Archive for March, 2010

I Miss Pepsi Blue: A Chronicle In Improvements

Ah, the ease of being 18.  I’m 25 right now and the growing responsibilities of life have begun to make me lose hair, and what hair I haven’t lost must be turning grey.  I still harbor the same dreams I developed after reading On The Road and Evasion, which provide me comfort when I think about things like China’s growing power, the economy, peak oil, and the fact that I have little interest in ever embarking on a “career.”  But enough of this nonsense, it’s time to get down to what really matters.

I was talking with a girl who went to SXSW this weekend and she was fortunate enough to see one of my favorite bands of the last year, Cymbals Eat Guitars.  When I asked her how packed it was she said that, compared to other shows, there was hardly anybody there.  I couldn’t believe it- how could a band who wrote what was probably the most memorable album of 2009 (Clay Nightingale’s S/T aside) have had such poor attendance?  She told me Surfer Blood was the hot act, a band classified in the same genre/style as Cymbals.  How could that be?  Shouldn’t the hipsters flock to Cymbals considering their album got 0.1 points higher than Surfer Blood on Pitchfork?

I’m sure you guys have heard Cymbals by now, but if you haven’t (and you’ll thank me for this) here’s my second favorite song off the album.  The album opener, my favorite, is a little long and I didn’t want anyone to be reluctant to listen due to time constraints.


Judgement Day, Yeah I’ll take a rain check

We live in a world of unilateral solutions, which often tend to be forced upon more than complex problems. Perhaps these alleged fixes stem from an archaic interpretation of modern events. Regardless there existence still remains, and continues to weave itself through various elements of our environment. One of the aesthetics that tends to take a full sucker punch is music. In the sense that people still try to dissect it with only one incision.
Now on to my point, post-rock as the term has been coined has become somewhat synonymous with this whole one track epic good vs. evil, percussive build-up, explosion, followed by ambient chiming guitars or whatever to sustain the song – type of music, but it’s really much more than that. First of all though, I must say that the nomenclature seems to be quite flawed in the description it conveys. Standard rock-n-roll is for the most part dead, it’s influenced other preceding movements and yes has been revived in a few cases. However it’s still plain to see that it’s glory days lay at rest in the social climate of the 60s and 70s. So to call something post-rock purely based upon the fact that standard 20th century instruments such as guitar, bass, and drums are included doesn’t really hold much justification.
So with that mostly gratuitous spiel out of the way, here’s a couple notable tracks from Godspeed and the sister project A Silver Mt. Zion.

I’ve always liked this track, it’s name seems to fully envelope the mood/ Just comforting and reassuring in nature. It’s a gem.
05 13 Angles Standing Guard ‘Round The Side Of Your Bed
Cool Vid, somewhat repetitive imagery, but wtf the song makes up for it. The violins are intense.

A great track off Godspeed’s ‘Lift Your Skinny Fists Like Antennas to Heaven’
02 – Antennas To Heaven

On the Origin of Songs – Illiterate

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He’s back!

I tried to tell you so

Mark Morrison – Return of the Mack

1 more day, we might make it…

i've never understood the moon car

(young) Gil Scott-Heron – Whitey On the Moon

(old) Gil Scott-Heron – I’m New Here (Smog cover)

New Creed Album Next Tuesday, Leak Below

To be sure, producing ambiguously Christian music is easy for no one.

It’d been years since Jamie had tasted the glory of an audience of thousands cheering on his lyrical genius, and all his new chorus lines originally smacked of pessimism and despair.  Only after 15 months of shuttling children around nursing homes in Geneva did he find the drive to scrape together the next LP’s voice.

After Robb’s pitt bull passed, he decided to purchase home security, consequently selling all of his amps and pedals.  God’s Will, he reasoned, was that this album be acoustic.  Learning to fingerpick wasn’t as easy as Nick Drake’s mushroom trips.

Even though he knew that the bongos offered only so many options, Dirk was in this for the long haul.  Starting with only five minute intervals and building up, anyone can eventually sit indian style for an hour and half, with a brief leg stretch before the encore.

The six-string-acoustic-megaphone bass is the first of its kind, designed by MIT physicists, pro bono.  Each note strikes a different resonance in the cavity, and puts a smile on Kevin’s face.  He knows that this might be the first time a bassist with no amp and not in a mariachi troupe actually had a say in a band’s soundscape.

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Just 2 more days now…

Radiohead – Fog