popwreckoning

Say what you will about Jack White…but there’s no denying the fact that his Energizer mind works in marvelous ways. After seeing It Might Get Loud earlier this year it became clear to me, and maybe only me, that he is a consummate artist. We watched him pull inspiration from the far reaches of music’s history, pay homage to the deep, Southern soul at the heart of his work, and experiment with heavy, disparate metallic howls in the upstairs attic of an abandoned Victorian home, in the same way that a mad scientist might tamper with boiling beakers—deranged and raw.

2010 will see White return to the mixer in the role of producer. Remember that fantastic album he made in 2004, Van Lear Rose, with Loretta Lynn? This time around White intends to reinvent the touted “Queen of Rockabilly,” Wanda Jackson, a one-time tour mate and lover of Elvis Presley, a dynamic collaboration that is sure to feed the “little bit o’ Country, little bit o’ Rock and Roll” thing that White does so well. In fact, I’m going to go ahead and make this my first “most anticipated release” for 2010.

Concert tickets aren’t cheap these days. We know this. I remember paying $27.00 for a ticket at a decent venue just last year. Now the average concert ticket is looking more like $40…plus that vexing surcharge taking the price over the top. It makes me think twice about going to see live music, especially around this time of year. Well, Yo La Tengo have had enough. They want you to come see them debut music from their most recent offering, Popular Songs, despite the economic crunch and holiday hold-down on your cash flow. Win! Tickets will ring in at just 20 bills…NO SURCHARGE!
How’s that for a holiday bargain?

Upcoming January Tour Dates:
22: Pontiac, Mich. @ Crofoot Ballroom
23: Madison, Wisc. @ Barrymore Theatre
24: St. Louis, Mo. @ The Pageant
26: Lawrence, Kan. @ Granada Theatre
28: Houston, Texas @ Warehouse Live
29: Austin, Texas @ Antone’s
30: Dallas, Texas @ Granada Theatre

Yo La Tengo: website | myspace

Amy Millan isn’t what you might expect from a Canadian alt-rock, indie siren with two cloistered, heart-rending albums tucked under her seemingly fragile wings. The songs off her sophomore solo album, Masters of the Burial, are hushed and harrowing impressions culled from the absence of what once was, evoking a kind of visceral desire to sing the loss, a feeling that has one easily captured. Despite the delicacy of her sound, on stage at the Mercury Lounge in New York, Millan’s performance was nothing less than an emboldened call to arms for the lone, broken, and estranged…read: a sardined bunch of thirty-somethings on a late Thursday night who actually bought albums by Stars and Broken Social Scene in an actual, like, “record store” way back when, who have been sweating sad indie rock for more than a decade, and didn’t start thinking country was cool when Jenny Lewis came along in high-waisted denim short-shorts.

Commanding the stage with her husky, earthen vox, dug-up folk-inspired live performance, and cache of consummate stage companions, who create rich, old Western- style weavings of sound with banjos, drums, and an upright bass, Millan gave one of the most honest performances I’ve seen in a very long time. This was a show without show if you know what I mean, no pretense, just truthful, honest to song, music torn from the scrapbook of her soul. Millan was humble, down to earth, and gave the vivid impression that the songs were almost seeping from the cracks in her gristly skin. Millan live is like sipping moonshine at dusk, on a good friend’s porch, catching hints of the magnolia tree around the bend…it’s just like being home.

Masters of the Burial, her latest release, is available now on Arts & Crafts records.

Amy Millan: website | myspace | Masters of the Burial review

Canadian twins Tegan and Sara have been making innovative power-pop music for ten plus years, and they’ve been doing so on their own terms: navigating the challenges of the music business and following their fearless hearts with grace and conviction. The following interview marks a personal milestone for me in my fledgling career as a music journalist. Tegan and Sara are what got me writing about music in the first place, a secret dream of mine since high school. Their gutsy, heart-heavy music, hilarious stories, and devotion to what they believe in is what inspired me to pick up my pen, or rather, dust off my keyboard and camera and start making art again.

When I found out that PopWreckoning contributor Dese’Rae Stage and I were set to interview Sara Quin, the notoriously shy, enigmatic, hard-to-get half of the duo…uh, in person, you can imagine that my ticker just about plummeted to the bottom of my gut. I was going to meet my muse. We sat down with Sara, in a very slick studio at the Warner Music offices in New York City just a few days after Sainthood, the twins’ sixth studio album was released, and the day before the twins played two sold out shows at New York’s legendary Town Hall theater. We talked about everything from how the girls spent a very busy album release day to the potential difference between an alligator and a crocodile. Needless to say, it was the best nine minutes ever.

