Indie rock is a genre of rock music that originated in the United States and United Kingdom in the 1970s. Used to describe independent record labels, the term became associated with the music they produced and was used interchangeably with alternative rock; as grunge and punk revival bands in the US and Britpop bands in the UK broke into the mainstream in the 1990s, it came to be used to identify those acts that retained an outsider and underground perspective. In the 2000s, as a result of changes in the music industry and the growing importance of the Internet, some indie rock acts began to enjoy commercial success, leading to questions about its meaningfulness as a term. Sometimes used interchangeably with "guitar pop rock", in the mid-1980s, the term "indie" began to be used to describe the music produced on punk and post-punk labels; some prominent indie rock record labels were founded during the 1980s. During the 1990s, grunge bands broke into the mainstream, the term "alternative" lost its original counter-cultural meaning.
The term "indie rock" became associated with the bands and genres that remained dedicated to their independent status. By the end of the 1990s, indie rock developed several subgenres and related styles, including lo-fi, noise pop, slowcore, post-rock, math rock. In the 2000s, changes in the music industry and in music technology enabled a new wave of indie rock bands to achieve mainstream success. In the early 2000s, a new group of bands that played a stripped-down, back-to-basics version of guitar rock emerged into the mainstream; the commercial breakthrough from these scenes was led by four bands: The Strokes, The White Stripes, The Hives and The Vines. Emo broke into mainstream culture in the early 2000s. By the end of the decade, the proliferation of indie bands was being referred to as "indie landfill"; the term indie rock, which comes from "independent," describes the small and low-budget labels on which it is released and the do-it-yourself attitude of the bands and artists involved. Although distribution deals are struck with major corporate companies, these labels and the bands they host have attempted to retain their autonomy, leaving them free to explore sounds and subjects of limited appeal to large, mainstream audiences.
The influences and styles of the artists have been diverse, including punk, post-punk and country. The terms "alternative rock" and "indie rock" were used interchangeably in the 1980s, but after many alternative bands followed Nirvana into the mainstream in the early 1990s, "indie rock" began to be used to describe those bands, working in a variety of styles, that did not pursue or achieve commercial success. Aesthetically speaking, indie rock is characterized as having a careful balance of pop accessibility with noise, experimentation with pop music formulae, sensitive lyrics masked by ironic posturing, a concern with "authenticity," and the depiction of a simple guy or girl. Allmusic identifies indie rock as including a number of "varying musical approaches compatible with mainstream tastes". Linked by an ethos more than a musical approach, the indie rock movement encompassed a wide range of styles, from hard-edged, grunge-influenced bands, through do-it-yourself experimental bands like Pavement, to punk-folk singers such as Ani DiFranco.
In fact, there is an everlasting list of subgenres of indie rock. Many countries have developed an extensive local indie scene, flourishing with bands with enough popularity to survive inside the respective country, but unknown elsewhere. However, there are still indie bands that start off locally, but attract an international audience. Indie rock is noted for having a high proportion of female artists compared with preceding rock genres, a tendency exemplified by the development of the feminist-informed Riot Grrrl music of acts like Bikini Kill, Bratmobile, 7 Year Bitch, Team Dresch and Huggy Bear. However, Cortney Harding pointed out that this sense of equality is not reflected in the number of women running indie labels; the BBC documentary Music for Misfits: The Story of Indie pinpoints the birth of indie as the 1977 self-publication of the Spiral Scratch EP by Manchester band Buzzcocks. Although Buzzcocks are classified as a punk band, it has been argued by the BBC and others that the publication of Spiral Scratch independently of a major label led to the coining of the name "indie".
"Indie pop" and "indie" were synonymous. In the mid-1980s, "indie" began to be used to describe the music produced on post-punk labels rather than the labels themselves; the indie rock scene in the US was prefigured by the college rock that dominated college radio playlists, which included key bands like R. E. M. from the US and The Smiths from the UK. These two bands rejected the dominant synthpop of the early 1980s, helped inspire guitar-based jangle pop. In the United States, the term was associated with the abrasive, distortion-heavy sounds of the Pixies, Hüsker Dü, Meat Puppets, Dinosaur Jr. and The Replacements. In the United Kingdom the C86 cassette, a 1986 NME compilation featuring Primal Scream, The Pastels, The Wedding Present and other bands, was a document of the UK indie scene at the start of 1986, it gave its name to the indie pop scene that followed, a major influence on the development of the British indie scene as a whole. Major precursors of indie pop included Postcard bands Josef K and Orange Juice, significant labels included Creation and Glass.
