Stories with Tag alternative rock

• They Might Be Giants Flood EPK Promo (1990) [video]

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  Posted: 2025-03-27 03:37:55

  Verbose tl;dr

  This 1990 Electronic Press Kit (EPK) for They Might Be Giants' album Flood promotes the band and their music through a quirky and humorous lens. It features interviews with band members John Flansburgh and John Linnell discussing their songwriting process, musical influences, and the album itself. Interspersed with these interviews are clips of music videos from the album, showcasing the band's distinctive visual style and playful aesthetic. The overall tone is lighthearted and self-aware, emphasizing the band's unique blend of catchy melodies, clever lyrics, and offbeat presentation.

  This YouTube video presents an Electronic Press Kit (EPK), a promotional tool, for the alternative rock band They Might Be Giants' 1990 album Flood. The video, seemingly recorded on a VHS tape, exudes a distinct early 1990s aesthetic, complete with era-specific video transitions and graphics. It offers a behind-the-scenes glimpse into the making of the album and the band's overall image.

  The EPK opens with an introduction to the band members, John Linnell and John Flansburgh, who are depicted in a lighthearted and slightly quirky manner, characteristic of their public persona. They engage in humorous banter and self-deprecating commentary, establishing a casual and approachable atmosphere.

  Throughout the video, segments of interviews are interspersed with snippets of music videos from the Flood album, including visually arresting and often surreal imagery associated with songs like "Birdhouse in Your Soul" and "Istanbul (Not Constantinople)." These musical interludes showcase the band's eclectic style, blending elements of pop, rock, and new wave.

  The interview portions delve into the creative process behind Flood, offering insights into the songwriting, recording, and production of the album. The Johns discuss their inspirations, musical influences, and the overall concept they aimed to achieve. Their commentary is often laced with witty observations and playful digressions, further emphasizing their unique brand of humor.

  The video also features footage of the band in the recording studio, providing a glimpse into the technical aspects of creating the album. While these segments are brief, they offer a visual representation of the collaborative effort involved in bringing the music to life.

  In addition to the interviews and musical excerpts, the EPK includes promotional materials designed to generate interest in the album. This includes information about tour dates and other marketing efforts surrounding the release of Flood. The overall tone of the EPK remains consistently light and engaging, effectively showcasing They Might Be Giants' distinctive musical style and whimsical personality, aiming to pique the interest of both existing fans and potential new listeners. The low-fidelity visual quality of the video, likely due to its age and format, contributes to its nostalgic charm and reinforces the sense of it being a time capsule from the early 1990s music scene.

  • They Might Be Giants
  • TMBG
  • Flood
  • EPK
  • Electronic Press Kit
  • Promo
  • 1990
  • alternative rock
  • Indie Rock
  • Music Video
  • Behind the Scenes
  • Interview
  • John Flansburgh
  • John Linnell
  • Danny Weinkauf
  • Jonathan Feinberg

  Summary of Comments ( 76 )
  https://news.ycombinator.com/item?id=43490173

  Verbose tl;dr

  The Hacker News comments on the They Might Be Giants Flood EPK video largely express nostalgic appreciation for the band and the album. Several commenters reminisce about their childhood memories associated with the music and video, highlighting its quirky humor and unique style. Some discuss the band's innovative approach to promotion and their early adoption of music videos and EPKs. A few commenters analyze the video's technical aspects, such as the use of green screen and the distinct aesthetic. Others delve into the band's broader career and influence, with mentions of their children's music and other albums. Overall, the sentiment is one of fondness and admiration for They Might Be Giants' creativity and enduring appeal.

  The Hacker News post linking to a They Might Be Giants Flood EPK promo video from 1990 has a modest number of comments, generating a discussion primarily focused on nostalgia and appreciation for the band. No one offers any particularly deep analysis of the video itself, instead mainly sharing personal anecdotes and expressing fondness for They Might Be Giants' unique style.

  Several commenters reminisce about their experiences with the band and the Flood album specifically. One user recalls taping the video off MTV and watching it "endlessly." Another expresses strong nostalgia for the early 90s and how the video evokes that era for them. A few commenters simply state their enjoyment of They Might Be Giants' music, with one calling them "national treasures."

  Some comments briefly touch on the promotional aspects of the video. One user observes the contrast between the band's somewhat awkward and low-budget presentation and their eventual mainstream success. Another notes the video's effectiveness in capturing the quirky and offbeat nature of They Might Be Giants' music.

  There's a short thread discussing the band's use of the term "Dial-A-Song" and its connection to their phone line service that offered fans new music. One commenter mentions finding old recordings of these Dial-A-Song messages.

  Overall, the comments reflect a positive sentiment towards They Might Be Giants and the Flood album, with a focus on personal memories and appreciation for the band's distinct style. The discussion remains relatively surface-level, lacking extensive analysis or debate, and serves primarily as a space for fans to share their nostalgic feelings.

