Archive for the ‘stereogum’ Category

On Christmas Eve, Stereogum’s evil shell cracks slightly

Wednesday, December 24th, 2008

They’re giving away an iPod Nano preloaded with “the entire Smashing Pumpkins catalog”, and their first commenter is all over it, er, them:

Why is Stereogum advertising for a band that they’ve done nothing but shit all over (rightfully so, I might add)? This kind of undermines your credibility a little, doesn’t it, Scott?

I think the bigger question is: Will the winner skip only to his or her favorite tracks?!

Music-news sites discover “G.L.O.W.”, aren’t over themselves

Monday, October 13th, 2008

Within a three-hour span this afternoon, music-news websites Stereogum, Idolator, and Pitchfork all posted the same recording of “G.L.O.W.” sourced from the song’s radio debut on Chicago’s Q101. “NEW SMASHING PUMPKINS” blared a Stereogum headline, with the accompanying article stating that “it finally hit the airwaves”. Shortly thereafter, Idolator promoted the recording as “Leak Of The Day”, declaring that today marks the song’s “WEB DEBUT”. Pitchfork followed, saying “Chicago’s Q-101 played it, someone upped a rip to YouTube, and now you can listen to it in rather abysmal sound quality.”

The YouTube clip of “G.L.O.W.” embedded and hailed as newsworthy by all three sites? It’s been on YouTube for a week. The Q101 debut featured in the clip? That happened two weeks ago. And the song has been in the top 40 at alternative radio for eight days now. Links to various recordings of the song (even to perfect-quality versions) have been appearing in comments on HU posts over that entire span, and of course similar links are all over Pumpkins messageboards.

It’s one thing for these sites not to cover the Smashing Pumpkins well and therefore not to have the story on day one; really, that’s fine and no one should much care. But for them to claim that they are right on it, to act as though the music world has shrunk to the size of a three-site circle jerk, is in every sense of the word…wait for it… pretentious.

Still waiting for someone to pan Pumpkins’ August tour

Monday, August 18th, 2008

Hilary Langford, writing for Landmark Communications’ Style Weekly of Richmond, Va., lauds the Smashing Pumpkins for delivering “an impeccable set of blistering rock” on Saturday night in nearby Charlottesville:

Seemingly intoxicated on his own music, Corgan wavered back and forth as he weaved a psychedelic “Star Spangled Banner” into “United States.” With roundhouse, Townsend-styled guitar strums, the frontman kept the searing energy going with “Heavy Metal Machine” and asked the audience “Are you ready to die for rock and roll?” What he should have asked was, “Are you ready to see the strangest show closer in Smashing Pumpkins history?”

Meanwhile, Pitchfork, Stereogum, Idolator, et al, were unable to comment as today they hit a rough patch in their relationships with the Hold Steady, whose frontman guitarist just now told them — after like two years together! — that he doesn’t like Radiohead. My favorite part is Stereogum’s lament:

Ugh. Look it’s Rock Interviews 101: a band slags another, and like a moth to the Flame, the internet will post it. Because it is inflammatory, and the Internet and Inflammatory are BFFs. So congrats Tad Kubler, you clearly wanted to be blogged, and now you are. The Hold Steady guitarist told BBC6 (via NME): …

Stereogum shows great respect for ‘em original Pumpkins

Monday, June 23rd, 2008

In reaction to a blurb on smashingpumpkins.com reiterating the band’s plans to release early studio material and mount a Gish-centered tour, Stereogum employee “amrit” writes:

Of course this begs of Billy (again) the D’arcy and James question, but more importantly, whether he decides to bring ‘em out or not…

Wow. So this guy thinks James Iha and D’Arcy Wretzky are just like dolls in Billy Corgan’s closet, with Billy able to choose when and whether to “bring ‘em out” and turn their lives upside-down against their will. Because, you know, James and D’Arcy don’t have other projects and the rest of their lives or anything — they’re just sitting around waiting for Billy to grab them and hang tiny instruments on their movable appendages! See, that’s why their renewed presence would be so important to the band…

Death Cab guitarist: “I sold my copy of Siamese Dream”

Friday, April 25th, 2008

Stereogum today highlights two quotes from the new Spin magazine article on Death Cab for Cutie. Out of an article that is presumably (yeah, I don’t subscribe to Spin) full of actually Death Cab-related material, Stereogum chose to reproduce only a pair of controversy-provoking-type remarks about other artists. Even less surprisingly, one is…oh, let’s just get to it:

[Chris Walla:] I sold my copy of Siamese Dream the day after seeing Smashing Pumpkins at Lollapalooza because Billy Corgan yelled at D’Arcy onstage.