The Jesus and Mary Chain's sound combined the Velvet
40 Watt Club
The 40 Watt Club is a music venue in Athens, Georgia. Along with CBGB's, the Whisky a Go Go, selected others, it was instrumental in launching American punk rock and new wave music; the 40 Watt Club was the primary performance space for numerous "Athens bands", including Pylon, R. E. M. Love Tractor, Dreams So Real, Drivin N Cryin, Guadalcanal Diary, The Primates, Indigo Girls, Modern Skirts, others, its DIY ethos and informality were instrumental in the fostering of punk rock and a "scene" in Athens, GA. In more recent years, the club has been the home-base for such nationally renowned local bands as of Montreal, Drive-By Truckers, The Whigs; the 40 Watt Club had its origins as Curtis Crowe's College Avenue loft back in 1978. Bill Tabor and Crowe joked that it was a 40 Watt Club due to the single 40 Watt bulb which hung from the ceiling. Crowe's first party in his space featured his band Strictly American a group of friends from Marietta, which included members of the future Guadalcanal Diary. Crowe and Bill would hang out in his loft upstairs and listen to Michael Lachowski and Randy Bewley practice the same riff over and over again in the space directly below.
Crowe knocked on their practice space and asked if they could use a drummer and Pylon was born. During Pylon's subsequent tours of the Northeast, Crowe theorized that opening a real club on a shoestring budget was possible. Crowe and his partner Paul Scales moved the "club" across the street to a space above a sandwich shop at the corner of College and Broad Streets, it opened with Crowe still making last minute additions to the stage. The Side Effects played Pylon on the second, it was an instant smash with the local youth of Athens. The floors had to be reinforced with removable beams due to the intense dancing. With new partner Steve Allen, Scales migrated the club to a larger space on West Clayton Street. Amenities such as a stage and hot water were added. True to the 40 Watt method it was assembled with volunteer labor. Local artist and musician David Hannon Pierce created the first iteration of the club's famous logo, as well as all the updated variations still in use. Doug Hoechst bought the club from Allen and Scales and moved it to 382 E.
Broad Street and renamed it "40 Watt Club Uptown". The 40 Watt Uptown was large and professional, it was a major stop for underground independent music acts in the 1980s; when rents increased on the space, Jared Bailey and Barrie Buck moved the club back to its West Clayton Street location. At the same time, the small, spare competing club, The Uptown Lounge, expanded to a much larger space. Therefore, with Uptown Lounge taking over as the high-capacity venue there was again a market for a small club that would focus on local acts; the Club moved to its current location on Washington Street, the former Potter's House Thrift store building. The 40 Watt Club is owned and operated by Barrie Buck, the former wife of R. E. M. Guitarist Peter Buck. Barrie Buck has managed the club since 1987. A history of the 40 Watt Club Athens Has Served As A Wellspring Of Musical Talent Schools That Rock U Rock U Roll 40 Watt:Athens Music Mecca The 40 Watt Keeps the Athens Music Scene Alive and Fresh CNN Travel Destinations Local Band Set to ReRelease Classic Album After Dark Other Games Begin The 40 Watt Club home page The 40 Watt Club in 1981
A synthesizer or synthesiser is an electronic musical instrument that generates audio signals that may be converted to sound. Synthesizers may imitate traditional musical instruments such as piano, vocals, or natural sounds such as ocean waves, they are played with a musical keyboard, but they can be controlled via a variety of other devices, including music sequencers, instrument controllers, guitar synthesizers, wind controllers, electronic drums. Synthesizers without built-in controllers are called sound modules, are controlled via USB, MIDI or CV/gate using a controller device a MIDI keyboard or other controller. Synthesizers use various methods to generate electronic signals. Among the most popular waveform synthesis techniques are subtractive synthesis, additive synthesis, wavetable synthesis, frequency modulation synthesis, phase distortion synthesis, physical modeling synthesis and sample-based synthesis. Synthesizers were first used in pop music in the 1960s. In the late 1970s, synths were used in progressive rock and disco.
