Once you reach a certain level of fame your dignity becomes harder and harder to hold on to. And that goes double for when you’re dead. I’m pretty sure Kurt Cobain would hemorrhage at the thought of Converse making a signature shoe in his honor. Well, actually, publicly he would have made a big stink about being taken advantage of while privately stoking the idea. That seemed to be his MO. But the bad taste in my mouth at the thought of Converse trying to cash in in such a gratuitously gauche way won’t go away. I guess it’s probably exacerbated by the fact that Cobain died wearing a pair of suede green One Stars, so anytime I see Converse juxtaposed with Kurt Cobain’s name I picture those photographs of his dead body lying in that greenhouse with those shoes sticking out at the bottom. Who is the target audience for this? Would anyone over the age of 12 wear something like this? And does the Hannah Montana demographic even know or care about Kurt Cobain?
I’ve been semi-obsessed with the new M83 record for a few weeks now and this song in particular. It’s such perfect shoegaze retro. It sounds like Jesus and Mary Chain filtered through a John Hughes movie soundtrack.
While it’s a huge improvement over the catastrophe that was Without Feathers, The Stills’ new single “Being Here” doesn’t quite recapture the moody immediacy of anything off its debut Logic Will Break Your Heart from 2003. The band clearly learned a hard lesson from its sophomore slumping mistakes, but “Being Here” is too shiny and slick, bordering on cheesy. Admittedly, the band straddled that line even on Logic, but those songs were strong enough to sustain a few dings in the armor. The fact that the new album is called Oceans Will Rise doesn’t help the cheese factor much, but at least this sounds like The Stills, pretentious grandiosity and all.
So, it used to be difficult to see a YouTube clip of Prince’s cover of Radiohead’s “Creep” from this year’s Coachella because, well, everybody knows Prince will unleash his Nazi brigade if so much as his shadow appears on the site. But, According to the Huffington Post:
After word spread that Prince covered Radiohead’s “Creep” at Coachella, the tens of thousands who couldn’t be there ran to YouTube for a peek. Everyone was quickly denied – even Radiohead. In a recent interview, Thom Yorke said he heard about Prince’s performance from a text message and thought it was “hilarious.” Yorke laughed when his bandmate, guitarist Ed O’Brien, said the blocking had prevented him from seeing Prince’s version of their song. “Really? He’s blocked it?” asked Yorke, who figured it was their song to block or not. “Surely we should block it. Hang on a moment.” Yorke added: “Well, tell him to unblock it. It’s our song.”
Awesome. Well played Thom Yorke. [via WWTDD]
Evidently, MGMT has been hanging out with Bow Wow Wow and Adam and the Ants circa 1982…
The always-well-spoken Tom Ewing of Freaky Trigger has a new addition to his Poptimist column in Pitchfork that ponders the psychology behind choosing one’s favorite album. I’ve always answered the same album since I was about seventeen: The Cure’s Pornography. I haven’t even questioned that answer in years (despite The Cureâ€™s self-sabotaging relevance in my life); it’s just been a pat response as long as I can remember. It became my favorite album because of its impact on me at that time in my life. It encompassed everything I wanted out of music when I was seventeen: It was bitter, angry, sad, scary, and uncompromisingly caustic. It was subversive aural rebellion incarnate, and I wore it on my sleeve. One famous review claimed it made Joy Divisionâ€™s Ian Curtis seem like a bundle of laughs by comparison. And that was saying a lot.