Check out Elizabeth Murphy’s new piece on the Walker Art Center’s mnartists.blog HERE….
And look forward to my 2nd book, Gimme Indie-Rock: 500 Essential American Underground Rock Albums, 1981 - 1996 to be published by Voyageur Press/Quayside Publishing Group at some point before the end of 2014. More information soon!
Kanye West cites big influences on as-yet-untitled Yeezus follow-up: “Totes inspiration from Happy Flowers, Strangulated Beatoffs, Runzelststirn and Gurgelstock, 100ft Worm Makes Own Food, Culturecide, Antiseen
Why is it that we always want mainstream creative/entertainment-based entities, regardless if paper lion weirdness-for-idiots trappings are part of their thing or not, to be armed with a cool frame of reference? Of course, we all know why Chuck Eddy put a bunch of bubblegum and modern country bullshit in his “500 Greatest Metal Records” book (and a shit-ton of other published works) but what about your buddy who tries to recommend ESP-era Bob James (that doesn’t even exist, but fuck jazz and you get the point) or the first Chicago Transit Authority album (“It’s really FUCKED-UP! There’s a track called ‘Free-Form Guitar’ that would singe the hair from Thurston Moore’s balls!”)? But now we’re getting into “First-Album Syndrome” territory and that’s another Street Team for another panic-induced, last-minute blowout.
But like those examples, the subject is often to be found blameless. It’s the motor mouths and shitty writers. Take this Aux.tv headline from last year:
Kanye West’s new record is heavily influenced by first-wave screamo
[lack of proper capitalization is courtesy of the blogger, ‘natch]
‘You guys heard about how SUPER PUNK the Met Ball was, right? Well, it feels like Kanye West was tapping into the raw, primal energy of Heroin, Antioch Arrow and other Gravity Records bands when he debuted new material at a special performance on Monday night.
A vine posted to A-Trak’s account shows three or four primal “Kanyells” (hat-tip to Vulture), one of which has him screaming “I AM A GOD”:
On top of that, in an interview with Rolling Stone, Thomas Bangalter (one half of Daft Punk) talked about his time in the studio with Yeezy, and said that Kanye’s new material is “very raw…[h]e was rapping — kind of screaming primally.”
The “piece” I just pasted is not the densest of fare, in case you just suffered a massive stroke or exited a wild boar’s womb in the past month. It appears to be the handy work of Aaron Zorgal, and Aux.tv is little more than a Gawker.com-on-negative-currency-per-day (that disengages my back arrow button so I can’t get back to the fucking Google search and call applesauce on this ass-baggery!!), therefore this “writer” is a content-creating robot that might or might not be in a human suit. If it’s the latter, look my man, no one gives a shit about your knowledge of (a more likely reality than “are a fan of…” or “have heard the music of…”) Moss Icon or Heroin or Antioch Arrow. By the way, dipshit…can I call you ‘dipshit’? Ok, good, because it’s not as if fact-checking or even facts in their most basic or nascent forms enter into your game plan, but Moss Icon never released anything on Gravity.
Nowhere in the entire Interhole does there exist a single interview with quoted proof or an eyewitness account of any Gravity Records title entering Kanye West’s earholes. If this stayed in playing-Gawker-in-an-empty-refrigerator-delivery-carton…um….land, it would be of no concern to me or you. But this nugget of nonsense was picked up by an outlet or two that should know better and usually operate on the correct side of the battlefield but must have suffered a temporary lapse in judgment when referencing that Aux.tv bullshit or what my research has found to be three or four knuckle-draggers chiming in on the same message board…BECAUSE THAT’S THE ONLY RELATED SCUTTLEBUT TO BE FOUND. Really, people. Really. Not “Really?!?!?” as in all SNL and shit, but…REALLY.
Like all vile crimes committed in the name of quasi-journalism/criticism, this presents a brand new puzzle piece at some point in its assessment, though it’s the classic blessing in disguise, and Mr. Zorgal you are hereby notified of this serving of a real scoop if you can take a second from crapping content into whatever online adult-diaper you’ve been crop-dusting over the last three hours…
Now that Kanye can sew on another merit badge of avant-fallacy if Yeezus was creatively inspired by the self-titled Second Story Window 12”, some new developments have been blazing through the expected online outlets over the past couple of days, and lemme tell ya, it’s not every day earth-shattering mindfucks like this walk up and put your jaw through the floor. Ready? Ok, it appears that some of the late-30’s/early-40’s dudes who were in Angel Hair, Mohinder, Clikitat Ikatowi, Lava, and the like have been listening to Yeezus…in the car…while driving to and from…the nearest recycling center, a local organic cupcake emporium, favorite body dumps, neighborhood association meetings, parole check-ins, Bumfights viewing marathons, and picking up a Baby Bjorn from the repair shop. This follows last week’s double-whammy revelations revealing that U.K. rap-rave production/DJ collective Blackout Crew have cited Harry Pussy’s Ride the Dove as a crucial inspiration during sessions for the as-yet-untitled follow-up to 2009’s Time 2 Shine, and the news that Jay Z has not only talked Tom Smith into continuing To Live and Shave In L.A., but will be a primary contributor on an upcoming full-length, so it looks like 2011’s The Cortege wasn’t a swansong after all. Now, if something besides the abuse of a year-old Internet rumor would influence me, life would be a slice.
Please have a pleasant holiday and remainder of 2013.
I encourage everyone to be strong, grateful, aware, proud and diligent in
your affairs, and generally good to other people.
For the next couple of weeks, I must focus on finishing my second book,
which is an encyclopedic survey of 500 essential full-length albums from
the American underground…1981 – 1996 (100 - 450 words about each title)
that will be published during the second or third quarter of 2014. There
will be a introductory essay of considerable length and a great many
appendices due to the degree of context required by the primary format.
And a proper title will be announced, as it is obviously the backbone of all
And I’m slogging through 500 entries about 500 albums released in this country between 1981 and 1996…for my next book, therefore I have nothing to show (you) for myself, other than the fact that I’m on #234 or #374 or around there and really reconnecting some old connections with old records.
Vanilla Trainwreck will not make the book.