This month’s episode is chock-full of new music from Oddisee, Fred Thomas, Speedy Ortiz, Theesatisfaction, The Amazing, and Built to Spill. I also discuss the Kurt Cobain documentary “Montage of Heck” and end the episode with a look at Bob Dylan’s “John Wesley Harding.” To check out the latest episode, listen HERE or you can subscribe on iTunes and Stitcher (search keyword: BDWPS).
Oddisee “Counter Clockwise”
Fred Thomas “Cops Don’t Care pt. II”
Speedy Ortiz “Raising the Skate”
Mountain Goats “Heel Turn 2”
The Amazing “Circles”
Built to Spill “Living Zoo”
Nirvana “Radio Friendly Unit Shifter”
Bob Dylan “Drifter’s Escape”
Brett Morgen’s HBO documentary Montage of Heck is a gut-punch for anyone who grew up listening to Nirvana and lived through the eventual suicide of Kurt Cobain. In the film, Cobain’s life is told through his own home videos, journals, and drawings, all conveying the troubled life of a genius that never truly felt accepted by those around him and the world as a whole. As I watched this therapeutic film, I couldn’t help but wonder if we’d ever have another artist come along that has as big of an impact on a generation as Kurt had on Generation X. In a musical landscape that is littered with Justin Beibers and Taylor Swifts, where are those kids who were weaned by Nirvana from birth and why hasn’t that influence resonated in the music of today?
In what could only be a sign from beyond, the latest METZ album, II, arrived in the mail the day after I viewed the documentary. On their sophomore release, this trio of 20-somethings from Calgary, Canada burst from the confines of the recording studio with a frenzied dissonance and unbridled fury that could only come from the womb of Nirvana.
“Attack On Memory”
Steve Albini is the Greg Popovich of music (or vice versa). This comparison goes beyond the obvious fact that they are both curmudgeons whose impenitent honesty has been known to ruffle feathers over the years. While both have been hugely successful, they both enjoy downplaying their impact. Albini has been known to insult the bands involved with some of his best work as a producer. He said the only reason he worked with Nirvana on “In Utero” was for the money, and he once called his work on “Surfer Rosa” with The Pixies “a patchwork pinch loaf from a band who at their top dollar best are blandly entertaining college rock”). Popovich isn’t one to mince words either, victimizing the people who have helped seal his place in basketball history: the media, the league, and his players (he’s quoted as once saying of his best player “Tim Duncan doesn’t have to say much. I haven’t liked him for a long time”).
But what truly ties these men together is not their venomous assault on anything and everything – it’s their ability to take the one-dimensional and make it multi-faceted. Popovich has been successful at this for years, making defensive players offensive threats (Bruce Bowen), picking players late in the draft that others have ignored and helping them become all-stars (Manu Ginobili, Tony Parker), or culling players from the depths of the D-League/CBA and making them productive cogs within his basketball machine (Jaren Jackson, Gary Neal). Albini has worked much in the same manner, helping bands refine their sound and then blow it up with distortion. Despite both entering the second half of their life, they continue dominating their field. Popovich’s Spurs are currently 3rd in the Western Conference with an aging Tim Duncan and a sidelined Manu Ginobili, and Steve Albini’s fingerprints are deeply pressed into every nook and cranny on his latest work with Cloud Nothings.
As a Nirvana fan boy, Miley Cyrus performing “Smells Like Teen Spirit” should offend me. But it doesn’t. This is probably due to this video’s splicing of her dance moves with clips of Elaine Benes cutting a rug.
On a side note, it’s crazy to think that “Seinfeld” is still the funniest thing on TV.