In the 1980s, the invention of the inexpensive Yamaha DX7 synth made digital synthesizers available. 1980s pop and dance music made heavy use of synthesizers. In the 2010s, synthesizers are used in many genres, such as pop, hip hop, metal and dance. Contemporary classical music composers from the 20th and 21st century write compositions for synthesizer; the beginnings of the synthesizer are difficult to trace, as it is difficult to draw a distinction between synthesizers and some early electric or electronic musical instruments. One of the earliest electric musical instruments, the Musical Telegraph, was invented in 1876 by American electrical engineer Elisha Gray, he accidentally discovered the sound generation from a self-vibrating electromechanical circuit, invented a basic single-note oscillator. This instrument used steel reeds with oscillations created by electromagnets transmitted over a telegraph line. Gray built a simple loudspeaker device into models, consisting of a vibrating diaphragm in a magnetic field, to make the oscillator audible.
This instrument was a remote electromechanical musical instrument that used telegraphy and electric buzzers that generated fixed timbre sound. Though it lacked an arbitrary sound-synthesis function, some have erroneously called it the first synthesizer. In 1897 Thaddeus Cahill was granted his first patent for an electronic musical instrument, which by 1901 he had developed into the Telharmonium capable of additive synthesis. Cahill's business was unsuccessful for various reasons, but similar and more compact instruments were subsequently developed, such as electronic and tonewheel organs including the Hammond organ, invented in 1935. In 1906, American engineer Lee de Forest invented the first amplifying vacuum tube, the Audion whose amplification of weak audio signals contributed to advances in sound recording and film, the invention of early electronic musical instruments including the theremin, the ondes martenot, the trautonium. Most of these early instruments used heterodyne circuits to produce audio frequencies, were limited in their synthesis capabilities.
The ondes martenot and trautonium were continuously developed for several decades developing qualities similar to synthesizers. In the 1920s, Arseny Avraamov developed various systems of graphic sonic art, similar graphical sound and tonewheel systems were developed around the world. In 1938, USSR engineer Yevgeny Murzin designed a compositional tool called ANS, one of the earliest real-time additive synthesizers using optoelectronics. Although his idea of reconstructing a sound from its visible image was simple, the instrument was not realized until 20 years in 1958, as Murzin was, "an engineer who worked in areas unrelated to music". In the 1930s and 1940s, the basic elements required for the modern analog subtractive synthesizers — electronic oscillators, audio filters, envelope controllers, various effects units — had appeared and were utilized in several electronic instruments; the earliest polyphonic synthesizers were developed in the United States. The Warbo Formant Orgel developed by Harald Bode in Germany in 1937, was a four-voice key-assignment keyboard with two formant filters and a dynamic envelope controller.
The Hammond Novachord released in 1939, was an electronic keyboard that used twelve sets of top-octave oscillators with octave dividers to generate sound, with vibrato, a resonator filter bank and a dynamic envelope controller. During the three years that Hammond manufactured this model, 1,069 units were shipped, but production was discontinued at the start of World War II. Both instruments were the forerunners of the electronic organs and polyphonic synthesizers. In the 1940s and 1950s, before the popularization of electronic organs and the introductions of combo organs, manufacturers developed various portable monophonic electronic instruments with small keyboards; these small instruments consisted of an electronic oscillator, vibrato effect, passive filters. Most were designed for conventional ensembles, rather than as experimental instruments for electronic music studios, but contributed to the evolution of modern synthesizers; these instruments include the Solovox, Multimonica and Clavioline.
In the late 1940s, Canadian inventor and composer, Hugh Le Caine invented the Electronic Sackbut, a voltage-controlled electronic musical instrument that provided the earliest real-time control of three aspects of sound —corresponding to today's touch-sensitive keyboard and modulation controllers. The controllers were impl
Pearl Jam is an American rock band formed in 1990 in Seattle, Washington. Since its inception, the band's line-up has included Eddie Vedder, Mike McCready, Stone Gossard, Jeff Ament. Since 1998, the band has included drummer Matt Cameron. Boom Gaspar has been a session/touring member with the band since 2002. Drummers Jack Irons, Dave Krusen, Matt Chamberlain, Dave Abbruzzese are former members of the band. Formed after the demise of Gossard and Ament's previous band, Mother Love Bone, Pearl Jam broke into the mainstream with its debut album, Ten, in 1991. One of the key bands in the grunge movement of the early 1990s, its members shunned popular music industry practices such as making music videos or giving interviews; the band sued Ticketmaster, claiming it had monopolized the concert-ticket market. In 2006, Rolling Stone described the band as having "spent much of the past decade deliberately tearing apart their own fame."The band had sold nearly 32 million albums in the United States by 2012, by 2018, they had sold more than 85 million albums worldwide.
