Latest news with #Pavement
4 days ago
- Entertainment
The world according to Wednesday, your new favorite alt-country indie rock band
NEW YORK -- A pit bull puppy peeing off a balcony. Mounted antlers in the kitchen on a crooked nail. Pink boiled eggs stay afloat in the brine. For its dedicated audience, the North Carolina alt-country-meets-indie rock band Wednesday is an exemplar in evocative songwriting, where whole worlds are found in short lyrical lines. And that says nothing of what they sound like. The most exciting band in contemporary indie rock is informed by Drive-By Truckers and Pavement in equal measure, a distinctive sonic fabric of lap steel, guitar fuzz, folksy and jagged vocals. On Sept. 19, they will release their sixth and most ambitious full-length, 'Bleeds.' 'My songwriting is just better on this album,' Wednesday's singer and songwriter Karly Hartzman explains. 'Things are said more succinctly ... the immediacy of these songs was the main growth.' Wednesday began as Hartzman's solo project, evidenced in 2018's sweet-sounding 'yep definitely.' They became a full band on 2020's 'I Was Trying to Describe You to Someone,' a dive into guitar distortions, and 2021's 'Twin Plagues,' a further refinement of their 'creek rock' sound. The lineup consists of Hartzman, bassist Margo Schulz, lap steel player Xandy Chelmis, guitarist Jake Lenderman and drummer Alan Miller. Some also tour with Lenderman's solo project, MJ Lenderman. (Hartzman and Lenderman previously dated.) Wednesday's last album, the narrative 'Rat Saw God,' was named one of the best albums of 2023 by The Associated Press partially for its uncanny ability to dive into the particularities and complications of Southern identity. 'Bleeds' sharpens those tools. 'Originally, I was going to call it 'Carolina Girl' but my bandmates did not like that,'' Hartzman jokes. 'Bleeds' comes from the explosive opening track, 'Reality TV Argument Bleeds.' She likes how the band name and album title sound together — ''Wednesday Bleeds,' which I feel like I do, when I play music ... I'm almost, in a way, bloodletting and exorcising a demon.' Lyrically, 'Bleeds' features some of Wednesday's best work — even in the revisiting of an older song, 'Phish Pepsi,' that hilariously references both the jam band and the most disturbing movie released in 2010 — a kind of specificity born from Hartzman's writing practices. During the COVID-19 pandemic, she and Lenderman 'wrote 20 lines of writing each day,' a practice adopted from Silver Jews' David Berman. She's also a documentarian of memory: She takes notes of things her friends say and images that are affecting, to later collage them together in songs. 'The well never runs dry,' Hartzman says. 'Because I've admitted not everything can come from inside. I need to look outward outside of myself for inspiration.' Remembering, she says, 'is the goal for most of the (expletive) I do. ... I care. I want stories to persist.' 'Bleeds' manages cohesion across a variance of sound. 'Wasp' is hard-core catharsis; lead single 'Elderberry Wine' drops guitar noise for shimmery, fermented country. 'Wound Up Here (By Holding On),' which references the Appalachian poet Evan Gray, is a pretty indie rock track about a hometown hero who drowns. The quietest moment on the album, the plucked 'The Way Love Goes,' was written as 'a love song for Jake when we were still together. 'Elderberry Wine' as well.'' Hartzman explains. ''Elderberry Wine' is kind of talking about me noticing slight changes in a relationship.' These are not breakup songs; they exist right before the point of dissolution. 'Sweet song is a long con / I drove ya to the airport with the E-brake on,' she sings on the latter. Later: 'Sometimes in my head I give up and / Flip the board completely.' 'I'm understanding how sound creates emotion. That's what I'm learning over time,' Hartzman says of her musical growth. 'I'm also listening to more music with every year that passes. So, my understanding of what's possible, or what I can be inspired by, shifts.' A number of the songs pull from childhood memory, as they always have across Wednesday's discography. 'I think about growing up a lot,' she says. 'When I think of trying to tell ... a story that's vivid and intense, that's just the easiest time in my life, where everything felt vivid and intense.' Longtime fans of the band will find recurring themes and characters from past songs. For example, 'Gary's' from their 2021 album returns as the 'Bleeds' closer in 'Gary's II,' where he gets into a bar fight. 'In a way, I'm writing the same songs over and over, but I'm just trying to make them better,' she says. There is always more humanity to excavate. And often, those emotions, 'they aren't done with you,' she adds. 'They're not letting you go.'
