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21. June 2007, 18:25

the.last.beat

Sgt Pepper must die!

Listen vermeintlicher Lieblingsplatten von Musikern gibt es wie Sand am Meer, daher hat sich der Guardian wohl gedacht er fragt mal umgekehrt nach jenen Alben, die gemeinhin als Klassiker gelten, aber in Wirklichkeit doch hoffnungslos überbewertet sind. Natürlich ist es etwas anmaßend, wenn Leute wie Eddie Argos von Art Brut oder Ex-Sugababe Siobhan Donaghy sich kritisch über die Beach Boys oder Pink Floyd äußern, aber Meinung ist Meinung, und einige würde ich sogar sofort unterschreiben.

Einige Auszüge:

# Wayne Coyne (Flaming Lips) über Nirvanas Nevermind:

It’s better to be overrated than underrated. Besides, it’s not the musicians’ fault Nevermind is overrated – it’s the public’s, or the critics’. [...] Nevermind had a poisonous, pernicious influence. It legitimised suffering. The sainthood of Kurt Cobain overshadows the album: Kurt’s lyrics, his attitudinising and navel-gazing, were hard to separate from the band’s image. You can never just hear the record. For me, Bleach and In Utero are superior. If you think you’re going to hear an utterly original, powerful and freaky record when you put on Nevermind, as a young kid might, Christ you’re going to be disappointed. You’re going to think, “Who is this band that sounds just like Nickelback? What are these drug addicts going on about?”

Das Kurt Cobain Phänomen kann wohl niemand abstreiten, und auch dass In Utero eigentlich die besseren, wenn auch weniger eingängigen, Songs enthält muss man zugeben. Den Möchtegern-Grungekids heutzutage ist das natürlich egal.

# Ian Williams (Battles) über The Strokes Is This It:

The Strokes were just rich kids from uptown New York; the children of the heads of supermodel agencies who formed a rock band and thought they deserved respect because of that. Suddenly the downtown, older form of punk rock got co-opted by the system. If ever there was a point where Gucci and rebellion were married together, it was right there. They’re seen as the rebirth of rock in the UK. [...] But the Strokes are the new Duran Duran; the new decadence for the new millennium.

Sind Battles selbst nicht eine ähnliche Modeband aus New York, mit der Ausnahme dass der Rock’n Roll einem Pseudo-Eklektizismus weicht, man in Sachen Vermarktung und Bühnenshow aber ähnlich ‘hip’ ist wie die Strokes vor einigen Jahren?

# Green Gartside (Scritti Politti) über The Arcade Fires Neon Bible:

People who enjoy this album may think I’m cloth-eared and unperceptive, and I accept it’s the result of my personal shortcomings, but what I hear in Arcade Fire is an agglomeration of mannerisms, cliches and devices. I find it solidly unattractive, texturally nasty, a bit harmonically and melodically dull, bombastic and melodramatic, and the rhythms are pedestrian. [...] It isn’t, as people are suggesting, richly rewarding and inventive. The melodies stick too closely to the chord changes. Win Butler’s voice uses certain stylistic devices – it goes wobbly and shouty, then whispery – and I guess people like wobbly and shouty going to whispery, they think it signifies real feeling. It’s some people’s idea of unmediated emotion. [...]

The Arcade Fire ist eine weitere Band die ich nie verstehen werde (ganz oben stehen dazu noch Clap Your Hands Say Yeah, The Polyphonic Spree und Antony & The Johnsons – seltsamerweise alle aus NYC). Zweimal hab ich versucht mich durch das neue Album zu quälen, zweimal bin ich spätestens nach dem vierten Song gescheitert. Der Gesang, die pompösen Melodien, allen euphorischen Konzertberichten zum Trotz – die Band geht nicht, und endlich sagt es mal einer.

# Jackie McKeown (1990s) über The Smiths Meat is Murder:

I’m a Smiths fan and I like most of their records, but this is the weakest link in the canon. With the debut and The Queen Is Dead, you could cut up Morrissey’s lyrics and they could be pages from the same book. For Meat Is Murder, he seemed to make a list of topics to write about. [...] It took him years to write the first album in his bedroom. By the second album, he started panicking and pointing fingers at teachers at school and thinking up things like, “Oh, meat is murder and, oh, we’re going to get attacked by thugs in Rusholme.” [...] You can just see the rolled-up jacket sleeves. It’s everything Morrissey hated. Meat Is Murder is Red Wedge music for sexless students. It’s like being stuck in a lift with a Manchester University Socialist Workers’ Party convention.

Allein schon wegen dem letzten Satz erwähnenswert, und auch sonst durchaus wahr: Meat is Murder ist ein gutes Album, aber gemessen am Gesamtwerk der Smiths das vielleicht Schwächste, auch wenn die guten Songs (How Soon Is Now, The Headmaster Ritual) wirklich gut sind.

# Eddie Argos (Art Brut) über The Stones Roses:

They’re totally overrated. When I’m drunk in a club I usually end up arguing with the DJ who’s playing them. The Stone Roses were an awful, awful band. They were uncharismatic, their lyrics are nonsensical and their music is dreary. Also, we have them to thank for Oasis, although at least Noel Gallagher is funny and Liam is a bit of a pop star. The Roses make me think of kids older than me swaggering around with bowl haircuts and affecting Manchester accents.

Was kann man von jemanden erwarten der eine selbsterklärte Art-Punk Band gegründet hat und “I can’t stand the sound of the Velvet Underground!” singt. Tongue-in-cheek, sicherlich, denn die Stone Roses kann man doch gar nicht wirklich hassen.

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