Reni Papananias, PopWreckoning: First of all, congratulations on the album.
Sara Quin: Thank you. It’s like having a baby when you put a record out, everyone’s like, “Congratulations!” And I’m like, “Thank You.”
RP: It is a baby…it’s your art baby.
SQ: Yeah…(giggles)

RP: So, tell me about album release day?
SQ: You know, it was great. We had a really early morning. We did a five-hour thing at AOL, where we did like all these skits. We’ve been on Spinner.com all week so we had to do some more skits where we were like acting, and we set up and played four songs, so they can play them on the website, and then we did a little bit more press, and then we did a four and a half hour signing at a bookstore where we saw about five hundred kids, which was great, and then we had a big dinner with the label and the band and then I fell into bed at like two a.m. and I was…beat. It was a long day, but it was great. It feels really exciting. We’ve always had really great release days. It’s really celebratory. There’s a cake involved. I actually had been waiting for this moment for like four months and I was really happy that it had come. It was great. We were charting all day, which was exciting. We feel like there’s a lot of momentum and excitement around the record. I’m just happy. There’s a lot of gratitude.

RP: How was it different from when The Con came out? How have things changed for you this time around?
SQ: You know, it wasn’t remarkably different. When The Con came out we were in Los Angeles, which is where we were this time. We played at Amoeba and literally a thousand people showed up. Literally it was their biggest in-store ever, and it was bananas. It was so exciting and we played and we signed for hours and we basically took over the store for the entire day and it was super fun. There’s nobody else you’d want to spend a release day with than who you’re releasing the album to. So that’s why we always try to do a fan-related thing.

RP: You and Tegan definitely do a lot to stay in connected with your fans. We were curious, in relation to social networking, Twitter in specific, if you feel pressure to engage in that way as artists?
SQ: I mean, I’m not on Twitter, so Tegan, and I am totally talking for her, but my understanding is that she definitely started Twitter when we were sort of done touring and it was more of a personal Twitter and now it’s become totally a band Twitter where she pimps what we’re doing during the day and that sort of thing. We never feel forced into it. The truth is that when we released our first album and we first started touring it was like 1999…2000. The Internet was really just getting going. We were not in any way a buzz band, we had signed a record deal, it was a very small deal, and we were touring and we kept using the word “organic.” “We’re organic. We’re going to organically build a fan base,” and all of these things, but we really had no press or support from television or radio and the internet was truly social networking and the internet was the way that we started to build an audience one by one. And so, we still have a lot of connection to it, just because it’s a way for us to make that connection, and to be as authentic and genuine as we want to be or don’t want to be. When you’re doing television or radio or interviews, you’re really through the filter and the mind of the person interviewing you and there’s something about knowing that our fans want to tap directly in and I’m completely okay with that. After ten years you sort of figure out how to keep what’s for you, for you, and what’s for them, for them. You’re very in control of what message you’re putting out there.
RP: Right.

Dese’Rae Stage, PopWreckoning: I guess that sort of answers that other question we had about where your borders are in relation to your fans.
RP: Right, some artists kind of take it to the extreme when it comes to connecting online…like hosting online Friday night Twitter parties and stuff like that.
SQ: You know, I think each person is looking for something different in the connection they have with the public. For Tegan and I, we’ve always been performers and we’ve always loved to be onstage and entertaining people, but there’s also a part of us that’s really private and I know certainly for me, I don’t have any desire to knock down every wall between me and the person that’s in front of me. And the reality is, it’s not even possible at this point. There’s just too many people. How on Earth could you do it? I mean, I think it depends too on what your personal life is like. I have a huge family, I’m still best friends with the kids I went to junior high school with and I have so many people from my early life that I’m still so connected to. It sounds strange but I’m over capacitated already in my life. Like, I can’t even imagine taking on those kinds of connections, those kinds of intimate connections with strangers, you know? What we do on stage is real and authentic, but it’s done in this way where we truly are performers projecting out onto people. It’s reciprocated in this strange energy way but it’s like…how could I possibly connect to 2,000 people every night? I just can’t. Even at that in-store that we did on release day, I mean, the information people will tell you in thirty seconds is profound…to have someone walk up to you and tell you about a death in the family or something that happened to them when they were a little kid…you…I couldn’t do that every day. I can do it like once a year. (Laughs) I’m like, oh my God…it’s too much.