Pearl Jam outsold many of its contemporary alternative rock bands from the early 1990s, is considered one of the most influential bands of the decade. AllMusic editor Stephen Thomas Erlewine referred to Pearl Jam as "the most popular American rock & roll band of the'90s". Pearl Jam was inducted into the Rock and Roll Hall of Fame on April 7, 2017, in its first year of eligibility, they were ranked at number 8 in a reader poll by Rolling Stone magazine in its Top ten live acts of all time issue. Stone Gossard and Jeff Ament were members of pioneering grunge band Green River during the mid-1980s. Green River toured and recorded to moderate success but disbanded in 1987 due to a stylistic division between the pair and bandmates Mark Arm and Steve Turner. In late 1987, Gossard and Ament began playing with Malfunkshun vocalist Andrew Wood organizing the band Mother Love Bone. In 1988 and 1989, the band recorded and toured to increasing interest and found the support of the PolyGram record label, which signed the band in early 1989.
Mother Love Bone's debut album, was released in July 1990, four months after Wood died of a heroin overdose. Ament and Gossard were devastated by the resulting demise of Mother Love Bone. Gossard spent his time afterwards writing material, harder-edged than what he had been doing previously. After a few months, Gossard started practicing with fellow Seattle guitarist Mike McCready, whose band, had broken up. After practicing for a while, the trio sent out a five-song demo tape in order to find a singer and a drummer, they gave former Red Hot Chili Peppers drummer Jack Irons the demo to see if he would be interested in joining the band and to distribute the demo to anyone he felt might fit the lead vocal position. Irons passed on the invitation but gave the demo to his basketball friend, San Diego, California singer Eddie Vedder. Vedder was the lead vocalist for a San Diego band, Bad Radio, worked part-time at a gas station, he listened to the tape shortly before going surfing. He recorded the vocals to three of the songs in what he described as a "mini-opera" entitled Momma-Son.
Vedder sent the tape with his vocals back to the three Seattle musicians, who were impressed enough to fly Vedder up to Seattle for an audition. Within a week, Vedder had joined the band. With the addition of Dave Krusen on drums, the band took the name Mookie Blaylock, in reference to the then-active basketball player Mookie Blaylock; the band played its first official show at the Off Ramp Café in Seattle on October 22, 1990. They opened for Alice in Chains at the Moore Theatre in Seattle on December 22, 1990, served as the opening act for the band's Facelift tour in 1991. Mookie Blaylock soon renamed themselves Pearl Jam. In an early promotional interview, Vedder said that the name "Pearl Jam" was a reference to his great-grandmother Pearl, married to a Native American and had a special recipe for peyote-laced jam. In a 2006 Rolling Stone cover story however, Vedder admitted that this story was "total bullshit" though he indeed had a great-grandma named Pearl. Ament and McCready explained that Ament came up with "pearl", that the band settled on "Pearl Jam" after attending a concert by Neil Young, in which he extended his songs as improvisations of 15–20 minutes in length.
Pearl Jam entered Seattle's London Bridge Studios in March 1991 to record Ten. McCready said that "Ten was Stone and Jeff. Krusen left the band in May 1991 after checking himself into rehabilitation. After playing only a handful of shows, one of, filmed for the "Alive" video, Chamberlain left to join the Saturday Night Live band. Chamberlain suggested Dave Abbruzzese as his replacement. Abbruzzese played the rest of Pearl Jam's live shows supporting Ten. Released on August 27, 1991, Ten contained eleven tracks dealing with dark subjects like depression, suicide and murder. Ten's musical style, influenced by classic rock, combined an "expansive harmonic vocabulary" with an anthemic sound; the album was slow to sell, but by the second half of 1992 it became a breakthrough success, being certified gold and reaching number two on the Billboard charts. Ten produced the hit singles "Alive", "Even Flow", "Jeremy". Interpreted as a
Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particularly in the United Kingdom and in the United States. It has its roots in 1940s and 1950s rock and roll, a style which drew on the genres of blues and blues, from country music. Rock music drew on a number of other genres such as electric blues and folk, incorporated influences from jazz and other musical styles. Musically, rock has centered on the electric guitar as part of a rock group with electric bass and one or more singers. Rock is song-based music with a 4/4 time signature using a verse–chorus form, but the genre has become diverse. Like pop music, lyrics stress romantic love but address a wide variety of other themes that are social or political. By the late 1960s "classic rock" period, a number of distinct rock music subgenres had emerged, including hybrids like blues rock, folk rock, country rock, southern rock, raga rock, jazz-rock, many of which contributed to the development of psychedelic rock, influenced by the countercultural psychedelic and hippie scene.
