Neilism

07.12.2017 4 Comments

Art accompanying story in printed newspaper not available in this archive: Lyrically, though, it's patently the product of urban fear; in the end, it's the kind of dehumanization you'd expect from a cranky letter to the editor. Apparently worried that he'll be seen as trafficking in Cobain necrophilia, Young's refusing to promote the album or tour behind it. Animating what would otherwise be marginalization is his searching if somewhat cockeyed pursuit of a rock 'n' roll mythos. The album is bracketed by a pair of pretentious pieces of chamber music, each flavored by a harpsichordlike piano sound. Those years of hiccuping stylistic changes masked a deep dedication to the validity of his artistic decisions: And most notably, there's the 14 minutes plus of "Change Your Mind," a self-indulgent epic that irritatingly enough contains some of the most lovely guitar and vocal work on the record. Saw it on the tube Bought it on the phone Now you're home alone It's a piece of crap Most Young fans can relate to the sentiments, particularly if you've shelled out cash for the product he's proffered over the last decade and a half, from earlys stinkers like Everybody's Rockin' and Trans to mids works like Landing on Water, Life, and Old Ways to some of his more recent offerings like last year's Harvest Moon and Unplugged sets. But the trite title and empty, confusing lyrics "She was a teen queen

Neilism


But the trite title and empty, confusing lyrics "She was a teen queen When you look back over his career, his celebrated moments of passion become devalued by the more, um, eccentric ones: And most notably, there's the 14 minutes plus of "Change Your Mind," a self-indulgent epic that irritatingly enough contains some of the most lovely guitar and vocal work on the record. His work hit a nadir in with the release of Landing on Water, an unimaginative piece of generic rock that stretched the patience of even artist-friendly Geffen records. It's the difference between a piece of crap and a piece of art. Today it's a piece of crap; a few years ago it was corporate sponsorship "This Note's for You" ; a bit before that it was unions "Union Man". Obsessed with the onset of the rust he immortalized so long ago, he's set up a code of action designed to keep him from falling prey to its charms. But that doesn't mean that bar talk, airy-fairy daydreams, and unprocessed emotions are the stuff of great rock 'n' roll. Apparently worried that he'll be seen as trafficking in Cobain necrophilia, Young's refusing to promote the album or tour behind it. Lyrically, though, it's patently the product of urban fear; in the end, it's the kind of dehumanization you'd expect from a cranky letter to the editor. Let me go back to the song "Driveby," Young's take on urban violence. The album is bracketed by a pair of pretentious pieces of chamber music, each flavored by a harpsichordlike piano sound. Partisans will acclaim its low-volume guitar-meistering a triumph on the scale of "Down by the River," but it's also a bit too reminiscent of "Will to Love," the notorious seven-minute saga from American Stars 'n Bars that saw Young imagining himself a spawning salmon. It's dis-organized, inconsistent, and more than once ridiculous, but not infrequently powerful and moving. To me, Young's more irritating than illuminating; much of what he does, says, and sings is at the mercy of frayed brain synapses. Animating what would otherwise be marginalization is his searching if somewhat cockeyed pursuit of a rock 'n' roll mythos. Saw it on the tube Bought it on the phone Now you're home alone It's a piece of crap Most Young fans can relate to the sentiments, particularly if you've shelled out cash for the product he's proffered over the last decade and a half, from earlys stinkers like Everybody's Rockin' and Trans to mids works like Landing on Water, Life, and Old Ways to some of his more recent offerings like last year's Harvest Moon and Unplugged sets. Art accompanying story in printed newspaper not available in this archive: It's ghostly and tense, and works as music. The record's more powerful songs recall past triumphs and diversions. It's less emotional but more venturesome than Freedom, less assaultive but more melodic than Ragged Glory. Those years of hiccuping stylistic changes masked a deep dedication to the validity of his artistic decisions: For more than ten years he adhered to a rigid regimen of disconcertingly disparate and discursive stylizations, each of which were followed by a disavowal of their content and a move on to a new style. Now he's consolidated this comeback with Sleeps With Angels, a wildly uneven but occa-sionally involving work that already got him a rare five-star review in Rolling Stone. She ran up phone bills" turn it into a mess.

Neilism


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4 thoughts on “Neilism”

  1. Apparently worried that he'll be seen as trafficking in Cobain necrophilia, Young's refusing to promote the album or tour behind it. Those years of hiccuping stylistic changes masked a deep dedication to the validity of his artistic decisions:

  2. Today it's a piece of crap; a few years ago it was corporate sponsorship "This Note's for You" ; a bit before that it was unions "Union Man". But the trite title and empty, confusing lyrics "She was a teen queen

  3. She ran up phone bills" turn it into a mess. For more than ten years he adhered to a rigid regimen of disconcertingly disparate and discursive stylizations, each of which were followed by a disavowal of their content and a move on to a new style.

  4. It's less emotional but more venturesome than Freedom, less assaultive but more melodic than Ragged Glory. Apparently worried that he'll be seen as trafficking in Cobain necrophilia, Young's refusing to promote the album or tour behind it.

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