RP: Well, your music means a lot to people. I mean, people are really connected to it. What do you think it is about you and Tegan that people feel so intimately connected to?
SQ: You know, I’m not always sure. I think society, what we project on television, and on film and on billboards and those things, I think in a strange way is how we want to see ourselves, is how we think we see ourselves or even how we don’t think we see ourselves and I think Tegan and I are, you know, an alternative version of what’s projected out constantly. I think, we, for a lot of women, for a lot of queer people, there’s something nice about, or there’s something calming about, or something refreshing about seeing something that isn’t always in the media or whatever, but then on the other hand, I can only speak from my own experience, from when I was a kid, what resonated with me, was intense for me, like Bruce Springsteen and the Smashing Pumpkins or whatever, what made me feel more connected to them over other bands, sometimes it’s hard to say. Sometimes it’s just because…it’s just because it’s the right time and the right words and the right melody. I think Tegan and I have that combination of maybe the music part and the personal side.

RP: Right. Okay, this is sort of a silly question…I really love “Alligator.”
SQ: Cool.
RP: It’s a really hot track. We were wondering if alligator tears are the same as crocodile tears?
SQ: Yeah, that’s what I actually meant, but I thought the phrase was alligator tears and then very early on, when I sent it to someone, they were like “I think what you mean is crocodile tears” and I was like, crocodile tears doesn’t have the same…
RP: Well, I think it adds to the mystery of the song.
SQ: Yeah. I mean, I think, just phonetically, it didn’t make as much sense to me as alligator. Alligator just fit better and I wanted it to be sort of an R&B type track and alligator the word just was better.
RP: I like it and I think it’s different. I think people are really responding to it.
SQ: Yeah, the response has been terrific. Originally, when we sent all the demos out it wasn’t on the original list, but both Tegan and I were like, “There’s just something about this song.” It kind of hovered in the “B” list area for a while and then when we started recording the album, I was like, “You know, I think we should try this.”

RP: You guys wrote together for the first time when putting Sainthood together. What did you learn from each other during that experience?
SQ: You know, Tegan and I both, and we’ve acknowledged this a lot, but I think we almost have a reverse style or process when we go into the recording kind of…headspace. Tegan is really lyrical, she loves to put together words and ideas and then she’ll sort of build music after that and I’m like, completely the opposite. I will get almost 100 percent done with the instrumental before I even begin to think about melodies and once I’ve sort of figured out melodies, then I’ll do lyrics. So it’s the absolute last thing that I do. So, when we were in the writing process that was kind of awkward. Tegan’s natural instincts…suddenly she was being held back and when we would try to do it her way, I would feel really off balance, and it ended up kind of working to our advantage. I think the music is really interesting and super cool but I wouldn’t want to always write like that. I think there’s something truly satisfying about just working the way you want to work. I wouldn’t want to convert her. I think what she does is great and she should keep doing it.

Insert here a wide, adorable smile and a dulcet giggle, and the best ten minutes ever comes to a close.

DS: Love it.

Tegan and Sara: website | myspace | interview with: Tegan pt. 1, pt. 2 | @ terminal 5 | @ town hall | Sainthood review

Interview by Reni Papananias.
Photo by Dese’Rae L. Stage.

I’m not even going to try to pretend that I am some sort of casual “Yeah, I like that ‘Walking with A Ghost song’” kind of Tegan and Sara fan or an impartial stringer  covering the events of yet another album release. I’ve been a junkie for T&S ever since I stumbled upon The Con via Chris Walla via Death Cab for Cutie about a year ago. After devouring the 2007 critical-darling and its feast of dark confessional lullabies and musings on the mythos of love, I needed more. I remember listening and thinking that I had never heard voices like that or been so deeply taken with music before, better yet, as my little cousin and Greek mini-me put it, “How do they know the inner workings of my emotional being?” Over the past year, I’ve worn-out the B-sides. I find myself regularly browsing YouTube for the latest concert footage meticulously documented by die-hards, and have been known to, you know, lurk the message boards on a lonely night. What?