New genres that emerged included progressive rock. In the second half of the 1970s, punk rock reacted by producing stripped-down, energetic social and political critiques. Punk was an influence in the 1980s on new wave, post-punk and alternative rock. From the 1990s alternative rock began to dominate rock music and break into the mainstream in the form of grunge and indie rock. Further fusion subgenres have since emerged, including pop punk, electronic rock, rap rock, rap metal, as well as conscious attempts to revisit rock's history, including the garage rock/post-punk and techno-pop revivals at the beginning of the 2000s. Rock music has embodied and served as the vehicle for cultural and social movements, leading to major subcultures including mods and rockers in the UK and the hippie counterculture that spread out from San Francisco in the US in the 1960s. 1970s punk culture spawned the goth and emo subcultures. Inheriting the folk tradition of the protest song, rock music has been associated with political activism as well as changes in social attitudes to race and drug use, is seen as an expression of youth revolt against adult consumerism and conformity.
The sound of rock is traditionally centered on the amplified electric guitar, which emerged in its modern form in the 1950s with the popularity of rock and roll. It was influenced by the sounds of electric blues guitarists; the sound of an electric guitar in rock music is supported by an electric bass guitar, which pioneered in jazz music in the same era, percussion produced from a drum kit that combines drums and cymbals. This trio of instruments has been complemented by the inclusion of other instruments keyboards such as the piano, the Hammond organ, the synthesizer; the basic rock instrumentation was derived from the basic blues band instrumentation. A group of musicians performing rock music is termed as a rock group. Furthermore, it consists of between three and five members. Classically, a rock band takes the form of a quartet whose members cover one or more roles, including vocalist, lead guitarist, rhythm guitarist, bass guitarist and keyboard player or other instrumentalist. Rock music is traditionally built on a foundation of simple unsyncopated rhythms in a 4/4 meter, with a repetitive snare drum back beat on beats two and four.
Melodies originate from older musical modes such as the Dorian and Mixolydian, as well as major and minor modes. Harmonies range from the common triad to parallel perfect fourths and fifths and dissonant harmonic progressions. Since the late 1950s and from the mid 1960s onwards, rock music used the verse-chorus structure derived from blues and folk music, but there has been considerable variation from this model. Critics have stressed the eclecticism and stylistic diversity of rock; because of its complex history and its tendency to borrow from other musical and cultural forms, it has been argued that "it is impossible to bind rock music to a rigidly delineated musical definition." Unlike many earlier styles of popular music, rock lyrics have dealt with a wide range of themes, including romantic love, rebellion against "The Establishment", social concerns, life styles. These themes were inherited from a variety of sources such as the Tin Pan Alley pop tradition, folk music, rhythm and blues.
Music journalist Robert Christgau characterizes rock lyrics as a "cool medium" with simple diction and repeated refrains, asserts that rock's primary "function" "pertains to music, or, more noise." The predominance of white and middle class musicians in rock music has been noted, rock has been seen as an appropriation of black musical forms for a young and male audience. As a result, it has been seen to articulate the concerns of this group in both style and lyrics. Christgau, writing in 1972, said in spite of some exceptions, "rock and roll implies an identification of male sexuality and aggression". Since the term "rock" started being used in preference to "rock and roll" from the late-1960s, it has been contrasted with pop music, with which it has shared many characteristics, but from wh
All Hands on the Bad One
All Hands on the Bad One is the fifth studio album by the American rock band Sleater-Kinney, released on May 2, 2000, by Kill Rock Stars. The album was produced by John Goodmanson and recorded from December 1999 to January 2000 at Jackpot! Studio in Portland and John & Stu's Place in Seattle, Washington; the music on the record ranges from soft melodies to fast punk rock guitar work, while the lyrics address multiple media issues, such as the image of women in rock, music journalism, violence as entertainment, among others. Upon release, All Hands on the Bad One reached number 177 on the US Billboard Top 200 chart and number 12 on the Heatseekers Albums chart. One song from the album, was released as a single; the album received positive reviews from critics, with an aggregate review score of 86 out of 100 at Metacritic. Critics praised the album's consistency and Corin Tucker's vocals. All Hands on the Bad One appeared in several end-of-year lists and received a nomination for Outstanding Music Album at the 12th Annual Gay and Lesbian Alliance Against Defamation Awards.
