Unorthodox 90s rockers make for a creative documentary in Pavements

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I must confess, when it comes to music, I’m more of a beginner compared to movies. In the world of films, I’ve delved into masterpieces like Jean-Luc Godard’s Histoire(s) du cinéma. Conversely, my musical knowledge is limited; it wasn’t until a few years ago that I discovered “Lost in the Supermarket” was originally a Clash song and not an original Ben Folds composition for the Over the Hedge soundtrack. My lack of knowledge might be alarming to music enthusiasts (and rightfully so). Nevertheless, it makes exploring new music documentaries quite intriguing. For instance, Alex Rossy Perry’s Pavements, a tribute to the band Pavement, introduced my ears to an array of quirky, novel tunes and my eyes to an unusual way of narrating a band’s storyline.

Tim Heidecker describes Pavement as a laid-back, unconventional version of The Rolling Stones for the 90s. The band’s song titles from albums like “Wowee Zowee” and “Crooked Rain, Crooked Rain” offer a glimpse into their complex, eccentric creative minds. Titles such as “5-4=Unity,” “Heaven Is a Truck,” and “Father to a Sister of Thought” are intriguing and prompt questions like “what does that mean?” The band members, including lead vocalist Stephen Malkmus, guitarist Scott Kannberg, and bassist Mark Ibold, didn’t seek mainstream acceptance. Instead, their music was unique and raw, not intended to be used in AT&T advertisements.

In the early 2020s, Perry’s “Pavements” narrative takes off with multiple tributes to the band underway simultaneously. A museum filled with artifacts from their peak period is set to open in Los Angeles. Simultaneously, a stage musical titled “Slanted! Enchanted! A Pavement Musical” is being rehearsed in New York City. Additionally, a music biopic starring Joe Keery as Malkmus prepares for production, with a wink to the genre while maintaining a serious tone on-screen. Amidst these unfolding events, readers are also treated to stories about Pavement’s early days as a band.

In a similar vein as Robert Downey Jr.’s character Kirk Lazarus in “Tropic Thunder,” Keery’s portrayal of himself in “Pavements” serves as a sharp critique of method actors. Whereas Downey Jr. poked fun at 2000s actors like Russell Crowe and Sean Penn, Keery’s performance brings to mind contemporary figures such as Jared Leto, Austin Butler’s portrayal of Elvis Presley, and Timothee Chalamet’s version of Bob Dylan. This “Stranger Things” alum is so committed to delivering an accurate imitation of this musician that he even manages to obtain a photograph of Malkmus’s tongue. How else could he aim for authenticity in the vocals? After all, Pavement holds significance for many, and Keery intends to respect the band’s legacy carefully.

In Keery’s excessive portrayal of Malkmus, lies the biggest irony and central theme of the film “Pavements”. The movie revolves around individuals attributing significant importance to anything related to Pavement. Posters, doors, dirt-stained shirts – any item linked with the band is now considered a priceless artifact deserving of museum conservation. The fictional in-universe biopic emphasizes imbuing profound meaning into every encounter between Pavement’s members and Malkmus’ slacker uprising against Malkmus’ chaotic whims. However, every archival footage of the band from the late 80s and 90s portrays this whole narrative as hastily put together. They were simply awkward misfits expelled from other bands who enjoyed each other’s company and produced music that struck a chord with the wider audience.

The disparity between this group’s legendary image and their casual demeanor is humorously illustrated in a late Pavement scene, featuring two portrayals of Pavement reacting to a botched early 90s Lollapalooza performance. One representation mirrors the plot from the Keery music biopic. In this scene, the Pavement members, except for Malkmus who remains detached, have an intense reaction (almost causing a split) when mud is hurled at them. Perry skillfully captures the essence of Bohemian Rhapsody and its remixes, so he knows exactly when to insert scenes like the usually indifferent Malkmus showing emotion.

Alongside the freshly captured footage, you’ll find historical videos of Pavement’s authentic band members shaking off their muddy attire, playfully frolicking in a dressing room, and entertaining themselves with a reflective mirror. A clean tribute to Pavement portrays them undergoing a neat awakening following relentless jeers and stone-throwing. However, the truth is that they simply continued to fool around and cherish each other’s company. The grandiose portrayal of many music biopics is shattered in these discordant scenes. Artists who shaped a generation can, in fact, be boisterous jesters.

Pavement isn’t intending to belittle those who find deep significance in their songs, nor does it aim to undermine the artistic abilities of its members. Instead, it invites viewers to ponder the fact that things we hold in high regard often have modest beginnings. For example, a door that seems crucial to Kannberg’s legacy might have been just an everyday object this guitarist walked past decades ago. This project encourages audiences to view artists not as figures on pedestals or characters in neatly-packaged biographies, but as ordinary people. Footage of Malkmus and his band preparing for a reunion tour, for instance, depicts this lead vocalist speaking candidly about his vulnerabilities.

On the opening night of the Pavement museum, Malkmus expresses his concern that this event solidifies their band as something associated with old age. After all, aren’t artifacts from older generations typically displayed in museums? Despite their fame, they appear more like everyday, apprehensive men rather than the glamorized rock stars portrayed by John Mulaney, who seems to have the power to conjure Diet Coke cans out of thin air.

The depiction of Pavement’s human side (often humorously juxtaposed against the glitzy, exaggerated portrayals of music biopics) is a captivating blend. It coexists with poignant representations of how their unusual music has resonated and impacted people in today’s world. Their lyrics, which once exuded an “I don’t care” attitude, have now inspired creative works brimming with artistic fervor, like the musical Slanted! Enchanted! A Pavement Musical.

This documentary, titled “Pavements,” does not delve into extensive discussions about why the band is significant or groundbreaking. Instead, it provides brief interviews where people praise the innovative instrumental arrangements and rebellious lyrical themes in their songs. Primarily, it’s a cinematic exploration of the human side of the musicians who famously disrupted The Tonight Show with Jay Leno. Perry’s creative and enthusiastic analysis of the band (and their diverse artistic impact) falls short of masterpieces like “Anvil! The Story of Anvil“. Although some parts may be more engaging to analyze than to watch, as a music novice, “Pavements” still left me saying “wowee zowee” quite often.

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2025-06-04 17:15