But it’s basically The Postal Service for Dummies, and it’s mystifying how easily it shot to No. 1 song on Billboard‘s Hot 100, is a candied replica of a sound he and Jimmy Tamborello codified six years ago.Īgain, I can’t front: on a Top 40 radio dial awash in Black Eyed Peas’ faux-hop and Miley Cyrus’s shrill Autotunage, “Fireflies” is a nice contrast. It’s got to be a bit galling that Owl City’s “Fireflies,” the new No. This week-unless he’s too busy counting his Twilight soundtrack money or canoodling with the missus-Ben Gibbard is probably feeling something similar. The ’Berries weren’t awful, just… a little undeserving, and massively benefiting from someone else’s sound. Top 40 while Dolores O’Riordan rampaged across my radio dial. I can’t front: I had a soft spot for the Cranberries’ light-as-air Top 10 smash “Linger.” But I could never get past the fact that the Sundays, a better band with one major alternative hit to their name (the downy, warm-blanket 1990 Modern Rock chart-topper “Here’s Where the Story Ends”), had failed to cross over to the U.S. Back in 1997, when I was a critic for CMJ, I led off my review of a new album by vintage Britpoppers the Sundays with the following sideswipe at another band: “In the five years since their last album, watched the Cranberries swipe their sound and turn it into three obscenely popular and dreck-filled albums.”
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