All Hands on the Bad One is the follow-up to Sleater-Kinney's acclaimed fourth album The Hot Rock, released in 1999. The Hot Rock marked a considerable change in the band's sound, veering into a more relaxed and gloomy direction than the raucous punk rock style of its predecessors, it was the first Sleater-Kinney album that entered the US Billboard Top 200 chart, peaking at number 181. Some fans, dismissed the album, claiming that the band had sold out and that it was a commercial album; this criticism was something that singer and guitarist Corin Tucker disagreed with, claiming that The Hot Rock was their least commercial album due to its longer and intricate pieces. According to Tucker, "we wanted to be doing difficult work. We wanted to be expanding as people didn't want that from us, they wanted us to jump around and yell."After expanding their musical boundaries with The Hot Rock, the band decided not to worry about what their next album was going to sound like. Tucker explained, "It was so spontaneous.
We didn't talk about anything. It just kind of happened." She said that they wanted to write songs that were "really straightforward but a bit more mature in their structure and delivery than earlier songs." All Hands on the Bad One is the first Sleater-Kinney album where drummer Janet Weiss provides backing vocals on some tracks. Tucker remarked that they wanted her to sing on The Hot Rock, but the idea was rejected due to the album's complex melodies. All Hands on the Bad One was produced by John Goodmanson, who produced the band's third studio album, Dig Me Out; the band decided to work with him again because, according to Weiss, Goodmanson "has the incredible ability of capturing our live sound and heightening it, so we sound better". The album was recorded from December 1999 to January 2000 at Jackpot! Recording Studio in Portland and John & Stu's Place in Seattle, Washington. Similar to other Sleater-Kinney albums, the lyrics of All Hands on the Bad One feature personal and social themes.
The first song, "The Ballad of the Ladyman", is a deliberate attempt to mock those who misunderstand the band. Tucker said that the song is "almost making fun of how people see us, how people see what you're supposed to be when you're a woman in rock." The song was inspired when the band was invited to the Bowlie Weekender music festival in England in 1999. Tucker explained, "We were all staying in little chalets or whatever and we had our own cabin and we were cabin 216. Someone wrote this message to us, like,'Cabin 216 ladymen.' And we were like,'What?' It was meant to be a funny thing, but in this other way, it was this naming of us. It was a subtle way of saying,'Oh, you're different because you're a woman band and because you're in some ways political.' It's still seen as threatening to people. It's not like we had this weekend where we just relaxed with everyone and just hung out." Kat Iudicello, writing for PopMatters, stated that the song "sports sweet harmonies, a slow anger and soft, low bitterness, driving steady guitars and drums."The song "Male Model" targets the male role models for female rock bands, while "Pompeii" explores soul-searching themes such as one's losses and anxieties.
"Youth Decay" was described by PopMatters as a song that "grapples with adult disbelief of the problems of youth and the manifestations of it in terms of eating disorders and silence." It features fast punk rock guitar work. The lyrics to "#1 Must-Have" reference images of the riot grrrl scene in the mainstream media, it was written when Tucker was preparing for an interview about the subject, held by the EMP Museum in Olympia, Washington. The song alludes to the misogyny that took place at the Woodstock'99 music festival, where several women were raped; the song "Was It a Lie?" is a protest against how violence is used as entertainment in the media. "The Professional" aims at music journalism and contains heavy drum work, while "Ironclad" features "fuzzed-out riffs and pounding fills". Other songs such as "Leave You Behind" and "The Swimmer" feature soft harmonies. "You're No Rock n' Roll Fun" was described as "easy moving, beach punk rock music". "Milkshake n' Honey" was considered to be the band's funkiest song.
