will do that. They just do not seem like that kinda band plus they are still at their peak in terms of ticket draw/relevance so need to bank on nostalgia like U2 finally succumbed to this year. 2027 on the other hand....we might be able to revisit that discussion.
I think this teasing is hopefully leading to some deluxe package that nicely collects all the B-Sides in one place though I'm not sure what their relationship with Capitol is like. SIDENOTE: An extensive Radiohead B-side collection would be amazing in order to get all those tracks in on place.
Have to imagine there was a LOT of writer's block, in-fighting and/or label interfering for a follow-up to take this long. They got off the road in late 2014 so I'm assuming they've been pounding the pavement in agony trying to make this thing (similar to Lorde). Curious to see how it shakes out.
“In the 1,000-to-3,000 range, there aren’t that many venues for a city this size, and there hasn’t really been anything new in a decade."
Besides Irving Plaza, Webster Hall, Playstation Theater, Terminal 5 and (just outside that) Hammerstein Ballroom (3900) yes barely any that size.
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