For a band that is called fun., I sure find it ironic that their music sparks nothing close to that feeling.
I admit comfortably that when I was 16, I was a fan of Nickelback, Disturbed and other bands that would fall under that “Cock Rock” territory. That’s a pretty bold statement.
While I’d say that (most) of that fandom is long gone, I have been finding myself coming back to a lot of the bands the shaped my childhood and early teenage years. Yes, partly for nostalgia (although no amount of that could ever make me listen to Nickelback again), but I think this is mainly because I am finding more and more that I am losing my place in the ever-changing world of music, specifically alternative and indie music.
Three years ago, I was always into the cutting edge of what is “now” — what many others and myself thought was good. I survived Arcade Fire’s The Suburbs winning Album of the Year at the Grammy’s, braved the great King of Limbs debate of 2011 and forced myself into thinking that a band like Chevelle actually sucked.
I read Pitchfork religiously to stay on top of music’s latest and “greatest” new bands. I even pretended that I loved Bon Iver, but that fell short when it was revealed that for about a year I thought Bon Iver was one person. Sorry I’m not sorry Justin Vernon.
Truth be told, I hate Bon Iver. I also think Neon Bible is a much better Arcade Fire album and even a Radiohead album like The Bends was better than King of Limbs. I think Chevelle kicks ass, but you’d never hear me say that out loud until now.
I guess I’ll stop brown-nosing my ego and get to the point. I like music that is accessible and fun. No, not the band. My friends and I, “We Are Young,“ but if that’s your idea for a great indie party song, then your parties suck.
I use fun. as my main example, but this also applies to Mumford and Sons, Gotye, Imagine Dragons, Lumineers and others. I find my friends and acquaintances throwing it against the wall and, beyond my understanding, I’m seeing it stick. It might be just me, but I find these bands depressing. Not in an Alice in Chains “I’m a heroin addict and I don’t know how to stop ruining my life,” kind of way either, but more like a Simple Plan, “My girlfriend left me and now I can’t stop complaining about it” kind of way. Yes, I just compared Mumford and Sons to a pop-emo band from the early 2000s.
There’s a difference between depressed and depression and these bands embody that very essence of momentary sadness that really doesn’t matter in a few months.
Despite the very real and very dangerous depression of the guys who fronted Nirvana, Alice in Chains, Stone Temple Pilots, Butthole Surfers and several other bands during the ‘90s, the final product of that excessive drug use was great and often fun music to listen to.
You don’t put a hand on your heart and shed a tear for Kurt Cobain when he screams out the lyrics to “Smells Like Teen Spirit.” Of course not! You crank it up to 11 and scream loud and out of key with the guy.
Fun has become such a dirty word in alternative music and it’s not because of any form of stereotypical pretentious hipster nonsense. I really think the reason is, well…just because. I don’t think there’s a reason why Mumford and Sons’ Pop-Folk-with-a-Bluegrass-flare fusion is striking big, while Old Crow Medicine Show has been doing that for years.
What do I know is this: I miss when indie music was something new, exciting and fun to listen to. When I think of indie, I think of the playful lyrics like “We could go and get 40s” from the song “12:51” by the Strokes, the iconic bass line of The White Stripes’ “Seven Nation Army” and the voice-raising howls of “Wake Up” by Arcade Fire.
I realize this is all personal interpretation, but indie music has become something of a boring passé before it even got old to begin with.
Bands have no foreseeable longevity because songs like “We Are Young” will be replaced faster than you can say “something that I used to know.” Ha, see what I did there?
And while Mumford and Sons have proven to have some lasting factor on modern music, I find their songs empty, repetitive and lacking any real expressiveness. I feel like I’m taking crazy pills. “Little Lion Man” and “I Will Wait” are the same damn song.
They just don’t make good indie like they used to anymore, but then again maybe I’m getting too damn old for it anymore.
Anger, pain, jealousy and atheism, but tell me this song doesn’t get you going! I dare you!
Today is the day. No more political commercials. No more stump speeches. No more SNL appearances. No more Mike Breen clogging up his stupid music blog with stupid political shit.
The Village Voice's annual Pazz & Jop music critics' poll was unveiled last week. As expected, Kayne West's My Beautiful Dark Twisted Fantasy stomped the competition, garnering nearly twice the points as the No. 2 album, LCD Soundsystem's This Is Happening, resulting in the largest ass-kicking in the poll's 37-year history.
