Indie rock dating
Indie rock dating - dating messageboards
It’s 16 songs that clock in just under an hour, and it is an almost uniformly delightful experience.Some songs are good; some songs are great; and there are only a few that probably should have been left as outtakes.
There is so much to like on the record, and it’s tremendously accessible and listenable. Is it a sign of giving up, or a more zen-like release of resistance?When artists brand their latest grouping as “the I Don’t Cares” it’s both a Boy Howdy and a fuck you; obviously, by releasing art into the world, artists obviously care or they would just record for themselves at home. In a conversation last week with Peter Wolf on Vanyaland, Westerberg makes the case that it’s probably (and unsurprisingly) all of the above.Once you know that Paul Westerberg is attached to this particular concern, the attitude of the monicker starts to make more sense in some fashion. There are some tremendously vulnerable moments, such as “Kissing Break,” a beautiful acoustic duet, or “Born for Me,” which Westerberg already tried on his 1999 release “Suicaine Gratifaction.” It’s moments like those, as well as Westerberg’s Phil Lynott tribute “Need the Guys,” that, combined, set a more Johnny-and-June tone for the album than Westerberg’s usual loner-in-a-basement vibe.It sounds like a love story, and once they both open that door musically, it’s hard to not remember that Hatfield dedicated a chapter of her 2008 memoir to Westerberg.Red Hot + Bothered (also known as Red Hot + Bothered: The Indie Rock Guide Book to Dating) is an anthology of the indie rock scene from the 1990s produced by Paul Heck.It was released as part of the Red Hot AIDS Benefit Series.
The recording initially appeared as a pair of 10" EP recordings bundled with limited edition fanzines, and spoofing dating guides.Also included was advice from well-known artists and freelancing writers aimed at reaching the jaded youth in the audience on a variety of issues; these include relationships, love, sex and the impact of AIDS on such matters.The EP recordings were eventually followed-up by a full–length CD which included several tracks absent on the vinyl EP's.Paul Westerberg opens his latest collaboration with Juliana Hatfield with a track called “Back,” on which the chorus states, “I’m back if you’ll have me.” On the surface, the song could be about reconciliation, not the run-through-the-meadow-while-birds-flit-around you reconciliation, but the more realistic, adult kind—“I’m back if you’ll have me now/if you’ll have me just as I am,” Westerberg sings at the last chorus.But through another lens, “Back” could also be taken as a statement of return by an artist whose presence in rock ‘n’ roll has been inconsistent at best over the last decade or so.The truth is that it’s most likely about both aspects, in equal measure.“Wild Stab” is the name of the record from Paul Westerberg and Juliana Hatfield, under the nom de plume the I Don’t Cares.