• What happened when REM went mainstream

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  Posted: 2025-02-17 18:36:14

  Verbose tl;dr

  R.E.M.'s trajectory from college-radio darlings to mainstream giants is examined through the lens of their 1991 album Out of Time. The article argues that the band's newfound popularity, while commercially successful, diluted their artistic integrity and signaled a broader shift in alternative rock towards commercial palatability. The album's polished production, reliance on softer instrumentation, and incorporation of orchestral elements, exemplified by the hit single "Losing My Religion," marked a departure from their earlier, rawer sound. This sonic shift, while broadening their audience, alienated some long-time fans who perceived it as a betrayal of their alternative roots. Ultimately, the article suggests that Out of Time represents a turning point, not just for R.E.M., but for alternative rock as a whole, illustrating the compromises and contradictions inherent in achieving mainstream success.

  The Yale Review article, "What Happened When R.E.M. Went Mainstream?" by Harmony Tavakoli, meticulously explores the band's trajectory from indie darlings to international superstars, focusing specifically on the period surrounding the release of their 1991 album, Out of Time. Tavakoli argues that R.E.M.'s ascent to the pinnacle of popular music was a complex, multifaceted phenomenon, fraught with internal band tensions and external pressures that ultimately reshaped their artistic identity. She posits that the band's conscious decision to embrace more commercially viable sounds, evidenced by the prominent use of mandolin and orchestral arrangements on Out of Time, was met with both critical acclaim and accusations of selling out from a dedicated fanbase that cherished their earlier, more obscure, and arguably more authentic sound.

  The article delves into the band's internal struggles with the implications of their newfound fame. It details the emotional and psychological toll that constant touring and media scrutiny took on the members, particularly Michael Stipe, whose lyrics on Out of Time reflect a growing desire for privacy and a retreat from the public eye. Tavakoli analyzes how the band navigated the paradoxical situation of achieving widespread recognition while simultaneously grappling with the loss of the intimacy and underground credibility that had initially defined them. She highlights the band's attempts to reconcile their artistic integrity with the demands of a global market, suggesting that their subsequent albums, while commercially successful, represented a departure from the raw, experimental energy of their earlier work.

  Furthermore, the article examines the broader cultural context of the early 1990s, exploring how the rise of alternative rock and MTV's influence on music consumption contributed to R.E.M.'s mainstream breakthrough. Tavakoli suggests that the band's success was, in part, a product of being in the right place at the right time, capitalizing on a shifting cultural landscape that was increasingly receptive to alternative music. She meticulously dissects the production and reception of Out of Time's hit singles, "Losing My Religion" and "Shiny Happy People," analyzing how these songs, with their distinctive musical and visual aesthetics, resonated with a broad audience and solidified R.E.M.'s place in the popular music canon. Ultimately, Tavakoli's analysis paints a nuanced portrait of a band wrestling with the inherent contradictions of artistic ambition and commercial success, and how the pursuit of one often comes at the expense of the other. The article concludes by suggesting that R.E.M.'s story serves as a cautionary tale for artists navigating the treacherous waters of mainstream appeal, highlighting the enduring tension between artistic integrity and commercial viability.

  • REM
  • Music
  • alternative rock
  • mainstream
  • 1980s
  • 1990s
  • band history
  • rock music
  • popularity
  • cultural impact
  • musical evolution
  • Peter Buck
  • Michael Stipe
  • Mike Mills
  • Bill Berry

  Summary of Comments ( 13 )
  https://news.ycombinator.com/item?id=43081929

  Verbose tl;dr

  HN commenters discuss the Yale Review article about R.E.M.'s shift to mainstream success. Some felt the author romanticized the band's early indie days and overlooked the artistic merit of their later work, citing examples like "Automatic for the People" as proof of continued creativity. Others agreed with the premise, lamenting the perceived decline in quality after Bill Berry's departure and the adoption of a more generic sound. Several commenters debated the nature of "selling out," acknowledging the financial pressures and creative burnout bands face after years of touring and recording. A few chimed in with personal anecdotes about seeing R.E.M. live during different eras of their career, offering firsthand perspectives on their evolving sound. The overall sentiment leans towards a nuanced view of the band's trajectory, with many acknowledging the complexities of artistic evolution and commercial success.

  The Hacker News post titled "What happened when REM went mainstream" links to a Yale Review article about the band R.E.M. and their shift in sound and popularity after signing to Warner Bros. The discussion on Hacker News is relatively brief, with only a handful of comments, so an extensive summary of diverse perspectives isn't possible.

  One commenter focuses on the band's early, pre-major label sound, arguing that "Murmur" and other early albums possess a unique sonic quality that is difficult to categorize. They specifically mention the distinct guitar sound, Peter Buck's Rickenbacker, and the overall "jangle-pop" feel. This commenter suggests that the magic of R.E.M.'s early music lay in its undefinable nature.

  Another commenter touches on the changing landscape of the music industry and how artists often face challenges maintaining their original sound while achieving greater commercial success. This comment doesn't specifically analyze R.E.M.'s trajectory but offers a broader reflection on the pressures artists face when "going mainstream."

  A further comment directly addresses the Yale Review article, praising it for its depth and insight. They also lament the current state of music journalism, suggesting this type of in-depth analysis is rare.

  Finally, one commenter offers a personal anecdote about seeing R.E.M. live during their earlier period. They recount being impressed even back then, recognizing the band's potential for broader appeal.

  In short, the Hacker News discussion is small but touches upon themes of artistic integrity, the challenges of commercial success, the unique qualities of R.E.M.'s early work, and the appreciation for in-depth music journalism. The comments don't offer deeply conflicting viewpoints or extended debate, but rather provide individual reflections on the band and the linked article.