{"id":130,"date":"2024-11-08T19:11:06","date_gmt":"2024-11-08T19:11:06","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/2024-11-8-duster-liam-mccay-amp-sign-crushes-motorist\/"},"modified":"2024-11-08T19:11:06","modified_gmt":"2024-11-08T19:11:06","slug":"2024-11-8-duster-liam-mccay-amp-sign-crushes-motorist","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/2024-11-8-duster-liam-mccay-amp-sign-crushes-motorist\/","title":{"rendered":"Duster, Liam McCay & sign crushes motorist"},"content":{"rendered":"
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By Lucca Swain<\/h1>\n<\/div>\n
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Slowcore: what is it? As defined by Wikipedia, slowcore is a genre of music characterized by, \u201csubdued tempos, somber vocals, and typically minimalist instrumentation,\u201d which in essence means that it\u2019s sad, stripped-back, and, well, slow<\/em>. Though with characteristics that broad, you could probably pigeonhole a dozen different genres into being some variant or another of slowcore. And in theory, it sounds absolutely banal, like the stuff that only internet-addicted music forum goblins would enjoy, but because of just how vague the stylistic specifications are, slowcore is actually a difficult genre to pinpoint both sound and aesthetic-wise. The genre sees its roots in the late 80\u2019s and very early 90\u2019s, when bands like Codeine and Low cemented the outline of what slowcore is with records like Frigid Stars<\/em> (1991) and I Could Live in Hope<\/em> (1994): desolate soundscapes, minimalist riffs, intentionally messy playing, and lyrics that were more often than not totally pessimistic and down-in-the-dumps. <\/p>\n

At its naissance, slowcore was more-or-less just an incredibly depressing offshoot of indie rock, but as time progressed, it began to borrow stylistically more and more from genres such dream-pop, shoegaze, and even alt-country, even culminating in a few significant critical and commercial successes (ever heard \u201cFade Into You\u201d?). Yet year after year, slowcore found itself scattering further and further from its slacker rock roots, and at some point in the early to mid-2000\u2019s, it petered out as a popular style. Maybe it got oversaturated or was past it\u2019s time, or maybe it just got too hard to define what slowcore even was anymore besides \u201csad music\u201d, but even when people stopped making music that could be labeled primarily as \u201cslowcore,\u201d the genre\u2019s influence was and is still everywhere, from Alex G to Yo La Tengo to even some of the music of Sufjan Stevens.<\/p>\n

 Fast-forward to the modern day; the social-media-addicted youth have a newfound obsession with the music of the past. Nirvana, Smashing Pumpkins, The Cure and more, bands who were acclaimed and successful in their era and are just now finding new ground with zoomers. But then, there is Duster, and 1998\u2019s Stratosphere<\/em>. Stratosphere<\/em> is like the platonic ideal of slowcore: lumbering tempos, the absolute most minimalist guitar, bass and drum playing possible, a singer who can barely find the courage to even murmur out his words, and it all has the recording quality of a band stuffed inside a closet. But this is slowcore, so of course I can\u2019t neglect to mention just how deeply dejected Stratosphere <\/em>is as a record. It\u2019s incredibly cold and atmospheric, and the extreme nakedness of the sound only disguises how effective this music is at getting into your head and under your skin; there\u2019s a real empty sort of sadness tucked away within these songs, a proverbial hollowness as stark and as inexplicably beautiful as the blue void taking up most of the album cover. And that\u2019s also probably why Stratosphere<\/em> has had such a lasting impact even after being released in obscurity back in 1998, why Duster managed to develop a cult following in online music spaces, and why they\u2019re seeing such a massive resurgence on TikTok now; their music is bare and lo-fi like nothing else, stripped down to the raw, ugly feelings at the center of the song while still managing to sound lovely on the ears. That\u2019s bound to resonate emotionally with a generation who\u2019s only now coming into contact with the feelings so prominent on Stratosphere<\/em>, and why, of all the bands to be plucked from RateYourMusic purgatory and placed center stage for all of TikTok to see, it was this unassuming little band who had up to this point only released four albums in 25 years.<\/p>\n

