Post-punk pioneers Wire were oft recognized as a group in a strange nether region – one that was too artsy to be punk, too punk for the art kids. Wire was angular and minimal, with gorgeous melodies remaining subtle and rewarding. As such, it makes total sense to extract those under-the-surface pop structures, add dense layers of sound that the band sometimes hinted at, and reimagine this begrudgingly poppy gem as shoegazing, whose artists also tended to be begrudgingly poppy. Continue reading ‘Imagining Wire As a Wall of Sound’
I had to go through a labyrinth of amazing old school Geocities websites to find a decent photo of Lush. The mid-’90s was such a golden age for web design, ya’ll. Why don’t designers use wicked animated GIFs anymore? Man… fuckin’ Geocities… oooh weee. I had a Geocities website and it ruled so hard.
Anyway, conventional shoegazing history operates, for all intents and purposes, as follows. When the “Scene That Celebrated Itself“ collapsed on itself around the same time as grunge (roughly Q3 of 1994) your band did two things: either dismantled or went a very different direction. Lush chose the latter, and released some kinda shitty music toward the end of their career. However, Lush’s Gala compilation, which comprised of the group’s first three EPs collected on one priced-to-own record long before the Beta Band thought of doing it, is not just some of the best dream pop ever recorded – it’s just some of the best rock and roll recorded. Lush, along with Cocteau Twins, established what the 4AD sound was all about. Continue reading ‘Lush’s Gala Will Destroy You’
