weezer ate my balls.

what's forgettable about sp's thirty-three?

it's a strange, great record. i still have a soft spot for throwing copper, but secret samadhi is much more interesting, if not quite as brilliant.

because alternative by then had long become a genre, not a descriptor. that said, any artist that truly was an alternative act should never be revised to NOT be called one. the cure, depeche mode, r.e.m., etc are forever and always alt-rock bands, regardless of how many units they move(d).

i really disliked them. way too stylized for me, especially her, i found her whole energy off-putting.

i can't recall any mellotron except maybe at the end on the fade? a really lush, gorgeous song, though, and their most beautiful video.

that live album, secret samadhi—and i know i am going to get hammered for this—is actually pretty fucking weird, and pretty damn good (and not much like the grunge ripping off bush and silverchair were making coin on). oddly, silverchair got a lot better and more interesting as they got older, and live became the…

i was about to say this, but you handled it concisely.

i thought he was blanketing the quality of the first record and then giving some specifics of the second.

have most of the subjects been "critically adored"? i recall a lot of (alone +) easy targets here..

i think it's pretentiously indie as balls when people insist that all good rock music must make a bold artistic statement. foo fighters kick fuckloads of ass, and do so with relateable, earnest romanticism—and manage to do so while being fun, affable dudes who don't come off like u2 or radiohead usually do. that comes…

i fucking love the foo fighters, and his central thesis isn't wrong..but in that last passage about how funny the whole "kevin and bean/rick astley/tommy lee/fags" spiel was, man does taylor hawkins sound exactly like he looks.

thanks for saying literally everything i thought about her.

pavement and liz phair, ugh.

you're rather indie, huh?

i gotta posit that if lennon were still alive, he'd surely have added at least a few notably great notched to his belt.

i still think lion/cobra is her masterwork—much as little earthquakes is still tori amos'—but i get that this album is more mature and more nuanced. her most recent record is actually damn good..saw her play on it last fall, for the first time in my long concertgoing life, and i gotta say, just being in the same room…

one of the most unlikely artists to ever make a strangely accessible record..but deep improved on love hysteria in surprising ways. terrific front to back. cascade is pretty good too.

yeah, you and i are def. on the same page with all that.

i stay away and no excuses were great, nuanced songs in a way that was unexpected from aic at the time.