So I figure those of you that actually read this thread might appreciate this.
My band recorded an EP this summer that we are releasing on Nov. 2.
This is a song from it:
MP3: The Dive Poets - Austin
I am looking forward to hearing the entire EP Jeff.
Thanks - I will certainly be putting a link to it in here.
Ryan Adams covering one of Hank Williams best songs.
Cross Canadian Ragweed's final show is tonight.
It will be streaming here starting at 8pm CDT: http://knbt.fm/
I'm on pins and needles waiting to hear if I'm getting into Mumford later tonight, so I'm posting one of my favorites:
I have a video on my phone of Rhett Miller of the Old 97s telling me to get better. I was supposed to see them last weekend at a city festival, but my allergies were kicking my ass. A friend was DJing the VIP area and sent me the video. This seemed like the appropriate place to post about it.
My name is Becca. Hi.
I saw this dude open up for Breathe Owl Breathe on Thursday and he had way more of a crowd. Called Little Wings. I had never heard of him/them before but I was talking to some dude during intermission who said they'd been around for about 10 years. I was surprised I hadn't even heard the name before. I was a little bored by his set (it was extremely mellow... needed a better setting for me) but he was WAY better than BOB in hindsight. Ultimately he just made me miss Bon Iver. Someone just posted this song on FB today tho so it was funny to see he's quite established.
*edit - also just read Little Wings was formed in San Luis Obispo. I wonder if he played shows while I went to school there. Too bad I was into the crappy pop punk scene at the time.
Speaking only for myself, there's something about those guys that just a shade too calculated for me to warm to them, and it doesn't help that they've been absolutely inescapable this year.
I think with Florence, it's purely a matter of oversaturation. Aside from playing just about every festival ever conceived by mortal mind, she seems to have some kind of residency in NME's offices, and she's doing an interview on some channel somewhere at any given moment.
Mainly though, her songs just lend themselves really well to both radio and commercial use so they've been worn out. It's eased off a bit now, but it wasn't uncommon to hear three of her songs on three ads in succession, and then whatever show you were watching would probably have a bit of You've Got The Love in it somewhere near the end anyway.
Makes sense. I'm sure the feeling would be mutual if she got that much exposure in the States.
I can imagine Mumford & Sons actually being a ton of fun in a small venue, but something weird has happened and the hype has put them on far bigger stages than they're able to comfortably command.
I honestly think that making yourself a little too available to NME can mean the early death of a very promising career. I don't know how many British - or rather, English - acts have been the toast of that magazine's pages only to collapse under the inevitable backlash when folks start to resent being forcefed The Next Big Thing for a few too many weeks.
M&S played a small venue here a few months ago (350 cap.) and it was sold out forever. I had never heard of them until I had friends asking me if I could hook them up with tickets.
To be fair, this sounds very cool with the singalong and all:
- but I strongly suspect that if that song hadn't been heavily featured in a BBC ad campaign shortly beforehand, without the crowd doing all the work, it would have fallen a lot more flatly. That song aside, their performance just seemed totally lost in such a huge space, at least from where I was sitting in Dublin.
However I loved her album. It was my favorite of 2009. I think it's very deserving and I'm happy for all her success.
Word. I'm already starting to really enjoy her songs again now that the full frontal assault has backed off. She's got an abundance of charisma and an astonishing set of pipes, and like you say, she deserves her success. I'd rather have a dozen more like her than another Lady Gaga.
I'm curious how Mumford hooked up with producer Markus Dravs (Eno, Bjork, Cold Play, and Arcade Fire's last two.) They've had some strong support from the very beginning.
There's a good in-studio session here recorded at The Current, which has been playing Mumford since seeing them at SXSW in 09. The audio has 3 songs and a good interview, including a question about getting so big so fast.
Arcade Fire are managed by Bjork's manager, which is how they ended up working with him. Win recommended him to Chris Martin, which is how that happened. I suspect he ended up with Mumford via The Maccabees somehow, as far as I know the two outfits are friendly. I dunno how the Maccabees managed it, although they are or were a bit better established than Mumford at the time, and the Arcade Fire influence is quite pronounced in their case.
Last edited by MissingPerson; 11-01-2010 at 09:12 AM.