Pitchfork commented that the song "spits wit at expatriates in Paris as Corin rolls her eyes at the type of denizens in The Sun Also Rises."The song "All Hands on the Bad One" features guitar riffs that are reminiscent of the band's second album, Call the Doctor. It was chosen as the title track because, according to guitarist Carrie Brownstein
Entertainment Weekly is an American magazine, published by Meredith Corporation, that covers film, music, Broadway theatre and popular culture. Different from celebrity-focused publications like Us Weekly, In Touch Weekly, EW concentrates on entertainment media news and critical reviews. However, unlike Variety and The Hollywood Reporter, which are aimed at industry insiders, EW targets a more general audience; the first issue was published on February 16, 1990. Created by Jeff Jarvis and founded by Michael Klingensmith, who served as publisher until October 1996, the magazine's original television advertising soliciting pre-publication subscribers portrayed it as a consumer guide to popular culture, including movies and book reviews, sometimes with video game and stage reviews, too.. In 1996, the magazine won the coveted National Magazine Award for General Excellence from the American Society of Magazine Editors. EW won the same award again in 2002. In September 2016, in collaboration with People, Entertainment Weekly launched the People/Entertainment Weekly Network.
The network is "a free, ad-supported online-video network carries short- and long-form programming covering celebrities, pop culture and human-interest stories". It was rebranded as PeopleTV in September 2017; the magazine features celebrities on the cover and addresses topics such as television ratings, movie grosses, production costs, concert ticket sales, ad budgets, in-depth articles about scheduling, showrunners, etc. It publishes several "double issues" each year; the magazine numbers its issues sequentially, it counts each double issue as "two" issues so that it can fulfil its marketing claim of 52 issues per year for subscribers. Entertainment Weekly follows a typical magazine format by featuring a letters to the editor and table of contents in the first few pages, while featuring advertisements. While many advertisements are unrelated to the entertainment industry, the majority of ads are related to up-and-coming television, film or music events; these beginning articles open the magazine and as a rule focus on current events in pop culture.
The whole section runs eight to ten pages long, features short news articles, as well as several specific recurring sections: "Sound Bites" opens the magazine. It’s a collage of media personalities. "The Must List" is a two-page spread highlighting ten things. "First Look", subtitled "An early peek at some of Hollywood's coolest projects", is a two-page spread with behind-the-scenes or publicity stills of upcoming movies, television episodes or music events. "The Hit List", written each week by critic Scott Brown, highlights ten major events, with short comedic commentaries by Brown. There will be some continuity to the commentaries; this column was written by Jim Mullen and featured twenty events each week, Dalton Ross wrote an abbreviated version. "The Hollywood Insider" is a one-page section. It gives details, in the separate columns, on the most-current news in television and music. "The Style Report" is a one-page section devoted to celebrity style. Because its focus is on celebrity fashion or lifestyle, it is graphically rich in nature, featuring many photographs or other images.
The page converted to a new format: five pictures of celebrity fashions for the week, graded on the magazine's review "A"-to-"F" scale. A spin-off section, "Style Hunter", which finds reader-requested articles of clothing or accessories that have appeared in pop culture appears frequently. "The Monitor" is a two-page spread devoted to major events in celebrity lives with small paragraphs highlighting events such as weddings, arrests, court appearances, deaths. Deaths of major celebrities are detailed in a one-half- or full-page obituary titled "Legacy"; this feature is nearly identical to sister publication People's "Passages" feature. The "celebrity" column, the final section of "News and Notes", is devoted to a different column each week, written by two of the magazine's more-prominent writers: "The Final Cut" is written by former executive editor and author Mark Harris. Harris' column focuses on analyzing current popular-culture events, is the most serious of the columns. Harris has written among other topics.
"Binge Thinking" was written by screenwriter Diablo Cody. After several profiles of Cody in the months leading up to and following the release of her debut film, she was hired to write a column detailing her unique view of the entertainment business. If You Ask Me..." Libby Gelman-Waxer was brought in to write his former Premiere column for Entertainment Weekly in 2011. There are four to six major articles within the middle pages of the magazine; these articles are most interviews, but there are narrative articles as well as lists. Feature articles tend to focus on movies and television and less on books and the theatre. In the magazine's history, there have only been a few cover stories devoted to authors. There are seven sections of reviews in the back pages of each issue (together enc