The return of Everett True | 164. Repulsive Woman
Ah, Dunedin. You have no real idea what lurks within Dunedin. For example: Repulsive Woman.
I have long noted a strong link between a love for the music that lies at the unsettling heart of The Velvet Underground, and the music that unsettles at the heart of One Direction fandom. Many a happy hour have I spent, researching lectures and checking out one piece of warped and depraved One Direction fan art after another. Not sure Lou Reed ever merited the same attention but I am certain he must have attracted a fair amount of warped and depraved music-as-tribute anyways. For example, the whole of what some people later went on to call ‘independent music’ (of course, it was only one strain of it). I guess it’s something to do with the intimacy of strangers, the closeness both Reed and Styles fans feel to their idols however that closeness is obtained. (Have you noticed how I would rather not try and describe the music? I have always tried not to describe music, rather fill in a few blank spaces and open a couple more dusty treasure chests.)
Hello. This is Repulsive Woman, from Dunedin. I assume that the majority of you here, reading these words, wanting always to skip straight to the music, are here because you love the name. Me too. Great name. Love the name. Repulsive Woman. So evocative, so immediately welcoming. Here. Let me tease you no longer.
Ah. You see… I mean, hear? That link? That intimacy? That shared sense of being together, however lonely and forgotten we may feel? I love this cover version – and all the other songs from Repulsive Woman I have managed to expose myself to – because it strikes close to the heart of the appeal of pop music. Fan art. We are all fans. All of us here (otherwise, you would not be here). Distressed beauty.
A distressed beauty.
I hear that Sub Pop have signed Frankie Cosmos. Good.