1. Jesus, this cut from “Daisy” is on some weird noise shit. The album went through my head with no discernable prints on first listen, but it’s clearly gonna have to get spun again tonight. As for “Nothing Feels Good,” it still did a good job turning me on to some great records. It sort of has a narrative that’s about the rise of Emo to a bankable form of pop music as opposed to a strutcturally pop form of indie/punk that also mutated into a lot of more extreme stuff. This is fine, it turns people on to some great records. However, Cap’n Jazz, Antioch Arrow, Grade, & You and I all kinda occupy a cult territory that makes them worth passing on, especially in terms of really testing collisions with the harder, more literate and gothier ends of the spectrum. Each made at least a few masterpieces.

  2. Leor

    Yeah man, it took me a couple of listens for Daisy to really sink in, but “Gasoline” stuck out almost immediately. It just went for the jugular and shimmied it’s way into my head.

    I’ll agree with you on certain points: for every kid who picked that book up and stumbled upon TPR, SDRE, Rites of Spring, great. It also turned me on in ways I couldn’t have imagined, but that’s more from Greenwald’s writing style. Which I found rather patronizing. There’s no question that Greenwald tracked emo’s rise as a marketable term – hell, the feeling I got from the book was that it was chasing the market in and of itself. And I cannot agree with many of the close-minded sentiments the guy makes when he tries to fit it all in a nicely-wrapped box. And even when it comes to bankable pop music, the guy completely ignored Fugazi, who (whether or not you can put that band and emo in the same paragraph, have had an undeniable influence on future emo acts to come) may consider themselves something of an obscure band but nevertheless occupied a territory on Billboard and in the hearts and minds of countless music fans without any gimmickry years before Rich Egan took to marketing wizardry so Vagrant bands to gain those same chart spots.

    …but, I digress… In any case, I felt that Greenwald thinks of himself of being the authority on emo, and wrote NFG as a form of pop music, but never gave it the time of day to really grow in the pop spectrum. Because had he waited just a few years, half his book would be singing a completely different tune…

    In any case, the mere appearance of NFG is enough to keep me motivated to hunt down more interviewees and continue to add to America Is Just A Word and get that stuff rolling even while I’ve got plenty else to worry about at the moment, and I guess that’s a pretty positive thing there.

Leave a Reply

Your email address will not be published. Required fields are marked *