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Beautiful as a Butterfly. Westie Can Drum. Winner of The. Birds in the Majic Industry. Harness Your Hopes. Roll with the Wind.
Track Listing - Disc 2. Slowly Typed. Cherry Area. Wanna Mess You Around. No Tan Lines. The Killing Moon. Embassy Row Psych Intro. Chevy Old to Begin. Roll with the Wind Roxy.
The Clean. Type Slowly Live. Destroy Mater Dei. It's a Rainy Day Sunshine Girl. Maybe Maybe. Fin [Radio 1 John Peel Show]. How can you rank Pavement? To do so is so pointless. To diss Terror Twilight is to err on the side of popular opinion, rather than actually paying attention. I put it in my car for the first time since then about a month ago.
Suddenly, it is my hands-down favorite. Westing by Musket or Sextant. Okay, not technically an album, but the Pavement CD I like to listen the most.
Wowee Zowee. The agony I put others through on road trips when this album ruled my life. I think that criticism of Terror Twilight is both lazy and ignorant and lists of favourite songs or albums are just plain pointless… particularly for a band as creative as Pavement.
I mean honestly… name one band that has come near in the last 10 years? It was about time they polished their material, they took the lo-fi thing as far as they could take it, I mean 9 years of it is enough right?
Skip to content. Posted on December 1, November 17, Pavement. I decided a short time ago months? Wowee Zowee Hands down. Pavement was evidently the name of a band from Stockton, California; nothing else was known. Collegiate and post collegiate music fanatics were fascinated by every feature of the band's makeshift promotion: the hard, enigmatic name, the record jackets a la Anselm Kiefer, the Edison-cylinder What kind of rock stars could go on MIT singing, "I'm an island of such great complexity"?
The music burrowed through the dense, dissonant textures that were fashionable in eighties underground rock, then took flight in stately melodies that smacked of a sunbaked suburb and a refined pop-record collection. This I ask, that you serve as a forklift too. No one had any idea. That was the beauty of it.
Young"; it looked to be some kind of dangerous Dadaist cult. When the band first toured the East Coast, in ,1 went along with a crowd of indie- rock obscurantists to find out who SM, Spiral Stairs, and G.
Young might be. One friend of mine had heard that G. Young was a reclusive Pynchonesque genius who had hired teenagers to play his rock compositions. Handsome-nondescript California guys in their twenties turned out to be the real agents of Pavement. They were obviously pleased with the hubbub they had created, yet they refused to play anything like the detached, driven music on the records.
Thanks in part to Gary, they essentially murdered their songs. The effect was comic but also confrontational: the band seemed to be trying to drive its new audience away.
Pavement entered the scene during the "grunge hype" that followed the successes of Nirvana; major labels were signing every kind of guitar band. Pavement turned down big-money offers and remained with the independent label Matador. From that perch, they began taunting bigger bands and feeding gibberish to the printed press. Several magazines printed a tale about Pavement auditioning to appear on "Beverly Hills " and getting into a fistfight with the teen idol Jason Priestley.
Stephen Malkmus, the lead singer and guitarist, was asked to explain lyrics and made them twice as obscure. Pavement had a small hit in with the song "Cut Your Hair," which seemed to be about the rock business and its emphasis on "career, career.
In the last few years, Pavement has eased up on their provocations. Gary is gone, Steve West is the drummer, with Bob Nastanovich switching between percussion and background noises. Mark Ibold plays athletic bass lines. The three guitars race every which way and then balletically intersect. Over four albums, Pavement's sound has become more tuneful and playful, cruising through thirty years of rock history and wandering into country and jazz.
Their new album, "Brighten the Corners," was produced by Bryce Goggin Stately melodies that smacked of a sunbaked suburb. Their live act has become more focused and extroverted, if a show in New York last week was any indication. The band is almost famous: rock critics adore it; unruly novelists like Dennis Cooper and Bret Easton Ellis admire it; cultists catalogue it on the Internet; other bands copy it.
When Blur adopted what they called a Pavementish style, they had their first major American hit. Yet Pavement still had a relatively low commercial profile. The question always hanging over this band is whether they should be "bigger"-and, not coincidentally, whether their lyrics should be simpler. Slogans for a movement yet to be named. It's Malkmus who writes most of the sublime nonsense that gives Pavement their slacker- genius aura. Malkmus has chosen a line of work in which intelligence can become a liability.
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