Andrew W.K.'s I Get Wet (33 1/3 Series) by Phillip Crandall

By Phillip Crandall

"It's Time To Party," the 1st song off of i am getting rainy, opens with a rapid-fire guitar line — not anything fancy, only a couple crunchy strength chords to acclimate the ears — repeated two times prior to a booming bass drum joins in to supply a quarter-note countdown. A faint, It's Time To Party," the 1st music off of i am getting rainy, opens with a rapid-fire guitar line — not anything fancy, only a couple crunchy strength chords to acclimate the ears — repeated two times ahead of a booming bass drum joins in to supply a quarter-note countdown. A faint, swirling influence intensifies with every one bass kick and, by means of the 8th one, the ears have prepped themselves for the steel mayhem they're approximately to obtain. whilst all of it drops, and the joyous onslaught of 100 guitars is ultimately learned, you'll need to forgive your ears for being duped right into a fake experience of safeguard, simply because it's that moment intensified drop a couple of seconds later — the only the place but extra guitars appear and Andrew W.K. slam-plants his vocal flag by way of screaming the song's titular line — that actually floods the mind with endorphins, serotonin, dopamine, and no matter what else formulates invincibility.

Polished to a vivid overdubbed-to-oblivion sheen, the party-preaching i am getting rainy didn't catch the zeitgeist of rock on the flip of the century; it captured the timelessness of teenage, as energized, notable, and unapologetically silly as ever. With insights from neighbors and extraordinary aid from the mythological maniac himself — whose sermon and dad sensibilities proceed to polarize — this e-book chronicles the sound's evolution, uncovers the relevance of Steev Mike, and examines how Andrew W.K.'s inviting, inclusive lyrics create the last word shared event among artist and viewers.

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Extra resources for Andrew W.K.'s I Get Wet (33 1/3 Series)

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I feel like Kelly really set me up because I stood there with my mouth hanging open,” Spooner says. On May 19, Andrew performed in a Fischerspooner show on the 107th floor of the World Trade Center. Photographer Roe Ethridge was documenting the night and says Andrew asked him if he could come over to Ethridge’s studio and have his photo taken. “I remember him saying he was going to bring an ax,” Ethridge says. • 47 • I GET WET Andrew arrived at Ethridge’s Williamsburg studio sans ax, but did bring some pig’s blood he had procured from a Greenpoint butcher.

If a musician from the ’20s had what we had to work with, he would use it. ” To not use a keyboard as an available tool to “get to a feeling” made no sense. ; only time will tell if his “Rocket Man” places him among the usually trotted-out Dylan, Hendrix, and Springsteen names there. His first NYC show playing his own music was at a storefront some guy was living in on the Lower East Side. Grux, the man behind Caroliner, was performing with his offshoot project Rubber O Cement. ” Online footage shows Andrew hunched over an extremely low-set keyboard and drum machine, wearing headphones and a white tank-top.

Dilloway had returned to Michigan following a stint with Chicago’s Flying Luttenbachers, and joined what had been Nate Young’s solo noise project called Wolf Eyes. Andrew soon began making tapes under the Wolf Eyes name and mailing them to Michigan. “They were almost like John Carpenter soundtracks,” Dilloway says of his contributions. “Electronic pop music … I don’t want to say Krautrock-influenced, but I guess it was. ” Wolf Eyes would eventually become prolific noise renegades on Sub Pop, but in 1999, with only a couple Hanson releases, the two Michigan members relocated to Andrew’s apartment—the idea being they would become a three-piece or simply back up Andrew’s project.

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