"Read the Metro section, read the metro section..." - Silver Jews
[Sick Day Bonus Post/Pope Death Watch]
Earlier this week we Bostonites had the opportunity to catch a theatrical showing of the new Morrissey DVD. Clicky Clicky dutifully skipped it in favor of a quiet evening at home, but you can get a full rundown over at Bradley's Almanac.
Chromewaves shocks us by admitting never having listened to the Archers of Loaf, but returns promptly to our good graces by linking us to this AOL tribute site that we'd never seen before. Includes mucho live bootlegs for tradeseys.
If you can read, you can read an old (although we don't know how old, it is around the time of the release of Precollections) Magnet inteview with Kurt Heasley of the Lilys here. It is particularly interesting in that it captures and discusses with Heasley the crazy leaps and bounds his mind makes. The interview also includes the outlandish Lilys member-count: the band, according to Heasley at the time of the interview, has had 63 members. That must be approaching Menudo-ish proportions, no?
That is all.
April 1, 2005
March 31, 2005
"It's just that I said to myself that I'd get myself home on my own." - The Halo Bit.
Because we just picked up their sole full-length on the cheap, we've been thinking about The Halo Bit, the mid-'90s indie rock band fronted by Small Factory's Alex Kemp. Mostly what we've been thinking about is how we've given the record, Gravity... (Is The Force That Always Drags You Down), short shrift since it came out 11 years ago. The record closes with the band's best song, "W/ Sarah," which is a simply superlative, understated break-up song. The only Halo Bit songs that come close to being as good as that one are the three the band released on their earlier "Stay Away For A While" 7" [Spin-Art 12], which we've discussed here previously. There is an Indie List review of The Halo Bit playing a Studio Red benefit here, and an Indie List review of the "Stay Away for Awhile" single here. So the question is why, after releasing a remarkable three song 7", could Kemp only coax one more really great song under the Halo Bit shingle?
The answer is simple: we were wrong. Sure, there aren't any other truly amazing songs on Gravity. But there are a few good ones, including "Kiss for the One," "Birds Not Flying" and "In Case She Spaces." So that's that. No great insight, just deeper consideration for a record we didn't wholly appreciate on the first go 'round. To make this worth the effort of reading, here is "Kiss for the One." Enjoy.
----------------------------------------------------
Follow-up: There is good news and bad news coming out of the search for Low Numbers/Numbers/Hi-Soft recordings. The bad news is that Insound can no longer sell you the "Legion of Boom" compilation on I Spy Records because it is out of print. The good news is that you can download the Numbers song from the comp, "Junior Mornings," for free from Insound. Just go to the web site, click the MP3 button on the nav bar, and search for Numbers. The song is a bit of a departure from the jerky new wave sound of "Entertain Good Taste," and is more of a simple electronic bleeper with Notwist-ish vocals.
You all know that guy who's always at the show, no matter what show, what night, what club? Here in Cambridge, at least a couple years ago, it was that really tall skinny dood with the straight, long hair and tinted eyeglasses. No matter who your guy is, nobody is more hardcore than Indie Rock Kyle, who I had forgotten all about until I saw him on Philebrity the other day. Kyle looks pretty upstanding now, but if he ever runs for office I have a couple snapshots of him wearing a dress at a fab coctail party in Princeton about 10 years ago. Anyway, it would seem Indie Rock Kyle, now apparently "Wild Kyle," is still on the scene in Philly. Good on ye, I.R.K.
Clicky Clicky has been beset with extreme allergies, exacerbated by taking the exact opposite 24-hour allergy remedy as the one we should have taken at 8AM today. Which means we can't take anything else until 8 AM tomorrow. After an excruciating day cite checking a memo, the current plan is three-day weekend. Yee-haw.
That is all.
Because we just picked up their sole full-length on the cheap, we've been thinking about The Halo Bit, the mid-'90s indie rock band fronted by Small Factory's Alex Kemp. Mostly what we've been thinking about is how we've given the record, Gravity... (Is The Force That Always Drags You Down), short shrift since it came out 11 years ago. The record closes with the band's best song, "W/ Sarah," which is a simply superlative, understated break-up song. The only Halo Bit songs that come close to being as good as that one are the three the band released on their earlier "Stay Away For A While" 7" [Spin-Art 12], which we've discussed here previously. There is an Indie List review of The Halo Bit playing a Studio Red benefit here, and an Indie List review of the "Stay Away for Awhile" single here. So the question is why, after releasing a remarkable three song 7", could Kemp only coax one more really great song under the Halo Bit shingle?
The answer is simple: we were wrong. Sure, there aren't any other truly amazing songs on Gravity. But there are a few good ones, including "Kiss for the One," "Birds Not Flying" and "In Case She Spaces." So that's that. No great insight, just deeper consideration for a record we didn't wholly appreciate on the first go 'round. To make this worth the effort of reading, here is "Kiss for the One." Enjoy.
----------------------------------------------------
Follow-up: There is good news and bad news coming out of the search for Low Numbers/Numbers/Hi-Soft recordings. The bad news is that Insound can no longer sell you the "Legion of Boom" compilation on I Spy Records because it is out of print. The good news is that you can download the Numbers song from the comp, "Junior Mornings," for free from Insound. Just go to the web site, click the MP3 button on the nav bar, and search for Numbers. The song is a bit of a departure from the jerky new wave sound of "Entertain Good Taste," and is more of a simple electronic bleeper with Notwist-ish vocals.
