I like all the “Beach Goth Noise-Pop” music I linked to last time, and have a real fondness for a number of the bands. But now it’s time for some critical observations. The major objections to this music are three: 1. It doesn’t swing, and the blues has been totally bleached . . . . Continue Reading »
When I hear the harpsichord in Vivaldi or Bach, if I picture anything, it would be rococo drawing rooms—George Washington asking Jane Austen for the pleasure of a dance. When I hear it in pop, perhaps thanks to Peanuts and the great Vince Guaraldi , I picture green lawns and white . . . . Continue Reading »
Its lyrics are fairly interesting (in a nutshell, relativistic autonomy gets declared in a “manly” mod key) and music-wise it features the ground-breaking and still tasty-sounding feedback break. But my discussion will focus on the relation between The Who’s trademark . . . . Continue Reading »
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