Yahoo
10-06-2025
- Entertainment
- Yahoo
How the Director and Stars of ‘Pavements' Brought Many Stephen Malkmuses to Life
The prevailing initial state of the two actors tasked with portraying Pavement frontman Stephen Malkmus in Alex Ross Perry's multifaceted, genre-warped film Pavements was, reasonably, confusion. Pavements — which releases in theaters across North America June 6 — is nominally, and for the most part, a documentary. It follows Pavement as they prep for their 2022 reunion tour and uses archival footage to tell the story of a band of alternative-nation outsiders who made erudite, inscrutable, and irresistible tunes; navigated the post-Nirvana Nineties with blasé circumspection; broke up as cult heroes; and returned decades later as widely-recognized, era-defining greats. More from Rolling Stone 'Titan': See Trailer for Netflix Doc That Dives Deep Into OceanGate Disaster Martin Scorsese's Career Goes in Front of Camera for Five-Part Apple TV+ Documentary That Doc on Shia LaBeouf's Acting School Is Even Crazier Than You've Heard But along with parsing and probing Pavement's importance, Perry also wanted to explore the ways we bestow that importance. So, he cooked up the various kinds of cultural schlock that get pumped out when it comes time to celebrate (and profit from) legacy acts — a biopic, a jukebox musical, even a museum exhibit filled with phony and real artifacts — and combined them to create a Russian nesting doll of a film, genres stacked on top of one another, reality packed inside fiction. And for the actors Perry hired to star in his real-but-not-real biopic and musical, performing in Pavements was a confounding but also intriguing prospect. Joe Keery, the Stranger Things star and Djo musician, who plays Malkmus in the Oscar-baity biopic-within-the-movie, tells Rolling Stone, 'I didn't understand the full context of the movie until I showed up a couple of days before and we were doing the [costume] fittings and stuff. 'Then I started to wrap my mind around it. They had done the musical already, so I had the reference point of, 'It's this real thing, but it's fake, and it exists within the world of the movie.'' Michael Esper, an established theater actor, remembers his own bewilderment when Perry called him 'out of the blue' to offer him the role of Essem, the Malkmus-esque (emphasis on the 'esque') lead in the film's off-Broadway jukebox musical component, Slanted! Enchanted! 'I couldn't tell how serious he was,' Esper says. 'Like, how real do you want it to be? How much of a joke? Are we really doing this in front of people? How earnest am I supposed to be? Pavement is cool with this?' He adds with a laugh: 'It was such an insane idea, and the potential for humiliation was so high.' Perry was compelled to cram all of these sub-projects into Pavements because he firmly believes 'we don't actually want these things.' He argues, for instance, that no one is asking for a 'cliché, birth-to-death biopic' of Kurt Cobain, yet the likelihood of one existing, eventually, seems disconcertingly high. Perry also saw huge potential in this multigenre approach. 'The truth I'm reaching for,' he says, 'is [that] this format of prismatic, hall-of-mirrors storytelling is the only way to even consider approaching the truth of any great artist.' Pavement, and Malkmus in particular, is uniquely positioned for this kind of interrogation. Perry argues the frontman is up there with 20th-century geniuses like Bob Dylan and David Bowie 'because he's this enigma — he's so fascinating, and the music is so good.' Keery also uses that word — 'enigma' — while Esper, a longtime fan who was scouring zines and VHS tapes in the Nineties for anything Pavement-related, calls Malkmus an almost 'mythical figure.' And like Bowie or Dylan, Malmkus has played with personas, cultivating a distance between his public-facing artistic self and the human behind the mask. Perry notes that, since Pavement began, 'Malkmus has presented the idea that he is playing a character' known as 'The Singer.' 'He christened himself with this moniker at the age of, like, 21, to become this other personality,' the director says. 'To hide behind the idea of, 'That's what the singer would do.'' (He cites, by way of example, two early Pavement tunes in this vein, 'Our Singer' and 'Shoot the Singer.') So as Perry set out to design the Malkmuses that Esper and Keery would portray in Pavements, he made sure they had 'nothing to do with the real person.' That's certainly the case with Essem, a small-town boy with big rock dreams, who moves to the city with his girlfriend, becomes successful, meets another girl, and ultimately has to choose between the two. (That this love triangle framework maps almost exactly onto last year's Dylan biopic A Complete Unknown feels like an affirmation of Perry's feelings towards the legacy-act industrial complex.) The name Essem is, of course, a phonetic representation of Malkmus' initials, S.M. But in terms of actual similarities between character and person, there's only the vague echo of Malkmus' own journey from the Central Valley suburb of Stockton, California, to New York City in pursuit of rock & roll. 'To try and do some kind of real, authentic characterization of Stephen Malkmus in this context felt so wildly inappropriate,' Esper says. 