10.0

Pic from TOD
Back in 2002 I picked up a copy of Source Tags and Codes based solely on a review I read in Pitchforkmedia. I had never heard of AYWKUBTTOD before, and frankly, I was a little apprehensive about plopping down $16 for a band with such a pretentious name. But, I did it anyway- not only because Pitchfork was/is the Holy Grail of snobby critiquing, but also because I was perpetually sucking all known music into my personal domain at the time. Everything was game: from Jay-Z to Satie; Prince to Brian Eno; Blink 182 to Mission of Burma. I was a giant sponge constantly burning, buying, and listening.

And now my collection is too large. Really, do I need every Bjork maxi-single ever printed? Questionable. I, like many others, are now stuck with too much music and are having to trim the fat to stay true to a thin, healthy collection.

What does that mean?

Well, strangely enough, for me that means holding on to Dude Ranch, and scrapping ST&C.

I recently came upon my old copy of AYWKUBTTOD's ugly, fat, bloated piece as I was moving last week. I decided to give it another listen and try to reevaluate why this album has become so special to some while inspiring such great disappointment in others.

Actually, I don't know many people (outside of critics and emoheads) that like ST&C. In fact, throughout my close circle of friends, NO ONE likes ST&C. Only scared critics who are afraid to admit that they are blatantly wrong can afford to still stand up for this album in order to save their reputations.

Compare this recent review with the original (both on Pitchfork):

(new review, PFM's top 100 of 2000-2004) This record is full of moments that sound ridiculous when taken out of context, the kinds of flourishes that never should have flown in our cynical 00's: The spastic drum fills from "It Was There That I Saw You", the strings and bells of "Another Morning Stoner", the Muppety shouting and bombast of "Days of Running Wild", the Brian Wilson-aping segueway that closes "Relative Ways". This is a record written by kids of the 90s, kids who listened to the same Sonic Youth and Sunny Day Real Estate records that a lot of us did, and when it came time to write their opus, they went as big as possible, and Source Tags succeeds on its sheer wide-eyed exuberance and I-heart-rocknroll sincerity. --Jason Crock

HarHar. 'I-heart-rocknroll'

Maybe what we should really be drawing our attention to is that AYWKUBTTOD shouldn't even be mentioned in the same breath as SDRE or SY.

Something happens from the earlier idea of ST&C to our new conception of it. Now the critics are trying to justify how this album could be considered anything but confused and failing.

Segue from the newer, more pessimistic and cautious review- to this older, blindly hopeful and misguided praise from LeMay:

(original review, PFM 2002) Some music begs to be explored. Promising fascination and intrigue beyond your wildest dreams, its distant melodies beckon you towards it while you try your very best to discern every distinct element that presents itself to you. As you get closer and closer, you begin to relax, letting yourself become completely enveloped by the entrancing tones. -- Matt LeMay

Matt LeMay's words seemed so hypnotically strong and convincing at the time that I couldn't resist going out and buying this music that was beyond my 'wildest dreams.' I almost immediately walked out the door to my local record store upon reading the review. I remember putting the disc in for the first time, anticipating that my mind would be blown away by this perfect 10.0 album.

But, then... Nothing happened. In fact, I was- like many others, completely let down.

Some of us were confused, and wanted to believe that maybe the problem was with us...

"Yeah this band is real good. But, you have to listen to the album, like, thirty times- and then... it should just 'click' and you'll get it"

Others took this advice and tried to find what the hell everyone was so excited about.

But still. Nothing happened.

And so we waited for the parade to end- abandoned to the desolate, littered street left in its wake.

But no! This flaming pile of shit shows up again in Pitchfork's top 100 of 2000-2004!

And how the fuck does this rank ahead of Girls Can Tell?!

Pitchfork... Your credibility is falling into question.

ADDENDUM:

I saw AYWKUBTTOD in Denver two years ago at the Gothic Theatre. Many there remember how AYWKUBTTOD started destroying their shit after they played for about a half hour. We thought the show was done, but then AYWKUBTTOD came out again and apologized because they were told that they had to play more songs. Whoops! What a bunch of monkeys!

So they set up again and played five more songs- and then!

Surprise! They destroyed their shit all over again!

Anyway, I would like to take this time to apologize to my friends for trying to turn them on to AYWKUBTTOD. I saw one of my friends at the show and he told me, "Dude, I showed up to this show just because you recommended it."

Little did I know how much that night would suck.

Thanks AYWKUBTTOD!!!