Memorial Day (originally called “Decoration Day”) was founded after the Civil War. The amount of men both the South and the Union lost during the Civil War was so staggering that it is often still referred to as our bloodiest war. Needing a way to grieve for their fallen loved ones, women and children took to the cemeteries to decorate the graves of their killed husbands, fathers and brothers. Over time, as America involved itself in more wars and saw the loss of more men and, eventually women, Memorial Day soon came to be a day to memorialize all fallen comrades, not just those from the Civil War.
These days, despite the fact that we still have thousands of soldiers deployed overseas, the meaning of Memorial Day seems to have diminished. For many people, it marks the start of summer. It’s the day where it’s officially OK to unroll the cover off your hibernating pool. It’s an excuse to invite over a few friends and fire up the grill. We build bunkers out of charcoal, dodge the friendly fire of water guns and begin donning our summer uniforms of shorts and tank-tops. Rarely, however, do we stop to remember the soldiers who have fallen in order for us to enjoy the oncoming lazy days of summer.
As Americans, we are certainly a culture full of short attention spans and we, the media, do a piss poor job of helping you remember why Memorial Day is still relevant. We publish thousands of words each year memorializing overdosed musicians and crazy, drug addled actors. We’d rather publish images of wild-eyed and high comedians than show you the reality of the flag covered caskets that still come rolling in off of planes each week. That’s incredibly pathetic when you consider that roughly 6,400 soldiers have been killed during Operation Iraqi Freedom and Operation Enduring Freedom. So, maybe it’s our fault.
This year deserves to be different, though. Recently, one of my best friends sent me a video of a bunch of bored soldiers in Iraq dancing to a Vanilla Ice song. We’d been discussing the reasoning behind the exorbitant amount of soldier suicides. I guess it had gotten the best of both our moods and he decided we needed to cheer up. Except he failed. As I watched the videos, I couldn’t help but wonder just how many of those boys were still alive.
They really were boys, too. None of them look any older than the staff at CityBeat. Most of them look a lot younger. Soldiers are hardly grown-ups — according to Congressional record, the average age of a combat soldier is 27 and 68 percent of the fallen soldiers are under the age of 30. For many of us, that means they’re kids who went to our school. They’re our prom dates, point guards, arch-enemies and best friends.
This Memorial Day, as you’re preparing for your summer-long battle with mosquitoes and weeds, enjoy this playlist of fun, bar-b-q worthy music (including two versions of Journey’s “Don’t Stop Believin’”). At some point, though, check out the videos that go along with them. Even if you have no personal acquaintance to memorialize, take time to remember that others around the patio table may have someone missing. Say “Thank you” to the dude with the U.S. Marines sticker on the back of his jeep (he’s surely lost a friend or two) or apologize to the mother with the gold star on her service banner. Drink a beer for the girl you knew back in high school who was in ROTC or take your kid to go pop an American flag on their great-great-grandpa’s grave.
With each passing year, the reasons behind any war almost always end up blurry. Don’t let the faces of our soldiers become that way, too.
On this day in 2003, Iggy Pop reunited The Stooges to perform at the 2003 Coachella festival in California. Well, as much of a "reunion" as possible — original bassist David Alexander died in 1975. But you can't do much better than Mike Watt (Minutemen, fIREHOSE) as a substitute. Pop re-teamed with guitarist Ron Asheton and drummer Scott Asheton for a few tracks on his Skull Ring album, which led to talk of playing some shows (joined by Steve Mackay, who played sax on Fun House).
Like the Pixies, the reunion seems never-ending. The original reunion shows usually stuck to material from the group's first two albums, but eventually they added material from Raw Power (which featured James Williamson on guitar and Ron Asheton on bass) and the band's mixed-reviewed new album, The Weirdness.
In January of 2009, Ron Asheton died of a heart attack. He was 60. The remaining Stooges issued a statement saying, in part, "We are shocked and shaken by the news of Ron's death. He was a great friend, brother, musician, trooper. Irreplaceable. He will be missed."
Then they replaced him. By May, the group had announced plans to keep going with former guitarist Williamson rejoining the band. Pop told NPR, "Although 'The Stooges' died with Ron Asheton, there is still 'Iggy and the Stooges'."
The group picked up reunion-touring that November, adding more Raw Power material to their set. In 2010, after a lot of clamoring from fans and even just those who understood the influence of Pop and Co., The Stooges were finally inducted into the Rock and Roll Hall of Fame.
