But 1998 was a strange and unstable time for alt-rock superheroes—as hard as it is to picture in 2014, the record industry literally had more money than they knew what to do with, but the big names of years past were finding themselves crowded out by rap-metal, post-Disney pop, and hip-hop. That much hasn’t changed, and on the other side—stop me if you’ve heard this one before—a critic-instigated push for electronic musicians as the new rock stars forced actual rock stars to pay lip service to the obsolescence of guitars (more so than OK Computer did). And that’s how you got, amongst many others, Nine Inch Nails’ baroque, Debussy-quoting double-album The Fragile, Marilyn Manson going glam, Chris Cornell and Scott Weiland making neo-psychedelic solo records, and the closest analog to Adore, R.E.M.’s Up, which is also way too long, missing their original drummer, and has a rightfully loathed first single.
Ian Cohen, “The Smashing Pumpkins: Adore [Review],” Pitchfork, September 26, 2014
This is good history, only, who on earth loathed “Daysleeper”? (Is Cohen thinking “Lotus”?)
The rest of the review is worth reading, too, if only for “Corgan couldn’t handle the egos of James Iha and D’arcy, imagine how we would’ve gotten on with post–No Way Out Puffy.”
Every day, I check my tumblr mail account in the not-so-secret hope that taylorswift has discovered my account and decided we should be best friends.
The worst thing about this is that if Taylor decided to become my best friend instead, eventually Erin would just steal her off me, so she wins anyway.