The Story So Far
Pavement started out in 1989 as a two-piece consisting of Stephen Malkmus and Scott Kannberg. Malkmus had played with David Berman of Silver Jews fame, while at school in Virginia, before relocating to Stockton, California. Outside of their home turf, Malkmus and Kannberg were known only as 'S.M.' and 'Spiral Stairs.'

During the course of their first singles, drummer Gary Young was recruited, and the blasts of static were complemented by odd fits of percussion. The debut seven-inch, "Slay Tracks," started an all-consuming buzz at college stations and neo-bohemian gatherings. This was followed by the "Demolition Plot J-7" seven-inch (1990) and "Perfect Sound Forever" 10-inch (1991), whose titles only hinted at the cryptic nature of this new indie behemoth.

By the time they released debut album Slanted and Enchanted and EP Watery, Domestic in 1992, the hype was billowing out everywhere, and "Summer Babe" became one of the indie-rock-anthems-of-all-time. As the rush of air seeped into Matador's balloon, Drag City wised up and released a collection of the early tracks, Westing (By Musket and Sextant), in 1993. Meanwhile, Gary Young was excused, being replaced by Steve West, and the Pavement sound was further fleshed out by Mark Ibold on drums and Bob Nastanovich on percussion and assorted screams.

1994 gave birth to their second album, the '70s masterpiece Crooked Rain, Crooked Rain, complete with hit single "Cut Your Hair." Not only were they the idols of a legion of indie nerds, but now they had grabbed the attention of the Lollapalooza gang. This was followed by Wowee Zowee (1995) which, despite gems like "We Dance" and "Rattled By La Rush," for all intents and purposes went down like a lead balloon. Some argue that they were just pushing the deconstrunctionist envelope to its utter limit ("a thoughtful and challenging work, certain to thrill & confound" says Matador), while others argue that it was just a luke-warm record.

The ever-growing flow of Pavement singles continued, joined by the Pacific Trim EP, until the boys polished off a few good old pop songs again for Brighten The Corners (1997). Many raved that it was the best Pavement album in years. It was definitely a much more straight-ahead album than its predecessor, and this trend continued with Terror Twilight, produced by Nigel Godrich (Radiohead's OK Computer, Beck's Mutations).

To close out the millenium, the endless Pavement rumour mill whipped up the gossip that this was Pavement's final twilight, but this seems to be blowing over.

Throughout their ten year career, Pavement have more than anyone represented the quintessence of indie-rock. They willingly tip their hats to the feedback and chaos elements inherited from Sonic Youth, parody the glam rockstar in all of us, champion the lo-fi (most of the time), spin tangled webs of lyrics out of witty, absurd, non-sequiturs, maintain a great sense of humour, and more often than not sing out of tune.

Even if Pavement be dead, Pavement is king - long live Pavement!