I don't know that I posted about it here, but even if I did it deserves to be posted again. This new site, The Talkhouse, features writing and reviews from musicians, and so far it's been great. In particular note for Tom is the fact that Amy Klein has done a few great, thoughtful pieces.
This album is absolutely incredible. I'm not sure if it falls under afrobeat or not, but it's some of the most spacious, hypnotic world music I've ever heard. It's really hard to believe this came out in 1999 and not decades earlier.
I discovered this Boards of Canada Remix of Why?'s "Good Friday" tonight and it is astounding
I live somewhat in the past because the only tv I watch live is news, all the rest is usually vis a via the DVR. So old news from last night, did anyone catch the promo for the show "Super Fun Night" where they used the Get Lucky tune for the music? Those guys are marketing geniuses imo ... cr****
Have Another Hit Of Colorado Sunshine
I will admit I am not a good judge of which band is "bigger" than another band. But I was quite surprised to see this:
The Hold Steady opening for the Gaslight Anthem? really?
non sunt in coeli, quia fvccant vvivys of heli
The last two Hold Steady albums have been dreadful. Actually I'd say they've all been fairly poor since Separation Sunday. The Gaslight Anthem have only been getting better over that time.
Also the Gaslight Anthem have 445k listeners on Last.fm. The Hold Steady have 386k.
Spotify shows near 3.7M listeners for "45" compared to 362k for "Stuck Between Stations".
I am not sure when it happened either but, yeah, it makes a lot of sense.
Also Craig shows up at a lot of NYC shows. He was at that Our Band Could Be Your Life show (playing the policeman for Titus' take on the Replacements), he has shown up with the Mountain Goats at least once, etc. Him playing isn't a big deal.
2014 Collaborative Playlist on Spotify.
The Gaslight album got really huge. They had quite a bit of radio play in L.A. for a while.
but i totally disagree about The Hold Steady's quality - i LOVE Stay Positive, it's such a great album, especially "Sequestered In Memphis." I thought Heaven is Whenever was pretty good too.
Now here's a piece of confusing music news
So, Ryan Adams and Fall Out Boy are making punk rock together
Last edited by Jordanp; 07-17-2013 at 07:51 PM.
Certain songs they get so scratched into our souls
Any of you guys able to figure who the special guest is?
St. Vincent @ The Fox 03/22/14
Kraftwerk @ The Fox 03/23/14
Trentemoller @ Mezzanine 04/06/14
The Knife @ The Fox 04/15/14
Factory Floor @ The Independent 04/16/14
The Afghan Whigs @ Slim's 04/17/14
Simian Mobile Disco, Earth @ Pappy and Harriet's 04/26/15
Austin Psych Fest @ Carson Creek Ranch 05/02-04/14
The Decemberist @ Crystal Ballroom 05/30/14
Nick Cave and the Bad Seeds @ The Warfield 07/07/14
when I google search the naked and famous, the little band bio that google shows describes them as a "New Zealand post-punk revival band from Auckland".
listening to them, is this really what post-punk revival means? maybe New Zealand had a unique kind of post-punk that is being revived here...
New Zealand post-punk, in general, was better than UK or US post-punk. One man's opinion, but their post punk took the Joy Division sound to extremes or invented lo-fi guitar pop. So unless the Naked and Famous are an awesome act repping the Clean, the Chills, This Kind of Punishment, the Dead C or their ilk, they can fuck themselves in their ignorant asses.
to be fair, it's google that calls them that. I'm not sure whether the band make such a claim.
It says that on Wikipedia as well, along with synthpop and indie.
Ahh, well, at least initially New Wave was considered in the same vein as Post-Punk, as that Simon Reynolds book, Rip it Up and Start Again, readily illustrates. But yeah, there's no blaming New Zealand for them, as their independent music scene is much better than that.
To the point that i personally distinguish New Wave and synthpop as 2 different things, which started when someone described Joe Jackson's "I'm The Man" as new wave.
