A quote from
Taylor Swift, throwing “mad shade” at Arcade Fire?
Taylor Swift, throwing “mad shade” at Arcade Fire?
This is the focus of my own personal YouTube Geek Week.
[via The AV Club]
…and Deer Tick saves the summer from itself with a new, bright and sunny, but deeply sardonic single. It’s fucking awesome.
"Tonight You Have Broken My Heart."
Tonight we played the third show of a three night stand in NYC. It was a beautiful venue at Pier 26 and we played with one of my favorite bands the Hold Steady. But tonight, after the show, I found myself with some things I feel I need to say that have been a long time coming…
I play music because something stirs inside of my heart and it needs to be expelled. I have found from a young age that music is the avenue which relieves me. It allows me to say words and choose notes that speak to my own soul. It comforts me. There are people who have found something in my band’s songs that speak to them as well. I’ve met some of them, they come to our shows and have purchased our records because they’ve found something that speaks to them somewhere in the things we have created. That, to me, is amazing.
However, I feel it necessary to address that we are The Gaslight Anthem. We play Gaslight Anthem songs. We’re not the band you think we may be akin to. My name isn’t Bruce, It’s not Eddie, or Joe, or Paul either. If you’d like to hear their songs they are readily available and the former two tour quite often. You should go see them, they put on great shows. They play long sets over two hours sometimes. It’s truly amazing to watch them at their craft. But again, we’re not them. We have a different set of rules. We’re on a different course, because we aren’t them and can’t be them. We have to find our path, because that’s the only honest thing we can do. Which is where I find myself now, proud of what we’ve done, and where we’ve come from, but it’s time to find the next thing. Time to create a new sound, time to create the next Gaslight Anthem.
We will always play those songs, but we will never be that band again.
When I was 27 years old we wrote a record called the ‘59 Sound. It was our first break. We got to work with a wonderful man named Ted Hutt who taught us things we never would’ve known without him.
I was a kid pouring his heart out about what moved him inside and what I loved. Now I have to be a man pouring my heart out about what moves me inside.
Bands who have long careers change. Drastically. That doesn’t mean they no longer like what they did in the past or what got them where they are. It means they have to create and be true to who they are RIGHT NOW, not be true to what people want them to be.
To say that bands don’t owe their fans anything is wrong. They owe them the truth of their art. They owe them a performance of songs they’ve written at that specific show as they are that evening. The ticket doesn’t promise what happened at a show three years ago, or five years ago, or ten years from now. Live music is beautiful that way, because it’s that night only. It’ll never be that show again.
When you go see a band it’s a gamble, like going to see a movie. You may not like it in the end. But you can’t change it. It is what it is. The only difference between bands and movies is that one show might be 90 minutes, one show might be three hours. But the ticket just says what band is playing. It doesn’t make promises of that cover they did once,
or that guest they had last week, or… your favorite song.
Here’s an example of what I’m talking about…
I love the movie Kill Bill. I love Uma Thurman, but no matter how hard I wish or yell at the screen, or insult, or wave my hands. She’s not coming over after the film. No matter how many times I watch it. It’s also not gonna change, it’s not gonna add a scene or delete a scene just because I want to get to my favorite part quicker. She’s not gonna make out with me because I think she’s pretty. She doesn’t owe me anything because I like her or her movies. She is not her work.
I am not my work. I am a guy who happens to have felt some things and gotten in a band that put those things to music and a few people thought it spoke to them. That’s a miracle to me that I remember everyday.
I’m going to go away from the press and interviews now until we finish writing our next record and find out what we will be in the next chapter of our artistic careers. I have nothing left to say until we find what that next chapter of our band is.
To our fans… please bear with us through this awkward period of finding our new legs. I’m being honest with you here because I am grateful for your loyalty to my band.
To the spiteful reviewers… just remember no one’s singing for you.
