molly's chamber, a dank low-ceilinged cell
everything getting easier to like. i listen to the top 40 these days and, more or less, i like, or at least don't in any way object to, pretty much every song on it. my tastes are dissolving. the last barriers to fall, euro trance-pop and the nu-rock (i haf been enjoying recent singles by, oh god, the libertines, the cooper temple clause, kings of leon ((oh god oh god please no))) have gone and now, as we say, it's all good.
kings of leon is a good example. utterly wrong-headed in every way, they can not possibly contribute anything interesting or positive or worthwhile (but 'worthwhile'...such a rockist concept!) to the world, except, except, the song comes on the radio, i tap my foot, simple as that. this is the built in dynamics-reflex simon reynolds talks about in this post, scroll down for the best description of listening to the white stripes i've ever seen, can also be applied to the kings of leon.
it is not
simply refried boogie rock or whatever it gets called, it couldn't possilby be, because this is 2003, and not 1973, and kings of leon don't sound like lynryd skynyrd, that's so lazy!, they sound like lynyrd skynyrd in 2003, and it's an important difference. lynyrd skynyrd would not sound as good on modern pop radio as kings of leon do. enjoying the kings of leon single is interesting, you know, just because it is, i'm thinking, something to do with the coming-together, the narrowing maybe, or maybe it's richening, of pop, the acceptability of it, the way that everything in the top 40 sounds good, everything - euro-trance to nu-metal to indie-rock to r'n'b - sounds 'right' to us.
i think what i mean is, the reason i enjoy the kings of leon single, on any level, is connected to what Is This It?
have in common, which is, no doubt, a lot.