The release of Sainthood (Vapor/Sire) on October 27th will be Tegan and Sara’s 6th full-length studio album produced once again by Chris Walla and Howard Redekopp. It’s the first time we’ve heard new music from the sisters in two years. It’s a very exciting week to say the least. Rest assured, PopWreckoning has got this covered for you from every angle. Let this review serve as a teaser leading up to our exclusive three-way interview with Tegan, PW contributor Dese’Rae Stage, and I. Oh, and did I mention an upcoming in-person with Sara as well as full concert coverage of the twins’ two sold out shows at New York’s historic Town Hall on Halloween weekend? Tegan’s a fan of PW. She said so when we spoke. We’re cool like that.

Without further ado, I give you my humble thoughts on Sainthood.

The album, inspired by Leonard Cohen’s wrist-cutting ode to unrequited love, “Came so Far for Beauty” plays with the notion of romantic idealism, devotion, and the risk inherent in loving another. In the words of Tegan and Sara themselves, “Inspired by emotional longing and the quiet actions we hope may be noticed by the objects of our affection, Sainthood is about obsession with romantic ideals. We practice our sainthood in the hope that we will be rewarded with adoration.” Throughout the album we learn that this act of loving according to the twins is analytical, fragile, neurotic, unforgiving, and is ultimately in pursuit of truth.

I will say at the outset that it’s a grower, but after two listens, you won’t be spinning anything else in your pods. Sainthood is different than anything Tegan and Sara have done in the past. There’s no “Call it Off” here. Some tracks push at breakneck speed while others hold back and are more complex and layered. It’s got a gruff exterior, but underneath, it’s classic Tegan and Sara. There’s even an exotic, slick samba-esque dance track, “Alligator” that’s all keys. It may be different than what we’ve heard in the past from the Canadian twins, but Sainthood is in my opinion, some of the most electrifying stuff the girls have ever done. You can feel them pushing themselves on this album, playing with and juxtaposing themes such as love, truth, idolatry, authenticity, and the imagined.

On the opener, “Arrow,” a sharp-shooting, synthy surge, Sara Quin, soul mate, sultan of cool, and the twin known for bringing us the more complicated musical arrangements and quirkier sound compared to Tegan’s hookier, hard-driving half, jumps into the ring, gloves on and asks, “Would you take a straight and narrow, critical look at me?” alongside buff guitar jabs and electronic punchiness. The girls took a different approach to the process as well, recording with a live band in the studio, the result yielding a fuller, more in-the-thick-of-it kind of fever. Sainthood also marks the first time in the twins’ lengthy career that they penned tracks together. While only one song, “Paperback Head,” ended up on the album, the fleshy thrill of experimentation is noticeable throughout. Their distinctive singing voices are even different on a lot of the tracks, and we find different stories and characters uncovered in the tonal and tempo changes to their signature tweets. On “Red Belt,” my favorite, a track Sara says was inspired by a David Mamet film of the same name, we’re introduced to a rich, golden, slow-to-boil tenor with an almost sci-fi trance to it, complete with a bell toll and lyrics that have you believing in fiction, “Slow down, you have a tendency to rush back into your past, slow down, you transfer all your weight and disappear…you kneel, to condition all the feelings that you feel.” On “Hell,” the album’s first single and tracks like “The Cure” and “Northshore,” Tegan toys with the best of post-punk intentions with an accelerated pace, lyrical rawness, and synthetic undertow.

The twins, who have never been shy musically, waxing sophisticated pop tracks for ten years now that fearlessly document the depths of their emotional experience and puzzling through their unique coming of age, continue to offer a stark reflection of themselves and the contours of their hardworking hearts on Sainthood. While the momentum of the album may be escalated compared to past T&S, the process shaken up a bit, the cuts more genre-fusing and risky, the lyrics more cryptic at points, the perspective tossed around, the surface a little steely, Sara’s still not afraid to ask, “Would you take a calm and tender, terminal kind of care? Would you wage an intimate fight for me?” and in this sense stays true to the vulnerability and romanticism that the girls have come to be known for. It’s truly rare to find artists as prolific as Tegan and Sara at such a young age, who have skillfully navigated the challenges of the music industry on their own terms while continuing to produce work that is relevant and that pushes their talent and ideas in new directions. Sainthood secures Tegan and Sara’s spot among the few.

Sainthood comes out tomorrow, October 27. Preview the album now, for FREE at www.myspace.com/teganandsara.

