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"Washed out need to put some starch in the wash cause this Álbum sounds kinda limp" — Diplo, Twitter
The chillwave backlash was swift and strong, and as its unwitting poster boy, Ernest Greene endured much of the assault. Washed Out's first full-length, Within and Without, was a shamelessly heavy-handed Ben Allen-produced feast of massive chillaxable proportions, but haters assailed an apparent scarcity of substance among the pulsating day-glo grooves. (Fruity Loops and GarageBand does not necessarily a musician make.) And certain stubborn locals weren't so happy about Greene's new label characterizing Washed Out as an "Atlanta band" after his rapid rise through the blogosphere, when in fact the guy hailed from the Georgia National Fair headquarters of Perry, some 100 exits down I-75. I mean, who lives in Perry? It's Middle Georgia. They don't even have a Panera there. Nobody claims Atlanta who ain't from Atlanta! Except for, you know, everyone.
Within and Without not only surpassed expectations, it was a wet slap in chillwave's pimply, pallid face. By liberally borrowing from the darkest jams of 1980s shade pop, and even busting out a synth-less vocal performance, Greene established a depth of musical being that disproved his — and the hypothetical genre's — supposed millennial tunnel vision. And unlike many of his shy bedroom-y contemporaries, Greene has shown no fear of the live show. Washed Out's Atlanta performances, which have spanned clubs, warehouses, and even the Buckhead Theatre, have been among the most well-attended and well-received we've seen over the past couple years. In fact, since Greene's arrival on the local scene, the flourishing electronic community has flown smack-dab onto the collective cultural radar, undoubtedly leading folks to discover electrifying artists they may not have otherwise. The bottom line? We should be proud to claim this talented transplant as one of our own. — Gabe Vodicka
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+1 Mighty High Coup