Interesting conversation. I was all over Ten and subsequently Vs and Vitalogy when they came out. I agree with Ned's thoughts on Vitalogy. I didn't like it as much as the first two and I never bought another album of their's after that. I also never saw them live. Would liked to have seen the show here, but at $80 a piece it was not going to happen for me. What happened to the whole war against ticketmaster in the 90's. $80? They really sold out on that idea. Seems like $40-50 would be a lot more reasonable.
One hit wonders but oh what a bit that was.
Fair 'nuff! Ultimately, I'm glad to see they got so many kinds words written about them in both weeklies.
And yeah, I don't mean to sound so elitist. But what may have derived from Motorhead in its root incarnation definitely became a whole subgenre of sounds with little relation to Sons of Huns. If you'd said "speed rock" I wouldn't have blinked.
My knee jerk is mainly from the fact that I often read indie rock journalists covering metal in the same way over and over again. Like if someone handed me a stack of indie albums to review and I just kept comparing all of them to Radiohead and Talking Heads.
Anyway, take care and thanks for responding :)
Thanks for the comment, Nathan. I'll have to quibble back. Considering speed metal is the subgenre derived from bands like Motörhead and songs like Deep Purple's "Highway Star," I'd say it's an apt descriptor for a lot of what Sons of Huns does. And saying that someone doesn't "get it" implies that there is a "wrong" way to enjoy metal—an elitism that's plagued aspects of the scene for years. I don't buy into that attitude, and I'm not suggesting you do either, but thought it was worth clarifying.
At any rate, it's weird how this band defies an easy description that appeases everybody. In a blog post about them, I once drew the obvious connection to Sabbath and got trashed for that.
Great band. But I have to quibble with a few points.
First--there is nothing remotely "speed metal" about Sons of Huns.
Second--to imply that referencing HP Lovecraft is in any way unique in the metal pantheon is to admit a complete illiteracy of the form.
Anyway, very happy for these guys. Just think maybe Mercury could hire someone who knows what they're talking about to cover bands like this. Plenty of dudes over there actually get it.
Too bad they avoided any interesting tunes as well.
Wow, Jake. Way to be a dick.
So Graham, since you were pretty much the most easily replaced member of all of your bands, and no one gives a fuck about what you may be doing now, do you see a number of kindred souls in the Portland music scene? Lots of moustaches, hmmmm?
With typical modesty Ural downplays his role in the New Iberians, the local zydeco band referred to in the November 6 Mercury article. He's actually lead vocalist and rubboard player, central to the band's spicy gumbo of Blues, R&B, and Louisiana Swamp groove, and he can be seen inspiring them Saturday November 30th at the Spare Room 9PM 4830 NE 42nd at Alberta. DK Stewart will also add his New Orleans barrel house piano and soulful stylings, as a special guest Iberian.
Call 503-287-5800 or visit http://www.newiberians.com/ for more info
Wow. This article is terrible. Not the band, just the writing (and the fact checking).
That would be your fault for listening to Z100 when you should be listening to KZME 107.1FM. Even though their focus is local, cuts from the new Mazzy Star record have definitely made it in, and - I know this isn't the same as terrestrial radio, which is mostly a Clear Channel nuked wasteland - I occasionally tune in to Folk Forward on SomaFM and the new record has been getting a lot of well-deserved rotation there, too.
tl;dr fuck commercial radio, listen to KZME 107.1.
I saw Mazzy Star at LaLuna all those years ago....glad they are still around.
Interesting that Beach House likes 'em too. Saw them in Marfa Texas a few months back, small, intimate place. Great show.
Outside of serving the guy breakfast countless times, I don't have much of a memory of him as a person. Love the music, though.
Beautiful writing. I miss you lots, and Old Portland, too.
I'm still here and I wish I could go back to the Portland that Elliott knew. Excellent article.
Lisa you can never go home again.
No i mean literally. You cannot come back here. You will be stopped at the border and your artsy craftsy weavebag will be searched for ought contraband until some is found and you are set on your way to Boise, Idaho; where you will be happy. It's the new portland. 4.
Among the more fascinating writers to be refining their stuff and recording in Portland studios.
Hope the hip simmers down & keeps improving enough to let me get out to see them at an early Sunday night set in the wonderful old converted church that is PORTLAND PLAYHOUSE, scene of the last few years phenomenal August Wilson cycle of plays of the 20th C. Pittsburgh 'hood, The Hill.
It's Vikesh Kapoor's turn on the boards at Portland Playhouse to premiere the material he's
recorded at Adam Selzer's Type Foundry.
By the way, there's no reason to expect song journalism this good in any weekly anymore, so this Mercury piece of a length not usually accorded to the folkies among us is especially appreciated. KBOO's Lark In The Morning take heed...
As is the Portland Playhouse theatrical production also insightfully reviewed in today's edition, and if ya took in any of the August Wilson cycle of last few years, No Po's deepest stage presence, Victor Mack co-stars in the current production that appears to work a similar "transitional" 'hood in post-Depression Detroit: http://www.portlandmercury.com/portland/am…
Sharing the goods from Portland town
Lay-Low Studios, Or-Wa
They have had a few more Billboard Dance Chart number ones since 2003, hence the boys have risen to 3rd overall.
PopArt is your best bet If you want a more recent greatest hits.
The main concenus to why they were stopped being played on some radio stations is that Neil came out. Check out the documentary, Per Shop Boys, A life in pop for more on that.
Yeah -- a US number 1, four top 10's, and a top 20 don't really qualify them as a one-hit wonder. And that was just on the pop chart -- they were much more successful on the US dance chart (the 4th biggest act in Joel Whitburn's "Hot Dance/Disco 1974-2003" chart book).
However, I noticed they had a harder time getting airplay on mainstream Top 40 stations in the US after "Domino Dancing" in 1988, but so did other white UK dance/synth acts such as Erasure and OMD -- and I attribute that to an increasing preference in America for black rap and slow/mid-tempo R&B rather than a decline in the quality of their output. They released some excellent pop/dance singles in the late '80s and '90s that were big UK hits but barely made a dent in the US pop chart (if they charted at all) -- such as "Left To My Own Devices", "So Hard", "Where The Streets Have No Name/Can't Take My Eyes Off You", "Can You Forgive Her", "Go West", and "Se A Vida E". I also thought "Miracles" in 2003 was pretty good (which was another UK top 10 for them).
Thinking about all this has reminded me that I have to get a more recent greatest hits compilation of theirs (I only have "Discography" -- which stops in 1991).
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