I’m asking openly and humbly that if anyone would like to come to a Gaslight Anthem show, please come because you want to see what we’re doing on that night. Don’t come to see Bruce, he won’t be there. Don’t come to hear a cover, it probably won’t happen. Don’t come to yell at me when I’m trying to share something with the audience to reach out to them about something I feel is moving me. For some reason I’m the one with microphone, which may be a mistake entirely. But if you want one and have something to say, please start a band, get in the van, sleep on floors, and work your butt off and maybe one day I’ll find your band and I’ll come see you play.
But I swear I will not yell at you or call out for you to play one of your influences songs… because I’ll be there to see you.
I was at this show last night, and although this is a mostly heartfelt missive, it’s a little off. The problem that occurred at Pier 26 wasn’t that fans didn’t want to hear Gaslight songs, and chanted “Bruuuuuuce” out of the blue. The problem was that in the encore, Brian came out with some terribly awkward crowd banter where he talked about covering Lady Gaga the night before, and then asked the crowd if we’d sing along as the band covered Bon Jovi. For a Gaslight (and Hold Steady) fanbase, watching a Jersey Pride band on a stage overlooking their home, the equation is simple and obvious: Springsteen > Bon Jovi. In addition, Gaslight has a history of covering, sitting in with and inviting onstage Bruce. If this was a part of a larger tour-long epidemic of heckling by the audience, that’s fine, but don’t take it out on fans that sat in the rain for you, sang along to all your songs before the encore, and up until that point were on your side.
And for the record, Craig Finn and company were tight, fun, and appreciative of the crowd (who was a mix of their regular hardcore fans and some new ones waiting for Gaslight). So in my mind, it’s been solidified: Hold Steady > Gaslight Anthem.
It’s a bummer that some people don’t know who Electric Light Orchestra are.
Can you please just do me a favor and listen to this?
I usually don’t condone greatest hits albums but this is an emergency.
Jeff Lynne: proof that a crazy fan can somehow become friends with his idols, and mimic their music just enough to turn that into a career (In this case, the Beatles).
Two reviews of The Strokes’ new album “Comedown Machine” written 24 hours apart.
1. In this record, I see glimpses of the band that fundamentally changed me back in 2000. The hooks are solid, if not some of the best out there in 2013. The genre and instrumental experimentation is commendable, even impressive. But it’s, so far, not a record that I am falling in love with. That is, not as a whole, complete LP.
In an alternate universe, there is a version of this record that was recorded live to tape in the studio, with nothing outside of the two-guitar, bass, drums and vocals setup (okay, maybe an old Fender organ on a few of the tracks). The me in that alternate universe fucking loves it. I imagine this version of myself (who we’ll call Red-161, as compared to me on this Earth, Red-616) went to NYU over BC, dove deep into the early 2000’s rock scene, became a bit of a visual documentarian of those drunken and dangerous LES days, has some bit of minor fame and acclaim from those photos, although as time has passed he is probably coasting on the fumes and the remaining dollars, unsure of his next move and feeling a bit empty. He is also skinny and smokes cigarettes.) But I digress… I wish it was that record. I miss the sound of those Strokes, but the songwriting leads me to believe they are still there, somewhere, underneath the studio trickery.
I don’t love it. I don’t hate it. I don’t think I’ll ever hate a Strokes record. I get the thrill from a few of the songs, others will go unlistened in my iTunes library for years. I guess this is part of loving a band, the high with the disappointment, and the constant battle against apathy.
2. I gave the record about 3 more spins yesterday after writing that. And then I listened to nothing else all night. As i went to bed, the hooks were STUCK IN MY HEAD. More than one of them, and not the two singles that have been out slightly longer. Songs I didn’t love at first were on repeat in my brain. I woke up, and they were still there. I listened this morning, and I am coming on board. I’m defrosting.
I think that is the plight of the Strokes fan. I’m going to like this record whether my ears want to or not. My heart and head are forcing me to. And I’m strangely okay, if not happy, about that.
One other thing: this record came out in March, as did their previous record Angles. With Angles, I found that it was infinitely better in the summer, doing things you do in the warm months: windows-down driving, drinking on rooftops, going to BBQs, sitting on beaches. My wife (mai waife) would say “Who is this? I like this song” in July, where in February she decried the whole album as “weird.”
So that’s something. And I hope it’s true.
Three part harmony.