here is the passage I was looking for. I suggest you read it. This describes exactly my reaction when I heard Necro years ago. Something along the lines of "wow this dude is dope, hes original" to the present day "this dude blows."
Book : Nation Of Rebels
Author : J Heath & A Potter
Pages : 151 - 152
...Take the example of music. Everyone wants to listen to fabulous "underground" bands. As Hal Niedzviecki writes in his lengthly lament on the subject, "we all want to cast off the shackles of TV, or fast food, or prepackaged snacks and predetermined outfits." Yet "in the mediocre world of top-forty crapola, in our made-in-Taiwain-product-ridden universe, there is...precious little room for the individual as anything other than a buyer." And so we strike back against the tyranny of the machine, searching for creativity and expression, fighting back against the "rigid, profit-obsessed market economy that would turn all creative expression into widgets rolling off the assembly line."
What Niedzviecki doesn't notice is that while we may all want to rebel in this way, we can't all succeed. If we all turn our backs on top-forty crapola and start listening to alternative music, then those alternative bands will become the new top forty. This is precisely what happened to Nirvana. Furthermore, given the structure of the music industry, where it costs a lot to produce an album but very little to make additional copies, this is going to be extremely profitable for whomever most people wind up listening to. The idea that the music industry is "rigid" or that it produces "widgets" could appeal only to to someone in the grip of a theory. Has Niedzviecki never heard of Death Row Records? Has he never seen Christina Aguilera's "Dirrty" video? Who's calling who a widget?
Undaunted, Niedzviecki sets off on a quest to find the holy grail of alternative music - the sound that can't be assimilated. He finds it, at least temporarily, in a Toronto band called Braino. They become the heroes of his narrative, with their "muted howl of rebellion," their "mournful, elegiac articulation of inner dispair." He describes with evident satisfaction the band's performance at their CD launch party, as they play "staccato blasts that unnerve the scattered chattering poseurs and scare the unprepared."
Reading between the lines of Niedzviecki account, however, we are able to acquire some further intelligence about why Braino is so unco-obtable. It quickly becomes apparent that Braino will never be mainstream because they ****. Their music is unlistenable. This is intimated at the outset of his narrative, when Niedzviecki describes the Braino sound as "a self-concious, ironic melange of avant-jazz, rock, punk, soundtrack, and barbershop." This does not sound promising. He later describes Braino as making a "big awkward, painful noise." Later he simply admits, "It's annoying music. You want to walk out."
So there you have it. In an effort to avoid the tyranny of mass society, the rebel finds himself in a half-empty bar listening to music that he himself acknowledges to be "annoying," feeling superior to the poseurs. (The presence of Niedzviecki account is essential. Taste involves distinction, and distinction involves separating "us"--those who are in the know--from "them"--those who serve as the object of scorn and contempt. Poseurs are to cool people the equivalent of Jews or Negroes caught trying to "pass" in the '50's.)
...it goes on and on but i dont feel like typing anymore.