….and here’s the title + blurb….
Gimme Indie Rock: 500 Essential American Underground Rock Albums 1981-
by Andrew Earles
(Voyageur Press/Quayside Group)
“500 albums released by 286 American bands/artists from 1981 until 1996, this is the ultimate record-by-record guide to one of the most revered periods and movements in American rock history. Music fans in the know recognize that beneath the glossy veneer of the 80’s there bubbled America’s own D.I.Y. movement; a revolution of self-directed bands that created a nationwide network from the ground up thanks to independently recorded releases, Xeroxed fanzines, self-financed tours, and other grassroots efforts. In Gimme Indie Rock, music journalist Andrew Earles identifies and describes 500 essential albums of this indie-rock movement that comprised bands from coast to coast, in markets large and small. From giants of the movement–Black Flag, the Minutemen, Mission of Burma, Fugazi, Superchunk, Melvins, Dead Kennedys, Minor Threat, Hüsker Dü, the Replacements, Sonic Youth, Mudhoney, Dinosaur Jr., Big Black, the Pixies, more underground bands that nonetheless made their own impacts (Jesus Lizard, Cows, Low, Mercury Rev, Polvo, Squirrel Bait, Karp, Bongwater, Naked Raygun, Sun City Girls, and many others), and scores of artists who still await their proper due, like Fly Ashtray, Dumptruck, Truly, Man-Sized Action, Steel Pole Bathtub, godHeadSilo, Sorry, Team Dresch, Further, Grifters, World of Pooh, Trumans Water, Malignus Youth, and Eggs (and yes, many more) – Earles provides an exhaustive album guide to the era. Also, by focusing on the albums as stand-alone statements based on sound and aesthetic and ignoring the indie-vs-major-label argument as criteria for inclusion, the book does give nods to those bands that cut their teeth on the indie circuit but graduated to a greater degree of mainstream recognition in the early 1990s, including R.E.M., Soul Asylum, Urge Overkill, Hole, Smashing Pumpkins, and Nirvana – Gimme Indie Rock is the definitive manual for the best American indie music made between 1981 and 1996.”
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.