• What It's Like On the Inside of Love

    By: KyleAnderson The year was 1996. People were so busy making fun of Bob Dole that they weren't noticing that their modern rock radios were spitting out a bizarre speak-sung story song that had a wide-ass hook you could drive a truck through and a nerd-core vibe that sounded suspiciously like Weezer. The song was Nada Surf's "Popular." It sounded suspiciously like Weezer because the Surf's 1996 debut High/Low was rescued from obscurity and subsequently produced by Ric Ocasek, who is famous for his production of the first Weezer record, for writing the best song Pheobe Cates ever stripped to, and for having a head so weird it can only be described as "Lovett-esque." While getting Ric Ocasek to produce your debut album should be a coup, I think it worked against them because at the time everybody just thought they were clones of Rivers & Co.

  • This Is Such A Pity...

    By: KyleAnderson But then Weezer's cult blew up something huge and all of a sudden they became this sort of power-pop juggernaut, and people (especially journalists) began talking about Cuomo as though he invented the genre-as if all those Lemonheads and Matthew Sweet records never occurred a couple of years earlier. Sure, Pinkerton is a masterpiece, but Rivers Cuomo ain't Alex Chilton. I was disappointed with their self-titled 2001 comeback record (though I have to admit that I liked it at the time-my disappointment was on about a two-month delay then), mostly because it seemed so nebulous, both lyrically and sonically. The abrasiveness of Pinkerton was gone, but it didn't even have the balls of their debut. Apparently they felt the same way, so they grew back some cojones for 2002's Maladroit, where they got their metal on like it wasn't no thang.

  • Alterna-Detritus

    By: KyleAnderson Welcome to Alterna-Detritus, where mad props are thrown to the once-greats, the also-rans, and the should've-beens. I will attempt to throw as many props as possible to the bands of the "alternative era" (which from here on out shall be defined as the period of time between the release of Nevermind and the end of the last millennium when scads of guitar-based bands blew up huge, only to be disposed of as though they were Martika). How these bands are defined will get clearer as entries go on. Some of them will be heavy hitters, some will have been only regionally massive, and a few are known only to the twelve people who bought their record in the first place.

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