Word: bandness
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...rudely awakened pigeon-feeders, and for all of life’s pleasantry and dark side. This all runs conceptual loops around Oasis’s retreads of pieces about love, and it all occurs under a penumbra of sonic innovation—the range of styles the band touches on is incredible, incorporating the best parts of guitar-pop, two-tone ska, and the early shoegazing sound that characterized their debut, Leisure...
DREW: Kukstis, tell me you’re kidding when you say that any band which channels a past master has to be compared to the original. That’s (to borrow from the Brits again) bollocks, and it’s bollocks of the most elitist kind...
Revision and renormalization are legitimate parts of artistic production—the artistic discourse, if you like—and I don’t see how your meta-claim that Blur was both aware of and subverting the ironic ethos of ’90s grunge makes that band any more effective. Introspection doesn’t have to be overt; not everybody can (or should) be Thom Yorke, and just because “Song 2” is an ironic song about irony doesn’t mean that Blur is any more interested in analyzing...
Moreover, I think you’re going to have a lot of trouble finding good bands if love is a taboo lyrical topic—this is a pretty enduring one, and I don’t think it’s unfair for a band like Oasis whose self-admitted mission is to reinvent a genre for the modern era (and I mean era) to occasionally use a subject which was absolutely fundamental to that original genre’s ethos, and which determined a lot of the aural vocabulary still in play today...
Remember, though, that the place’s wacky experimental leanings mean you may not always love what you hear. Its Monday night regular band, The Fringe, is supposedly the longest-running avant-garde jazz outfit in Cambridge, but when TheHotSpot heard it this week we found the rambling two-and-a-half-hour set to be bizarre, brash…and incredibly boring. And TheHotspot even likes Ornette Coleman...