They played right after the Beastie Boys, who were awesome; they were the Beastie Boys, they ruled it. And when the Smashing Pumpkins came on, the reception was a little icy, so Corgan said, “You guys want the Beastie Boys to come back out?” and everybody went crazy. He spent the rest of the night yelling at people. The next day, I sold my Siamese Dream and bought the Breeders’ Last Splash and a Shudder to Think record and Mars Audiac Quintet by Stereolab. All because of the experiences I had that day.

This guy sold an album because the singer expressed anger? As if there’s no anger expressed in Beastie Boys songs or on Last Splash. But Corgan did it IRL, dude! Uh, yeah, and Kim Deal is all sugar and spice.

If Corgan’s…error?…is being a bit too real, Walla’s mistake is being too fake. Reading between the lines, I see a story in which “the experiences [he] had that day” informed the then-18-year-old Walla about what the preponderance of the hip Lolla crowd thought was cool and what they thought was not cool. The crowd was “icy” for the Pumpkins and “crazy” for the Beasties (and that before any “yelling” started), which were the important things to pick up on for any status-conscious teen, who, man, really needed some Stereolab. The “omg, that guy once yelled at a girl” rationalization was developed simultaneously and later could be applied to score chicks whenever useful.

Rolling Stone edits Corgan interview; Stereogum bash ensues

Friday, March 28th, 2008

The well-read music blog Stereogum has a post today entitled “Billy Corgan On Radiohead: ‘Publicity Is Better Than Music’”. This five-word quotation comes from Billy’s recent interview with Rolling Stone. Stereogum plays up the quotation as if it were a slap at Radiohead, but — as demonstrated below — it ain’t so.

Here’s the portion of the Rolling Stone interview that was reproduced by Stereogum:

Rolling Stone: Artists are finding their own ways to get paid outside of the major-label system, like the Eagles with their Wal-Mart deal, Madonna signing up with Live Nation.

Billy Corgan: I think it’s really difficult for the young artist, who doesn’t have at least some sense of a pathway. For example, if you were a kid today and you’re looking at the bands who are successful right now, you think, if you don’t sort of sell out and let somebody make you a star, go on American Idol, then you can’t be successful. Alternative culture is really critical towards introducing new ideas. We need those young bands to push old band like us, to push new boundaries. We need our butts kicked regularly. That’s where all the energy comes from, from the bottom. And when the message on Amy Winehouse is drama is better than music, and for Radiohead publicity is better than music — no disrespect to them. But I think it’s a bad message to young bands of how to make it happen. It’s almost like the evil stepchild of the rap bling-bling thing, like, the only way to make it work is I’ve got to come up with a gimmick.

Unfortunately, that quotation standing by itself lacks perfect clarity. More unfortunately, Rolling Stone has removed from its site an earlier portion of the interview — such portion, as luck would have it, upon which Corgan was building in the Stereogum-quoted segment. Mercifully, however, that earlier portion was saved for posterity in a post on HU. Here (again) is that earlier portion of the interview:

RS’s Evan Serpick: It seems like the last decade or so, we haven’t seen many superstars emerge. Do you think it’s because of the focus on singles or the fickle market?

Billy Corgan: Number one, I think there’s just too much. I mean, how can you ask an eighteen-year-old to sort through everything that they’re presented with? Realistically, just being hot and talented and having a good single isn’t enough anymore. You really need like the extra story, like Amy Winehouse had, or a Britney freak-out. Like, Radiohead putting out a great album is not enough of a story. Radiohead putting out a free album, and blah, blah, that’s the story. So it becomes more media-driven, event-driven, than music-driven.

Corgan’s intent here is rather clear: he is describing what he sees as a problem with the contemporary culture or music industry, such problem being that what gets attention for an artist is not “a great album” (note his implication that In Rainbows is a great album) but an “extra story” like a “freak-out” or a “free album”. With this fuller context, it’s (more) obvious that the Stereogum-quoted section is an expression of empathy for young artists and an affirmation of the primacy of music over drama and PR escapades. (You know, everything for which an “indie” blog is supposed to stand?)

To be clear myself: I’m assuming Rolling Stone just wanted to tighten up the interview and thus they quite innocently removed a part that appeared redundant. However, I see Stereogum as going out of their way to jump to a shocking conclusion, when any attempt at sympathetic research would quickly reveal that Billy Corgan very much likes Radiohead. But, you know, fo*k that. Why bother when some manufactured drama between the Devil and the angels (right) can really pump up the page views? You see, Billy?! For generating ad revenue on the Internet, publicity is definitely better than…truth.