I have to agree. If you're being deliberately provocative, why are you surprised when that provokes a response? I think in some ways it's a response to presumed rejection. There's a lot more space in this article spent discussing Kevin's problems with his fanbase, than the particular merits of his work.
"It's not the fault of the record -- it's the fans. They're just not picking up what I'm sending out".
That's true a lot less often than musicians in Kevin's position believe.
That said, what IS terribly radical or weird (a term he's all too-willing to ascribe to himself) about what Kevin is trying to accomplish here? His music invokes 80s synth and indie music and his lyrics have followed a similar free association/inscrutable style for the past 10 years, heavily reliant on gothic tropes. It's all highly derivative too. I don't need Kevin to tell me who his influences are because they're baldly obvious just by listening to his music. U2. Roxy Music. Oasis. Lennon. Bauhaus. Roxy Music. Bowie.
Unarguably Kevin Max has a voice from the heavens, but I think as a creative artist he hasn't matched that voice. You have to have the basic skills of the pop song down before you can become a successful pop music artist. I don't believe that he has acquired those skills yet. His insecurity over this fact may be driving the persona that's set up as a sort of straw man. He'd rather have criticism focused on his image than his work. This worked-over scandal feels very disingenuous to me.
If he didn't have that original dc Talk fan base (parts of them anyway) he would not be having the success he is having even now. I don't say that as a tool to delegimitize what he's currently doing. It's just true. I don't think his very vocal embarrassment about being associated with the early days of dc Talk evokes the mind of a singular, out-of-the-box iconoclast. It's just demogogy. Isn't it the trendiest thing right now to blast CCM?
Creative Loafing Atlanta
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