'To try and put him in a jukebox musical just feels like it wouldn't serve what they were trying to do [with the film]. It functioned like a ride — you just throw yourself into it and perform that as best you can.' As for the embedded biopic, titled Range Life, Keery says his performance 'is not a direct reflection of Malkmus' but 'the punch-up Hollywood biopic version that they would write' if such a film were to be made. He continues: 'It's not exactly who he was. It's sort of the antithesis of the guy.' (Keery also gets to send up his own profession in several behind-the-scenes-featurette-style sequences, in which he descends into Method acting madness — asking to be called 'Stephen,' working with a voice coach to perfect his imitation of Malkmus' fried California tone, and eventually worrying he might've gone too far.) The Range Life scenes primarily fictionalize a real pivot point in Pavement's story: their brush with Nirvana-sized success with 'Cut Your Hair' and 1994's Crooked Rain, Crooked Rain, followed by the underappreciated triumph of their third album Wowee Zowee. It's perfect fodder for overwrought episodes in which the band and their Matador Records bosses (played by Jason Schwartzman and Tim Heidecker) debate artistic integrity and commercial reality. The most melodramatic moments are emblazoned with an awards-thirsty 'For your consideration' watermark. And yet, it's still rooted in something real, because Perry plucked much of the heavy-handed dialog Keery delivers verbatim from the Wowee Zowee press kit, contemporaneous Malkmus interviews, and things Malkmus told Perry himself. Keery says it was 'stressful' at times to navigate this multifaceted, hyper-meta narrative, but also fun. 'I enjoyed being put into this gray area where it's like, 'Is this really happening? Is this shtick?' It felt like the perfect way to pay homage to the band.' Perry wanted to preserve a sense of mystery around Malkmus, one epitomized by an early shot of the frontman hunched over a desk, writing a set list, back to the camera. 'You obviously see him throughout the movie, but you see him from the back,' Perry says. 'We see Joe and Michael from the front, but the front has a mask on.' Mysterious as Malkmus may be, Perry's instinct reflects something that distinguishes Malkmus from so many other mythical, enigmatic artistic geniuses we scrutinize. Esper pinpoints it, too, when discussing all the time he spent as a teenager poring over Pavement lyrics, learning the band's songs on guitar, and reading any interview he could find: a wariness of ever getting 'too close to knowing too much about' Malkmus himself. This was partly because, Esper jokes, 'I felt like I would discover that he would hate me.' But it was also the sense that behind the Singer was just a normal guy. 'I did feel like to figure out too much about him, his personal history, or even what his intention was lyrically or musically, was a mistake,' Esper says. 'I had some kind of instinct around that boundary, where [with] other musicians, I would do a really deep dive. I'd want to know everything about Bowie or Lou Reed. With him, I really didn't want to know that much.' Having studied and spent time with him, Keery describes Malkmus as someone who's 'just doing things because he loves them. Or not doing things because he doesn't [love them]. Which is something I admire.' And Perry says that while making Pavements he did get to glimpse the 'big Rosetta Stone' when he watched Malkmus interact with his wife and children. 'That's the guy. That's a real person,' Perry says, while also stressing that those moments were completely irrelevant to the film. 'There is no single truth to reach with this kind of character,' Perry says. 'The movie could never singularly decode who this man actually is, nor would that be of any interest to me. The movie can only address the buffoonery of other works of art that attempt to do a version of that.' Nowhere does the film distill this ideal better than the scene where Keery is working with the voice coach and shows her what he says is a photo of Malkmus' actual throat, hoping it might unlock the secret to a perfect performance. Asked — half as a joke, but also out of curiosity to know the extent to which the bit was committed — if that was indeed a photo of Malkmus' throat, Keery deadpans, 'He wouldn't release that. That was a step too far. But I'm still hunting that down. I'm determined to get that tongue pic. I think it will reveal a lot for everyone out there.' Best of Rolling Stone The 50 Best 'Saturday Night Live' Characters of All Time Denzel Washington's Movies Ranked, From Worst to Best 70 Greatest Comedies of the 21st Century
Washington Post
05-06-2025
- Entertainment
- Washington Post
‘Pavements': An ironic tribute to an iconic '90s band
Nonfiction filmmaking is in something of a rut, with funding drying up for nearly everything except true crime and celebrity biopics. Filmmaker Alex Ross Perry makes the most of this reality with 'Pavements,' his alternately self-conscious and disarmingly sly film about the band Pavement. If you know, you know: In the 1990s, the group fronted by California native Stephen Malkmus was a low-fi phenomenon, snatching snippets of everything from the Velvet Underground to Alex Chilton to create its own defiantly un-pandering scrounge act. Evolving in a decade from underground to indie to almost-breakthrough to college rock canonization, the band broke up in 1999, four years after a disastrous, mud-flinging performance at Lollapalooza. Although Pavement was never hugely commercial, it was disproportionately influential, its albums defining Gen X alienation like the chipped-vinyl equivalent of 'Reality Bites' on repeat.
