Anti-Hipster, Vol 1 - TV on the Radio

TV on the Radio – Return to Cookie Mountain (4AD; 2006)

Welcome to my first edition of trashing super-hyped groups that, in my opinion, don’t deserve the attention. I’d prefer not to build a reputation on denouncing anyone. However, my inspiration shows itself in many forms, and one of those is a disgust at the way indie music writers put some groups on an unjustifiable pedestal. Keep in mind that I’m not a professional (not yet anyways). I don’t claim to know everything. These utterances will be strictly from my point of view, and based on what credible information I can get my hands on without wasting too much time on these bands. Now that we’ve cleared all that up, let’s begin.

I first heard the name TV on the Radio on MSU’s Impact 89 FM around my third year of classes. One of the songs from the 2004 LP Desparate Youth, Blood Thirsty Babes had minor airplay, but ultimately didn’t fit in with the song oriented station. It has such little affect on me that, looking back, I can’t even remember which song it was. My musical information bank had not yet swelled to its modern day size, so all I knew about them was that one song. But my goal is to cover the present, not the past. So in the present, I ponder the meaning of the band’s name. I think of TV and commercial radio as one and the same. They are just tools of commercialism designed to sell products. Go figure.

What I really want to talk about is their new album, Return to Cookie Mountain, which was released on the 4AD label in early July. According to Metacritic.com (an amazing website that creates weighted averages of music, movies, books, etc based on numerous critic reviews), this album is the fifth best-reviewed of 2006 to date. This is a fact that bothers me initially and even more so after listening to the album once. But before I cover my listening experience, let’s explore what information I can gather about this group.

The first place anyone should be able to look for information on a band is their official website. Unfortunately, theirs is under construction, and I can't find any official-looking Myspace page. So I look through the clips of reviews on Metacritic, which include words like “cataclysmic,” “overwhelming,” “intoxicating,” and “inspiring.” One reviewer even dares to call it “accessible.” Next I turn to Allmusic.com and Pitchforkmedia.com for some credible info. I learn from Pitchfork that an earlier version of the album appeared in the spring with a different track sequence. Ultrahipsters seem to argue over which tracklist they think is more effective. I, on the other hand, think it’s absurd that they completely rearranged the album. In making my mix CD’s, I meticulously arrange the track list to create a mood and flow. When listening to my favorite albums, I can’t imagine the songs occurring in any different order. Pitchfork praises the singer Tunde Adebimpe for staying in the background despite the fact that he has “got about the best set of pipes in indie rock.” I say, without proof otherwise, his voice is unremarkable. Then I remember that many people are tone deaf, and some people genuinely enjoy bad singing voices (like the old timer Bob Dylan, or current hipster wet dreams Clap Your Hands Say Yeah).

Allmusic.com claims that the album “threatens to become more impressive than likeable,” and I agree with that to some extent. Any band that puts more emphasis on experimenting and finding new sonic territory takes an automatic risk. That risk allows for the possibility of creating something incredible or ending up with something that completely lacks an impact. That really lies in the ear of the beholder. Supposedly David Bowie contributes background vocals on “Province,” but I can’t make them out. Although I’m slightly offended that Mr. Bowie would involve himself in such a project, I give him credit for always attempting to be ahead of the trends in music.

Next I turn to the Deli, a New York music publication that focuses on the local music scene. Since the band originated in Brooklyn (which, from an outsiders perspective, seems to be one of the most self-inflated music scenes in the world) I hope to find some hard facts straight from the source. The only thing I notice from their interview with the band is that they played on Carson Daly, and that just makes me want to vomit on my keyboard.

Now let’s talk about listening to the album. The first thing that I pick up on is the emphasis on drum beats. The songs are intentionally repetitive, focusing on atmosphere over song structure or buildup. They give off the impression of being a political band, or at least people who are concerned with societal issues. However, there are few phrases that stand out to me because, like Pitchfork pointed out, the vocals have been withdrawn. There have been instances where this works, such in most shoegaze acts (Allmusic even has the cojones to reference the mother of all shoegaze albums, My Bloody Valentine’s Loveless). However, it only works if the music can create an emotional impact on its own, and that is not the case here.

Certain bands or genres come to mind while listening. The album makes me think of the messy noise of Nine Inch Nails, but I never acknowledged the accomplishments of that group either. At times the beats and vocals even resemble those of Outkast. But where Outkast uses their hip hop and pop abilities to create some of the most infectious and memorable songs of recent years, TOTR falls flat. Caught up in their Brooklyn mindset, they ultimately lack the ability to create music to which most people can relate. At times I even think of British rockers Bloc Party, with their meticulously constructed beats and production. But Bloc Party triumphs through having the best lead guitarist in indie rock in years, as well as extremely tight song arrangements.

Finally I look to YouTube.com to see what kind of video clips of the band are available. After all, if a group can deliver on stage, what does album failure matter? What I find, though, is lackluster. You can have a look yourself.

"Wolf Like Me" at Coachella 2006



"Dreams" with Trent Reznor of Nine Inch Nails and Peter Murphy of Bauhaus

It seems that I just can’t figure out modern day music critics. After all, Destroyer’s Rubies, which is currently number two on Metacritic’s 2006 list, is definitely my favorite album so far this year. So why do I completely agree with them at times, and other times want to smack them and make them eat their words? Maybe I’m just being close-minded. Maybe I’m so caught up in connection and influences that I only like something if it reminds me of something else that I love. Maybe I should just give TV on the Radio a chance.

The album isn’t even a completely unrewarding listen. It’s not that the music is too complex or eclectic. In a single word, it’s just boring. I don’t hate every song though (“Wolf Like Me” would be fun with some kind of deranged werewolf music video, and “Hours” at least has a catchy drum and bass construction). I mostly just hate the hype. I hate the way critics try to pick diamonds out of dirt hills, like they’re the ones who made the music. I’m not trying to claim a piece of the music. I’m just expressing my thoughts and feelings in an attempt to spread information.

That’s the point of this whole Anti-Hipster thing; to give you my point of view. But don’t take my word for it. Make up your own mind. Decide for yourself. That’s your privilege. I don’t yet know which band or album I’ll focus on next. My next post should be my Dream Pop mix, which will be a refreshing turn from these dark matters.