Tracklisting:
01. Arrow
02. Don’t Rush
03. Hell
04. On Directing
05. Red Belt
06. The Cure
07. Northshore
08. Night Watch
09. Alligator
10. Paperback Head
11. The Ocean
12. Sentimental Tune
13. Someday

Tegan and Sara: website | myspace | interview with: Tegan pt. 1, pt. 2 | @ terminal 5

His MySpace page reads like that of a scrappy Brooklyn any-kid who makes music for his friends from the unassuming far corner of his childhood bedroom, next to a pinup of Tom Petty and a wide-eyed girl he might be in love with. The self-tweeted “Rambling Man” doesn’t have that many “friends,” a mere 3,968, is still grateful for small NYC club gigs, and cites both Biggie and Pavement as influences, but his music begs a much bigger bio than his profile suggests. One listen to “Buriedfed,” from his eponymous 2008 debut will destroy you. It’s the best of Dylan’s rawness, the starkness of Hemingway, and reminds me of the hometown lyrical longing and driving guitar momentum that is so inherently Springsteen. Up until now, I haven’t come across a voice that so accurately portrays the hope and fear that is the underbelly of change defining our generation. Like a memoir unfolding in real time, playing parallel to us, Miles is your spot on soundtrack.

On Summer of Fear, produced by TV on the Radio’s Kyp Malone, and a little help from the boys of Grizzly Bear, out October 20th on Saddle Creek Records, Miles Benjamin Anthony Robinson sings us a dark, dark story of the anxiety that accompanies the risk of dreaming in uncertain times. A hazardous balladeer compared to his peers, Robinson swims all the way out, far past the buoys, through scratchy, shaking whispers and blood curdling screams looking for answers to questions most of us are afraid to ask, doing things we know we shouldn’t, just to remind himself of the feeling, a lyrical cutter trying to make a mark deep enough that he never forgets.

The Summer of Fear is the story about the summer of 2007, when Robinson, beat up and reckless, mounts the greatest fight of his life tackling the catastrophe of heartbreak, the saltiness of something new, the satisfaction of anger, and the hope of redemption. Robinson say’s “Listening to it now…It’s like someone banging on a door really hard, until they start throwing their shoulder into it….then someone on the other side simply opens it and on the next lunge the solicitor goes hurtling across the threshold. It’s well produced, but there’s a lot of frustration and rage on the record. Every song has a point of catharsis.”

“Summer of Fear Part 2″ is easily the most arresting track on the album beginning with a carefree little whistle that you swear you’ve heard a thousand times, that you know you’ve hummed before is anchored by a riff as melancholy and infinitely as sad as a great Pumpkins song, Robinson makes a plea for what was, desperate for the memory. “I said knock-knock” a voice in the way back calls, “who’s there?” Robinson screams, “You said you’d never forget…you said you’d never forget.”

Surrounding lyrics and Robinson’s strum is a complex orchestration to the music with hidden whispers, fuzzy guitars, warming choirs, and miscellaneous trinkets of sound, creating an audio scrapbook that will last forever even if the memory can’t. While The Summer of Fear may have been his biggest battle to date, I have a feeling Miles Benjamin Anthony Robinson has quite a few more fights left in him and I’ll be damned if I miss another.

Tracklisting:
01. Shake a Shot
02. Always an Anchor
03. The Sound
04. Hard Row
05. Trap Door
06. The 100th of March
07. Summer of Fear pt. 1
08. Death by Dust
09. Summer of Fear pt. 2
10. Losing 4 Winners
11. More than a Mess
12. Boat

Miles Benjamin Anthony Robinson: website | myspace

On September 22, Arts & Crafts brings us yet another original & charming record to caper and cavort to. Origin:Orphan is the fourth full-length treasure from Toronto’s ever-burgeoning cache of sprightly minstrels, The Hidden Cameras. The album was recorded in Toronto, Ontario and Berlin, and feels as if it’s a kind of rollicking audio passport, each song another fabled adventure and another stamp allowing access as they cross the border along their daring, arcane journey, that at times feels a bit stormy but is mostly inspired by mirth. The track layout has a linear, narrative quality that plays along as well. 

The opening track, “Ratify The New,” builds slowly with anticipation, a humming preface to the story. The album’s first single, “In The NA,” is a jostling, synthy-sing-shout-along number that feverishly trumpets the story of this person/place/thing called “The NA” where people are held close, where demons and ghosts are battled, they spill their secrets, they marry, and where they ultimately triumph in under five minutes.