And then, there is sign crushes motorist. sign crushes motorist (yes, the name is stylized in all lowercase) is one of not two, not three, not five, but THIRTEEN projects spearheaded by nineteen-year-old Irish slowcore artist Liam McCay, who gained prominence in the wake of the popularity explosion of slowcore on TikTok with his 2022 record i\u2019ll be okay<\/em>. What is the relationship between Liam McCay and Duster, you might ask? In all honesty, it\u2019s because i\u2019ll be okay<\/em>, along with the majority of McCay\u2019s music, is a shameless ripoff of Duster. Which is not an issue in and of itself; Duster\u2019s sound is, quite frankly, basic as all hell; it\u2019d be pretty easy to accidentally make a Duster-sounding song by just playing a few mopey-sounding chords and putting a lo-fi filter over it\u2026which is exactly what McCay does. But the issue comes when you actually listen to i\u2019ll be okay<\/em>, and realize that it\u2019s not very good<\/em>. <\/p>\n

McCay\u2019s greatest flaw is his fundamental misunderstanding of both Duster and slowcore, thinking that if you make every single song sound the same, remove all the dynamics and emotional contrast, and put some vaguely incel-ish \u201cI miss her\u201d lyrics over it, it\u2019ll make the music sad. In reality, what sign crushes motorist ends up with is a bunch of songs that sound identical. The riffs are boring as shit, the lyrics suck, the vocals come off like parody, and the shoddy mixing ends up flattening everything into a fine audial pancake, as opposed to making it lo-fi. The songs have a tendency to drone, which is ironic considering that Duster actually had dynamics. They were not a one note band. They could be bleak, sure, but they could also rock \u2013 there are a number of Duster songs that are straight-up noise rock bangers, as well as ones that are shockingly upbeat. It\u2019s of course unfair to compare one artist to another this heavily, but even on its own merits, i\u2019ll be okay<\/em> is still unbearably tedious. And that\u2019s not even mentioning the album\u2019s horrible cover of  Katy Perry\u2019s \u201cLast Friday Night.\u201d Or how the other sign crushes motorist album Hurting<\/em>, as well much of McCay\u2019s other music, sounds nearly indistinguishable from everything on i\u2019ll be okay<\/em>. <\/p>\n

I do not think that sign crushes motorist is popular because it\u2019s good, or because there\u2019s anything of value or substance in McCay\u2019s writing or riffs or mopey sentiment. Liam McCay has probably gotten successful because his music sounds identical to Duster\u2019s, and because people have pinned Duster down to just being a sad \u201cvibes\u201d sort of band. Look at a song like the atrocious \u201cManifesto,\u201d which sees McCay manifesting his inner Will Toledo and giving his absolute worst pity-party spoken word speech over nothing but a pulsating synth: \u201cI will end up sad and alone, and the only person to blame will be me,\u201d he moans, \u201cI love you and I\u2019m sorry for everything.\u201d It\u2019s almost guilt-tripping in a way, the kind of thing you would say to make someone else feel bad and not because you\u2019re actually sorry. But it does register as \u201csad\u201d and not toxic on the surface level, and for social media, that\u2019s good enough. It\u2019s wonderful that Duster blew up after 25 years, but tragic that it led to the creation of this low-effort depression-fetishizing nonsense; I pray every day that his 15 minutes of fame ends ASAP.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

It\u2019s wonderful that Duster blew up after 25 years, but tragic that it led to the creation of this low-effort depression-fetishizing nonsense.<\/p>\n","protected":false},"author":1,"featured_media":131,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[1],"tags":[31],"class_list":["post-130","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","tag-opinion"],"yoast_head":"\nDuster, Liam McCay & sign crushes motorist - wecb<\/title>\n<meta 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