I like that about Deerhoof. You don't really get a whole lot of that in the grand scheme of music, so when Deerhoof does it, it's cool with me.

Sonic Youth if THEY DIDN'T SUCK

Primus if their songs lived up to my expectations that I drew from their cool guitar sounds in the South Park credits.

I'd like Phish a lot more if, rather than playing jam music to stoners, they re-trained as plumbers and electricians and came round to sort my house out, possibly stopping for a cup of strong sugary tea or two.

Without disagreeing with you per se, I still say, piss off.

I can't elucidate that.

I would like Deerhoof a lot without the squeeky voice deal.

I totally love you.

Oh, and by way of an addition to my previous post - Phish had better clean their filthy pits before they even think about having a go at my shower-head.

That's not a metaphor, in case anyone's wondering.

Pavement remind me of a kid who wants to be manly without having developed the body to show it all off. Brilliant sometimes, but generally lacking any of the force that they aspire to.

I think whoever said they were good at melody was right, that's what makes the UNBELIEVABLY SHIT lyrics stand out. I can listen to Pavement about two days a year, the days when I don't have my ability to hear lyrics head on.

listen to the music. get over the personalities of the band, and their stage show. It's the MUSIC.

are you a moron? do you not knwo that gibby and company had NO MONEY and touch and Go were ripping them off and Touch & Go ripped EVETRYONE off?

Long live the buttholes!

and malkmus' lyrics are fucking wonderful. I will take them any day over the bullshit boy needs girl lyrics that fill so much of music.

if you don;t like malkmus' lyrics then you don;t like thurston;s lyrics and you don;t like kim;s lyrics. they all flow from the same fount.

Classical indie. There you go, I've coined the term for you. Now, go and compose three movements for kebab shop-approaching and getting your butt out of The Garage, and the whole thing will fall into place. Do you fancy a record contract?

A nice idea, but Comet Gain have made a career out of it already.

Obsequious without being intelligent; oblique without being enticing; far too fucking arch; faux-random. Latter-period he can write the odd alright tune.

SY, meanwhile, say nothing in particular very well - their lyrics never jump out and say, "hello, I'm a smart lyric, please admire my smartness". Well, sometimes, but generally not.


Record contract? I'm so indie I sell my records by psychic connection. I do quite like the Kaiser Chiefs though.

I didn't know. When?

Pssh. You're obviously not indie enough. Maybe if you'd like, uh, got it you'd like, uh, totally get it? Pssh.

Will you grab my hand? I walk like a child.


She saw you typing Cindy, Mary and Shirley on your typewriter.

So wrong, it was the handkerchief that granddad gave me to prove that i cleaned the car the right way.


It's for you, Glice. Indie.

I wrote a gay coming out song once that was really gay and indie. The chorus went, "I'm gay, I'm gay and I'm happier this way" and had lyrics like, "my heart skips a beat/ at the sight of his size ten feet". It's quite good.

Thank you for the moron comment. It brought a tear to my jap's eye.

I would wager just about every band on Touch and Go, in fact the overwhelming majority of bands on both major and indie lables, could claim the "no money" reason. So what? From my subjective perspective, the Buttholes suddenly became interested in suing Touch and Go once they'd been booted off EMI. Also, the last time I checked, Corey Rusk has an exemplary track record in dealing with his artists, both present and past. With all respect, I do not agree with your comments re. T & G. Could you please provide solid evidence as to who else Corek Rusk and co. ripped off?