“He Falls To Me” is set to a super-sized and spirited whistle with clever lyrics and a classic indie-rock, punch-in-the-gut chorus that rivals some of the best. “Colour of a Man” is an impossibly smart and warm soliloquy, draped with heavy, heaving strings and adorned with a velvety Medieval-meaning choir. “Walk On” blew my mind on first listen as it’s one of the inkiest tracks that I’ve heard in awhile, a nod of approval that this self-proclaimed princess of darkness doesn’t give easily. It’s a heavy, heralding track with an uneasiness that evokes the devastating and disquieting side of Stevie Nicks when she sings “you will never get away from the sound of the woman who loves you…” in the spine-shivering chorus of her majesty’s Silver Springs. I really can’t give a band a better compliment than that if I tried.

The band is said to translate the innate theatricality and avant-garde nature of their sound to the stage by performing with up to forty-piece dance troupes and in alternative spaces such as churches and soccer fields, an experience that I’m definitely looking forward to when I check them out this fall in New York. I’ll let you know if the wizardry and wonder of the Cameras makes sense in the flesh.

Tracklisting:
01. Ratify The New
02. In The NA
03. He Falls To Me
04. Colour Of A Man
05. Do I Belong?
06. Walk On
07. Kingdom Come
08. Origin:Orphan
09. Underage
10. The Little Bit
11. Silence Can Be A Headline

The Hidden Cameras: website | myspace

When I first saw the Kurt Cobain avatar “featured” on the new Guitar Hero 5, my gut reaction was to pause it after fifteen seconds and to gasp loud enough that it made those around me come running to the rescue. I was found with my hands covering my mouth, paralyzed. I’m not being dramatic, it’s that bad. Go ahead and have a look at the damage:

and please for the love of God, tell me I’m wrong. Tell me Courtney hasn’t completely sold Kurt out while taking boudoir photos with her pet turtles in bed. This is fact and there are TwitPics to prove it.

In the video, a clip of which has gone viral on YouTube this week, Kurt is a sort of ringmaster/karaoke clown who is lip-singing alongside cartoon skeletons and anime vixens to Bon Jovi’s “You Give Love a Bad Name” and introducing the game with an amped-up homeboy bravado that blurts: “…let’s show them that we can do this…like we always do this…turn it up…Yeah Boyeeeeeee!” a la Vanilla Ice? The image of Kurt is a much loved and familiar one from the “Smells like Teen Spirit” era, showcasing his signature blonde shag and the pilled Seattle weather-worn brown cardigan that spawned a thousand, an image which Tim Riley of Activision, the makers of GH5, told Rolling Stone Courtney styled herself for the game. Despite the virtual likeness, this is a horrifying image of Kurt, one that bears no true resemblance to the artist who spent his entire career combating the media’s misrepresentation of him and Nirvana.

Love has apparently spent the past few days blasting, via Twitter, Activision as well as Novoselic and Grohl for the Avatar fiasco and says that she plans to sue. Activision released a subsequent statement confirming that Guitar Hero did indeed secure the proper rights, signed by Love, to use Cobain’s likeness as a “fully playable character in Guitar Hero 5.”

In a statement made by Grohl and Novoselic, the remaining members of Nirvana assure fans, despite love’s rusty battle-axe, that they didn’t have any hand in creating cartoon Kurt and that they don’t legally control the image of Cobain. “We want people to know that we are dismayed and very disappointed in the way a facsimile of Kurt is used in the Guitar Hero game. The name and likeness of Kurt Cobain are the sole property of his estate – we have no control whatsoever in that area.”

Novoselic and Grohl are urging Activision to “re-lock” the character so it can only be played with the Nirvana songs that were licensed.

“While we were aware of Kurt’s image being used with two Nirvana songs, we didn’t know players have the ability to unlock the character. This feature allows the character to be used with any kind of song the player wants. We urge Activision to do the right thing in “re-locking” Kurt’s character so that this won’t continue in the future.

It’s hard to watch an image of Kurt pantomiming other artists’ music alongside cartoon characters. Kurt Cobain wrote songs that hold a lot of meaning to people all over the world. We feel he deserves better.”

Let’s remember the real thing.

Guitar Hero: website