Raves: Kurt Cobain

 All in All is All We All Are:

Looking Back on Kurt Cobain

by Pat Barnum

Of all the things that can be said of Kurt Cobain, above all, he articulated the despair and anguish of his generation.  While everyone shies away from "generational spokesman" labels, there is no getting around that the essence of Nirvana's music was despair and that it struck a universal chord with America's youth.  Whether Kurt knew it or not (and he likely didn't), his band's 1991 arrival into the mainstream was huge because, as with the 1964 Beatles, it happened to be perfectly in tune with the national mood.   

Perhaps the greatest musical tribute that can be made to Kurt Cobain is that, like 9-11 and the Civil War, contemporary rock is now viewed in terms of before-Nirvana and after-Nirvana.  Their early-90's arrival was rock 'n' roll's watershed moment of today's generation.  Before Nirvana, alternative rock truly was the alternative; since Nirvana, "alternative" has become mainstream, and mainstream rock as we knew it ceased to exist. 

Kurt Cobain turned not only music, but pop culture itself, on its head.  Who can erase the image of the exasperated, blond-haired punk rocker ("Smells Like Teen Spirit" video) invading the high school basketball game; the band whose subversive, ominous drone had the effect of exposing Mr. Popular as the pretentious fraud he was.  Kurt Cobain held no secrets, and to listen to Nirvana was to hear a soul unveiled: rage, apology, tenderness, hopelessness, and no messing around.  Fans did not listen to Nirvana to "rock out." They listened to look into a mirror, to self-medicate.  Kurt was also the pioneer of self-deprecation with Radiohead's "Creep," Beck's "I'm a Loser Baby," and other pop icons following the lead. 

Cobain obliterated the rock scene as we knew it and enabled a whole new (and better, I might add) world to develop.  In this way, he did not simply change music, he changed the music market.  Virtually all important acts since then, from Weezer to Tool;  Smashing Pumpkinsto Linkin Park; and even The Dave Matthews Band to the "pop punk" movement, owe their success to the change Nirvana wrought on the musical landscape. 

Amazingly, Kurt Cobain brought about a rock 'n' roll philosophy which was the complete opposite of the one that preceded him.  As we all know, the 80's was the golden era of the macho-hedonistic-glutton rock championed by Motley Crue, Guns 'n' Roses and Bon Jovi.  Then comes this introspective, politically conscious, highly aggressive sound from Seattle, rendering the hair bands - quite literally overnight - as obsolete as the tape cassettes they made their millions with.   Nirvana, in the tradition of the Beatles, Led Zepplin, and Pink Floyd, made rock 'n' roll a thinking affair again.  They rescued us from the hair bands.

It seems to me we should regard Kurt Cobain as we would a favorite drink.  That drink is delectably good, full-spunk with flavor, and makes us feel so good inside.  But we know that if we get too close, too familiar with its magic, there is danger.  The problem with Kurt Cobain was that he meant what he said when he wrote the song "I Hate Myself and I Want to Die."  You can't listen to his music without hearing your own dangerous songs.  Unfortunately he got too close to his songs, and we are left to lament his loss. 

Su-Tang 3000 - Hover Low EP

Sutherland Manifesto
Hover Low EP

The first official review of the new EP. Not very objective since it's by my good friend Pat Barnum, but hey, I'll take it!

Spencer! Your debut release!! Congratulations on getting it wrapped up. Sorry I've been so slow in responding on it. More than any comments I might have on the songs, I want to tell you I'm inspired by your focus/passion in making it all happen. You are a genuine artist!

My basic reaction was that while you showcase an impressive variety of musical genres, your sound is original. That's why I say you're a genuine artist: good art unconsciously gathers the best of what's preceded it, only to assert its own voice. I hope I don't sound too cheezy in saying that, but I really mean it. I sense that it is so easy, as far as the music scene goes, to imitate a prevalant sound, to latch onto what's working. But it requires discipline and some bravery to ignore it all, and sing your song. So there's my soapbox.

My favorite is "Record Store." Playful, bouncy, slick, all the while with the sendimental catchiness underneath. I love the Ace of Base ref. And the 20 dollar bill. The windows down, aimless drives, and the CD's that never let down--a sendiment that strikes a chord with me!

And "Airport Song!" Maybe it is my favorite. Two things: it has the most personal, meaning-filled touch of all the tunes, and it captures your unique ability to combine elements of techno and punk. Spencer, that is what makes you you! How many people can melt punk and techno into an appealing sound of their own? I don't know of many. They are rather opposing

genres, and that you can pull it off is impressive.

Yeah, techno is an interesting thing for me...Traditionally I am slightly antagonistic toward it yet on the other hand I've recently found myself quite intrigued with it, at least as a component of a wider sound. It's grown on me more since Radiohead incorporated it in a significant way (via Kid A and Amnesiac).

That said, I enjoyed "fly high, hover low (or is it just the unnamed title track?)" and "mad mad city." For me, techno does something to your mind as opposed to being conventional listening material. And I would describe the effect of "hover low" as being warm. And massaging. Techno is very interesting. I'm curious as to what inspired "mad city," or which particular city it may be. But it has nice, sleek sound to it.

Well, I think that about does it for me. What can I say, su-tang 3-thou, but great job? Seriously Spencer, I am happy you've able to finish everything up, and I'm sure it feels good to have the big job done. It was "the bomb-diggitty" indeed!!

Hot Hot Heat - Elevator

 Hot Hot Heat

Elevator

When I got a hold of Hot Hot Heat's Make Up the Breakdown in 2002, I absolutely could not get enough. These Canucks were on the front-end of the Cure-influenced dance pop punk craze and their bouncy numbers literally forced me to get out of my seat and jump around, jump around.

Elevator just doesn't do that for me. On the surface, these new songs are similar to the old ones - dancy, guitar pop and Steve Bays unique vocal style - but are definitely missing some elements. Make Up was driven by incredibly creative guitar work, combined with rad organ solos and driving synthesizers. The guitar just doesn't have the same impact on this one (There must have been some issues there, since guitarist Dante DeCaro has now left the band), and where in the world is the organ?

This album is not a complete throw-away. There are a few very solid tracks - "Island of the Honest Man," "Dirty Mouth" and "Shame on You" are all very good. This album would have made a great 4-song EP.