M83 - Wait
The word epic should be reserved for videos like this.via booooooom.com
Hans Henny Jahnn - diagram of a church organ’s harmonics.
|—||Will Sheff on Townes Van Zandt, "I Live My Broken Dreams"|
I want to be his best friend.
mac demarco test press interview.
i like this guy. new album goes way hard.
Quite Possibly the Very First “Boom” Box?
Patent Drawing for M. Boom’s Music Box, 11/14/1882
Gavin Bryars, “Jesus’ Blood Never Failed Me Yet.”
Bryars: “In 1971, when I lived in London, I was working with a friend, Alan Power, on a film about people living rough in the area around Elephant and Castle and Waterloo Station. In the course of being filmed, some people broke into drunken song — sometimes bits of opera, sometimes sentimental ballads — and one, who in fact did not drink, sang a religious song ‘Jesus’ Blood Never Failed Me Yet’. This was not ultimately used in the film and I was given all the unused sections of tape, including this one.
“When I played it at home, I found that his singing was in tune with my piano, and I improvised a simple accompaniment. I noticed, too, that the first section of the song — 13 bars in length — formed an effective loop which repeated in a slightly unpredictable way. I took the tape loop to Leicester, where I was working in the Fine Art Department, and copied the loop onto a continuous reel of tape, thinking about perhaps adding an orchestrated accompaniment to this. The door of the recording room opened on to one of the large painting studios and I left the tape copying, with the door open, while I went to have a cup of coffee. When I came back I found the normally lively room unnaturally subdued. People were moving about much more slowly than usual and a few were sitting alone, quietly weeping.
“I was puzzled until I realised that the tape was still playing and that they had been overcome by the old man’s singing. This convinced me of the emotional power of the music and of the possibilities offered by adding a simple, though gradually evolving, orchestral accompaniment that respected the tramp’s nobility and simple faith. Although he died before he could hear what I had done with his singing, the piece remains as an eloquent, but understated testimony to his spirit and optimism.”
The Terror Pigeon Dance Revolt! - snakebites!
True heroism is minutes, hours, weeks, year upon year of the quiet, precise, judicious exercise of probity and care — with no one there to see or cheer. This is the world.
David Foster Wallace in The Pale King
Song: “Slow Revolution” by Alexi Murdoch
EXPLOSIONS IN THE SKY : The Only Moment We Were Alone (live)
This is that hairs-on-the-back-of-your-neck-standing-up type of amazing. You better watch all the way to the end.
the end’s the best part!
We live in a beautiful world.
Iannis Xenakis, Study for Terretektorh (glissandi), (1965–66)
There’s a good profile of the band Grizzly Bear by Nitsuh Abebe with the headline-as-question: “Grizzly Bear Members Are Indie-Rock Royalty, But What Does That Buy Them in 2012?” Spoiler: not much. Everyone who’s interested in making a living in the music business and what it means to be “big” in the indie scene should give it a read. (I was a little surprised how much their rundown read like Steve Albini’s classic “some of your friends are already this fucked.”)
What’s truly strange to me is how divorced these guys seem to be from the old-school music notion of writing “a hit” — a song that moves units, yes, but also moves asses (and hearts) — while simultaneously being baffled by why their songs aren’t played on the radio.
“I’ve always thought we write pop music,” Ed Droste says. “I think songs of ours could be on the radio. They’re not.”
Having actually listened to their music (I’m in the “suffocatingly fuss[y]” camp), this is baffling to me.
Jens Lekman’s SUMMER IN 3/4 TIME mix from 2 years ago is still amazing in case you forgot about it
01 Au Revoir Simone – Shadows (Jens Lekman’s remix)
02 Barbara Mason – Oh How It Hurts
03 Thomas Mapfumo – Madiro
04 The Morning Benders – Excuses
05 Dialogue from Gregory’s Girl (1981)
06 Chad & Jeremy – Everyone’s Gone To The Moon
07 Music and dialogue from Day Of The Locust (1975)
08 Eggstone – Birds In Cages
09 Pete Drake – Forever
10 Armando Mantovani – Around the World
11 Dialogue from Puberty Blues (1981)
12 Jane Morgan & the Troubadours – Fascination
13 Armando Trovajoli – L’Amore Dice Ciao
14 Sharon O’Neill – Puberty Blues
15 Like A Sleepy Blue Ocean (remix of John Denver’s “Annie’s Song”)
This is probably my favorite record of the year. I like the guitar tone, how it’s anchored low enough that it combines with the drums and dispatches these kind of insistent, splaying sub-rhythms. Allison Crutchfield, the singer, is the sister of Katie Crutchfield, who also filmed a video for this series. Katie’s video is more mannered, but in an airy, indefinite way, as in the bodiless manners of ghosts. Initially I think this quality issues from the haunting subtraction of ambient noise, the way that, in this cemetery, in the honeyed overgrowth, there’s no animal disquiet. Instead Katie is surrounded by a voided dome that intensifies her shape. (I’ve found that people appear most human in mindless space.) Her songs usually have a talking cadence to them, speeding carfuls of syllables. This one doesn’t. This one stretches, as if remembering a skin. (Later, while writing this, I listen intently and finally notice the insect chirps, a whole lightly-pieced web of them, that decorate her performance, and, nearer the end, her woe of bugs.)
People describe guitars as “crunchy” a lot but I feel the Swearin’ record is one of the word’s more correct applications. It’s as if a body is being tossed against and through it, settling occasionally between ridges. Otherwise I wonder if my enthusiasm for the record is not an indication of its precise appearance in my life. Big guitar records get bigger, acquire totemic weight when you require that they carry you through your bullshit, which they do. They sail you through privately, as if in an extra dimension, which is considerate of them, when all you feel you have to contribute to the physical world is stupid emotion.