I actually like The Naked and The Famous, though this resembles post punk in no way, shape, nor form (though it's a fucking catchy song)
It's HIGHLY possible they have earlier work that we haven't been exposed to that is "post punk revival" though, and they ended up totally changing their sound.
I mean, if you look at Killing Joke's wikipedia, the first thing it says is "Killing Joke are an English post-punk band formed in October 1978 in Notting Hill, London, England," and they have albums that are as far removed from post punk as this (and it's shown as such in the wiki genre colum: Post-punk, gothic rock, electronic, industrial, industrial rock,industrial metal).
Man, sometimes i forget how actually amazing Jawbreaker was, and then I listen to some Jawbreaker, and I'm like...."OH YEAH they were legitimately amazing."
discussion about defining new wave a few months ago.
The post punk label is difficult because it overlaps the period of "new wave" as distinct from the largely synth-based stuff that followed it (which people also call "new wave" as well). I mean, I say Elvis Costello and Talking Heads are new wave, and Wire and Gang of Four are post punk, and that distinction sounds right, but I have no idea why.
So I found this gem from the 80's the other day. The rest of the album isn't as good but this song DESERVES A LISTEN. Pure psych bliss
1. Motown influenced pop
2. Dissonant atonal noise.
Axiom 2: Early NYC punk and the music associated with it developed in 3 distinct sounds:
1. The accessibly modern themes of Harry Toledo, Blondie, Shirts, probably beginning with Talking Heads '77
2. The garage and hardcore sounds of the Ramons, Heartbreakers etc.
3. The grandiose experimentalism of Television, Patti Smith etc.
Axiom 3: Post-Punk, New Wave, and No Wave are all valid and distinguishable terms, each taking a greater influence from one of earlier sounds than the others.
I not know, I took a shot
Sonic Youth, Half Jananese <- DNA, Teenage Jesus, Theoretical Girls <- Suicide -> Talking Heads -> Echo and the Bunnymen
Last edited by VigoTheCarpathian; 08-02-2013 at 11:09 PM.
Fuck Death Grips.
I've not ever considered myself much a fan of their stuff, but they've squandered any good will I may have had for them with a year's worth of childish behavior, first with their label and then with their fans. The label thing wasn't punk rock; it was just stupid. What's even more stupid is just not showing up to a show that your fans paid for and that you booked. Or cancelling a tour because you want to record another album. Pricks.
I'm so used to listening to the Beach Boys from Pet Sounds onward, and it's been so entertaining and joyful listening to Endless Summer tonight, as inspired by "Help Me, Rhonda" playing over the closing credits of Mud, which people should watch.
Dolly Parton's "Jolene" slowed down to 33 rpm:
3/8: Voices from the Lake LIVE @ Monarch
3/17: Forest Swords @ The Independent
3/19: Tycho @ The Catalyst
3/22: St. Vincent @ The Fox
3/22: Dance Mania & Mister Saturday Night @ PW
3/23: Kraftwerk @ The Fox
4/6: Trentemoller @ Mezzanine
4/15: The Knife @ The Fox
4/16: Factory Floor @ The Independent
4/17: The Afghan Whigs @ Slim's
4/26: Simian Mobile Disco, Earth @ Pappy and Harriet's
5/2-5/4: Austin Psych Fest @ Carson Creek Ranch
The VMA'S don't seem to be pushing DP very much. I am sort of surprised... cr*****
Have Another Hit Of Colorado Sunshine
This whole, "We wouldn't be shit without the fans," is total artistic submission. They wouldn't be rich and doing good blow without the fans. They'd have to work, like the fans, and create more opportunity for fans to become someone without the fans. Do you see what I'm getting at here? Your war cry is sounding a lot like, "Fuck Artists! I want a show regardless!," when, if you were any kind of fan of art itself, you would realize the potential of the move... but what do I know, right?