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At the risk of starting a pissing contest, I noted the size of Chris Cantalini’s (Gorilla vs Bear) music collection in Muzzle of Bees’ interview today and couldn’t help but wonder…
Any idea how many albums are in your collection?
Probably about 300 on CD, another 100 or so on vinyl, and like 60 GB on my hard drive.
CMG’s collection of year-end lists are awesome, especially the OK Computer top 12, top 8 use of handclaps, and the top 10 worst list ideas. I liked the covers list too, though it probably could be expanded to 25 or 50 even (Modest Mouse’s Santo & Johnny cover would make my list). Did I mention they have a podcast? I must still be on those crazy pills though, because I can’t find an RSS link for the thing.
The new Beck website is up, designed by Hi-ReS. It includes exclusive tracks “Day For Night,” “Sorrow,” and “Premonition,” as well as a whole bunch of great videos. I especially enjoyed the Shynola-directed wireframe odyssey, “E-Pro.”
I was listening to My Morning Jacket’s Z today and was struck by how much “Dondante” sounded like a Radiohead song. Like, isn’t that melody in the beginning lifted from an OK Computer b-side or something? I feel like I’m taking crazy pills. Well reading up on it a bit, Z was produced by John Leckie, who produced The Bends. The kicker to explain the OK Computer connection is that “Dondante” was written in memory of a friend that passed, thus giving it the somber, pained sound that often characterizes late-90s Radiohead.
Loosie, a strange musical-political online publication has a pretty good 3-part interview with MF Doom.
I Miss Pavement. Luckily, I’m not the only one. Broken Social Scene dreamed of Pavement, or at least channeled Pavement guitars in “Ibi Dreams of Pavement” from their new self-titled album. Then there is Federales, a band from New York that has some obvious Pavement influences. “Kansas Winds” has a chorus that is very reminiscent of “Shady Lane.” And you can’t tell me that this track “Careful With That,” by Rademacher doesn’t have some strong Pavement influences in the guitar work and pacing.
In lieu of anything else to post about (I skipped out on an expensive Broken Social Scene show last night to see a film about a German country singer in Jamaica), here’s a bunch of videos.
See related story, photo and video link at brooklynvegan.
Friday night I caught the Autumns at Spaceland, a venue that I really appreciate for its intimacy and smaller social spaces in addition to a great curtain adorned main space. On this night there was a sizeable crowded, a good showing for them, especially given that they played a show at Spaceland last month. Though the Autumns have not been particularly prolific in recent years, their highly regarded debut full length debut ‘Angelpool’ established a dedicated fanbase, especially in Los Angeles, that remains faithful even through the recent lean years of production. It should be noted that the band’s initial decision to sign with Risk Records was an ill-fated one and not along after their second release ‘In the Russet Gold of This Vain Hour’, produced by Simon Raymonde of the Cocteau Twins, the label collapsed and with it much the records distribution. Since then the momentum from the initial albums and ep’s seems to be more inhibiting than invigorating as the band tries to equal the quality of their debut.