Yahoo
03-06-2025
- Entertainment
- Yahoo
Renowned ‘90s rock band releases first new music in 25 years
One of the most influential independent bands of the 1990s has put out new music for the first time in more than 25 years. Pavement released the soundtrack for the band's upcoming documentary on Friday, May 30, including a new song that is a cover of Jim Pepper's 'Witchitai-To.' The record marks Pavement's first new material since the band's 1999 EP, 'Major Leagues.' News of the track first surfaced when Scott Kannberg said 'there will be a new Pavement song on the soundtrack' during an interview on the 'Kreative Kontrol' podcast in December 2024. 'Pavements,' which premiered at the 81st Venice International Film Festival on Sept. 4, 2024, is a feature film chronicling the band's rise to fame in the '90s. The motion picture blends behind-the-scenes footage from Pavement's performances coupled with actor portrayals. It stars Joe Keery, of 'Stranger Things,' as frontman Stephen Malkmus and Jason Schwartzman as the band's manager. The film was released in select theaters across the U.S. on May 2 and will have a wide release on Friday, June 6. Pavement is regarded as 'perhaps the defining American indie rock band of the 1990s,' according to AllMusic. The group formed in Stockton, California, in 1989. Pavement has consisted of members Kannberg, Malkmus, Steve West and Bob Nastanovich for most of the band's career. Pavement released its debut album 'Slanted and Enchanted' in 1992 and briefly attracted mainstream attention with the 1994 single 'Cut Your Hair.' The band released four more albums before going on a hiatus by 2000. Pavement embarked on a reunion tour in 2010, followed by another international tour from 2022 to 2024. 'Our hearts are shattered': Country star's husband dies at 72 from mouth cancer Live Wire: Wild Heart band offers intimate Stevie Nicks tribute Music legend postpones Las Vegas show due to illness: 'I'm not feeling well' Taylor Swift buys back masters of first six albums, teases re-recorded albums Influential '80s singer makes first public appearance in 8 years Read the original article on MassLive.
Yahoo
29-05-2025
- Entertainment
- Yahoo
Bruce Springsteen Boosts Mexican ‘Soldaderas' On ‘Adelita'
Bruce Springsteen pays tribute the female Mexican 'soldaderas' who aided the country's fight for independence on 'Adelita,' the latest preview from his upcoming seven-album rarities boxed set, Tracks II. The song is housed within Inyo, the previously unreleased material on which was written in the mid-1990s during Springsteen's non-E Street Band The Ghost of Tom Joad period. 'Inyo was a record I wrote in California during long drives along the California aqueduct, up through Inyo County on my way to Yosemite or Death Valley,' says the Boss. 'I was enjoying that kind of writing so much. [On The Ghost of Tom Joad tour] I would go home to the hotel room at night and continue to write in that style because I thought I was going to follow up The Ghost of Tom Joad with a similar record, but I didn't. That's where Inyo came from. It's one of my favorites.' More from Spin: Pavement Returning To Headline Levitation Fest The Rumjacks Embrace Their History with 'Dead Anthems' John Fogerty Reclaims Creedence 'Legacy' With New Re-Records Inyo is largely a Springsteen solo project, although mariachi musicians Luis Villalobos, Alberto Villalobos, Angel Ramos, Humberto Manuel Flores Gutierrez, David Glukh, Jorge Espinosa and Miguel Ponce all appear throughout. Tracks II is out on June 27 from Columbia and covers decades' worth of never-before-heard recordings, including 1983 sessions between the albums Nebraska and Born in the U.S.A. and a complete album born out of work on the theme song for the 1993 movie Philadelphia. Springsteen and the E Street Band are on tour through early July in Europe, where the Boss' onstage comments about Donald Trump have lately become national news. An EP featuring those speeches is available on all DSPs. To see our running list of the top 100 greatest rock stars of all time, click here.