I saw the first Stooges reunion a couple of times and Pop and the band, while perhaps not as "dangerous" as they once were, still put on a great live show. It would be hard for Pop not to at this point, though it should be interesting to see how much longer the seemingly bulletproof 65-year-old can keep prancing around, shirtless (of course), on stage like a 25-year-old. Is 70 too old? 80? Will Pop keep throwing himself around the stage and working out until his veins protrude from his skin when he's 90? He certainly doesn't show any signs of slowing down anytime soon.
Here's a bit from the historic 1970 Iggy & the Stooges show here in Cincinnati at the ol' Crosley Field (yes, it was broadcast nationally on TV). Read all about the event here, from a 2010 CityBeat feature story on the 40th anniversary of the Cincinnati Summer Pop Festival.
Born This Day: Musical movers and shakers sharing an April 27 birthday include: legendary Rock drummer (John Lennon, Bob Dylan, Carly Simon, Elvis Costello) Jim Keltner (1942); Soul singer/songwriter ("I Can't Stand the Rain") Ann Peebles (1947); lead singer for the Soul group The Main Ingredient ("Everybody Plays the Fool"), Cuba Gooding, Sr. (1944); singer/songwriter/guitarist for Beatles-approved rockers Badfinger ("Come and Get It," "No Matter What"), Pete Ham (1947); vocalist with New Wave group The B-52's, Kate Pierson (1948); original KISS guitarist Ace Frehley (1951); Scottish Pop star Sheena Easton (1959); former Belle & Sebastian singer/cellist Isobel Campbell (1976); frontman for Fall Out Boy and solo artist Patrick Stump (1984); and America's countdown king, broadcaster Casey Kasem (1932).
And now, a long-distance dedication (to be read it in Kasem's voice):
When I was a youngster, I was addicted to your American Top 40 syndicated radio show. I'd listen every Saturday, just as I'd watch the morning cartoons (which you were also a part of, as the voice of Shaggy on Scooby Doo, as well as Robin on my must-see TV of the time, SuperFriends, among other shows.)
In a few years, my musical tastes would develop and I became less and less interested in most Top 40 music, so I didn't listen as much. But I'd still pop in every now and then, to check and see how my favorites, like Men at Work or The Police, were doing that week. And, if I was lucky, you'd throw in a fun fact or two about the artist behind the next song you were going to play (like, "… and that gas-station attendant was none other than Sheena Easton").
As I grew older, I also listened to commercial radio less and less, and I lost touch with my old friend, though I loved the clips of you losing it while recording your show. Earlier today, I noticed on Wikipedia that you officially retired from your radio shows in 2009 (and, apparently, you were still voicing Shaggy until that year as well). I felt bad that I thought you disappeared from the radio in 1986. So, Casey, could you please play Killing Joke's "Eighties" for my old pal, you, on his/your 80th birthday?
Oh, and YOU keep your feet on the ground and keep reaching for the stars.
Mike B. from Ohio
After the tumultuous revolution of The White Stripes, the twisted Pop/Rock convention of The Raconteurs and the Blues/Indie Rock gene splice of Dead Weather, there was nothing left for Jack White to do but to hang his own name on the marquee and go the solo route. There is an argument to be made that every White project is an extension of his musical persona regardless of the personnel he surrounds himself with or what he calls it; even the album's he produces bear his distinctive mark. At the same time, it’s also true White uses his shifting musical guises to offer a prismatic glimpse into the unique facets of his creative psyche, each one cut from the same bolt of cloth but patterned into something subtly but noticeably different.
White’s debut solo album, Blunderbuss, follows that logic line in much the same way. He explores and expands upon many of the genre variations that have defined his catalog to date in the service of imploding love songs that, at least on the surface, would seem to point toward his recent divorce as inspiration. In fact, the lack of actual drama surrounding that event indicates that White has written a song cycle about theoretical bad love rather than using pages out of his tear-stained journal for his muse.
Musically, Blunderbuss is a mixed bag of White’s best tricks; the Who-like guitar blast of “Sixteen Saltines,” the Prince-channels-the-Stooges Soul squall of “Freedom at 21” and the bluesy sugar swing of “I’m Shakin’.” But White also pushes his work down some interesting new paths as well, from the Americanapolitan Soul of “Love Interruption" (where White and singer Ruby Amanfu duet in a manner befitting Robert Plant and Alison Krauss) and the purer Country sway of the effecting title track to the Ray Davies-tinged dancehall Pop of “Hip (Eponymous) Poor Boy” and the loungey piano Pop of “Hypocritical Kiss.”
Blunderbuss is another prime example of Jack White’s impeccable track record as one of Indie Rock’s most reliable chameleons.
(Edited to correct White's duet partner on "Love Interruption")