I've got a whole city to hold down

May 18, 2004

Stop me if you've heard this one

Over the years, we've decided that Greg Kot is at his best when writing concert reviews, where his vivid, evocative language regularly turns the very tough trick of conveying the sounds and energy of live performance.

But a couple passages in his review of Sunday's Eleventh Dream Day/Antietam gig give off a funky little odor. One, there's the reference to Tara Key's "guitar twisted like rusty barbed wire around [Rick] Rizzo's." Witness.

Then there's this: "Key and Rizzo worked with feedback like a pair of sculptors, wrenching and contorting their guitars until they screamed for relief."

This image strikes us as both quintessentially Kot-ian and very stale. So, dear readers, your challenge: To find and post examples in the Kot canon of guitar feedback being scultped, shaped, carved, etc.

We'll get you started with this one:
"Wielding his whammy bar like a sculptor would a chisel, the 54-year-old virtuoso [Jeff Beck] shaped huge blocks of sound into astounding Technicolor pretzels." - April 5, 1999

(Note - in the interest of fairness, we'll look at some DeRogatis linguistic tics and chestnuts soon.)