Spiel: In it’s early(ish) days Pitchfork gave some 0.0 reviews out. Speaking about them P4k founder, Ryan Schreiber, commented that he found these records to be “devoid of worth” to him personally and stood by the rating.
Pitchfork now brands itself as “The Most Trusted Voice in Music” so WE MUST ACCEPT THEIR JUDGEMENT.
My Previous: I finally gave Liz Phair a proper listen this year and fell in love with the lofi honesty of “Exile in Guyville”. Spotify randomly played me a song from this album (HWC, which I loved and automatically made this album not a zero) so I was curious to hear more.
Pitchfork Says: http://pitchfork.com/reviews/albums/6255-liz-phair/
Matt Le May, who wrote a boring book on Elliott Smith, actually makes a variety of fair points about Liz Phair. He mainly seems personally affronted that Liz Phair could become bland, become crude without being clever and, oh god, become a sell out.
However, Pitchy’s review of Liz’s next album states clearly: “0.0 was wasted on that album, because it’s much better than Somebody’s Miracle”. But, but, but Pitchy, you’re the most trusted voice in music, can I trust this 0.0 or not?
OK, in general this is pretty crappy early 00s radio fodder. You can definitely hear production team The Matrix’s influence throughout even if they did only work on 4 songs – musically most of this sounds like it could be sung by Avril Lavigne and there’s definitely a cynicism in the boring production and arrangement.
But honestly, would Avril Lavigne have sung “we haven’t fucked yet” in her biggest hit (As Phair does here on “Why Can’t I”)? Sk8r Boi might have been more interesting if she had. Honestly, it’s tempting to try and recast this album as an interesting subversion of early 00’s AOR pop but… nope, musically there’s not enough going on for that, it’s Liz Phair wanting a payday and that’s fine.
You could be forgiven, if half listening, of thinking it’s all just bland vaguely risque stuff, until you realise it’s not subtle. There’s a song explicitly about fucking a younger guy. There’s a song about a son imagining in great detail his mum fucking a man who’s not his dad (“Your thinking little thoughts about her taking every inch of him in”). Then there’s HWC…
Hot White Cum sort of encapsulates this album – it’s kind of awesome, it’s filthy, it’s hilarious and catchy but… there’s a terrible harmonica solo and there’s some unbelievably lazy lyrics, the first verse even has “nananana” as a line.
In the end, it’s nice to imagine a world where I could turn on Radio 2 and hear incredibly filthy lyrics hiding behind bland production. Or to imagine when every alt artist embraced their mainstream equivalent – Radio 1 playing Neutral Milk Hotel sounding like Mumford and Sons but slipping in the occasional line about malformed children in semen, perhaps?
Will I Be Listening To It Again: Oh God, no. Except for Hot White Cum which I will listen to all the time.