You all know that guy who's always at the show, no matter what show, what night, what club? Here in Cambridge, at least a couple years ago, it was that really tall skinny dood with the straight, long hair and tinted eyeglasses. No matter who your guy is, nobody is more hardcore than Indie Rock Kyle, who I had forgotten all about until I saw him on Philebrity the other day. Kyle looks pretty upstanding now, but if he ever runs for office I have a couple snapshots of him wearing a dress at a fab coctail party in Princeton about 10 years ago. Anyway, it would seem Indie Rock Kyle, now apparently "Wild Kyle," is still on the scene in Philly. Good on ye, I.R.K.
Clicky Clicky has been beset with extreme allergies, exacerbated by taking the exact opposite 24-hour allergy remedy as the one we should have taken at 8AM today. Which means we can't take anything else until 8 AM tomorrow. After an excruciating day cite checking a memo, the current plan is three-day weekend. Yee-haw.
That is all.
March 29, 2005
"Well if this song makes your day..." - Teenage Fanclub.
The inimitable Blogger vaporized a lengthy post we contrived last night, a post that sought to illuminate the mystery that is Philadelphia's erstwhile indie rock wunderkinds The Low Numbers. As luck would have it, the hardship inspired us to do something we hadn't done for almost two years -- actual reporting. And that reporting yielded indie rock fruit, people. As usual, it seems all musical roads in Philadelphia lead to the Lilys. But that comes later.
We saw The Low Numbers about eight years ago on a bill wedged between Sonny Sixkiller and Storm and Stress at the Balcony. Or at least that is how we remember it. Anyway, The Low Numbers killed, delivering a captivating set of guitar/bass/organ/drums indie rock that was both dynamic and eery. The music sounded like a sinister twin of Rocketship, and the band even had a look that was great. We don't usually go in for a look, but we were totally buying it that night. Anyway, not too long after we vacated Philadelphia, but the Low Numbers performance stuck with us. We periodically scoured the Internets for information. We turned up the amazing song "Entertain Good Taste," which was released on the mix accompanying Chunklet #14 and is still available for download here, but that just made us all the more hungry for Low Numbers info.
Recently our operative BlastsOfStatic took our quest to ILM, where he turned up the following information: The Low Numbers eventually mutated into a new band called the Hi-Soft, who have a song on a Philly compilation called Hoags. Last night, armed with that information we returned to our old friend Google and struck gold -- a Philly blog that has podcasts that claim to include songs by Hi-Soft. We took a chance and emailed someone apparently affiliated with the band, and turned up being computer screen to computer screen with the bassist for Hi-Soft, a nice person named Jesse. So here comes the payoff.
The Low Numbers were the brainchild of songwriter Gerhardt Koerner, who put the act together whilst in college. Two original members left the band for grad school, and after several more line-up changes Hi-Soft formed. Somewhere between The Low Numbers and Hi-Soft the band was known simply as Numbers (oh sure, now that we know all this, it is easy to turn up good info, like this feature in Philadelphia Weekly), not the same Numbers as the San Francisco-based neo-No Wave act that had that song "Disease" a couple years back. Anyhow, our protagonist Jesse joined in the fray as the bassist for Numbers, and as noted above continues to play in Hi-Soft. Jesse reports that, like seemingly every musician in Philly that hasn't played with the Lefty's Deceiver guys at some point, Gerhardt and drummer Steve Keller did a stint with the Lilys (the list of people who have been a Lily is quite long -- an attempt at cataloguing all of the members is made here at this excellent Lilys fan site) around the time of 2003's Precollections record. The exciting news is that Hi-Soft intends to release an EP this spring on the Chocolate Hearts label and support the release with some shows and a web site.
Finally, just to really nerd out on you, here is the discography of Low Numbers, Numbers and Hi-Soft stuff. Alas, I spent a few minutes earlier trying to find the 7 inches listed below for purchase, but came up empty:
--------------------------------------------------------------------
Speaking of old music, maybe we are getting on in years here, but it is nice to have something that can evoke the feelings of being a dumb lovelorn teenaged kid. We here at Clicky Clicky find that nothing really brings on adolescent nostalgia like New Order's "Leave Me Alone," from their 1983 full-length masterwork Power, Corruption & Lies. Make a point to dig out your cassette sometime soon.
Scenestars has a nice little blurb about Teenage Fanclub and a link to a new tune. We don't care what anyone says, "The Concept" and "Star Sign" are superlative songs and the rest of Bandwagonesque could be filled with the sounds of cows standing and it would still be an awesome record based on the strength of those two songs alone. So there.
Oh yeah, if you haven't already turned up the Radiohead songs everyone is going nuts about, perhaps there is something of interest to you here.
That is all.
The inimitable Blogger vaporized a lengthy post we contrived last night, a post that sought to illuminate the mystery that is Philadelphia's erstwhile indie rock wunderkinds The Low Numbers. As luck would have it, the hardship inspired us to do something we hadn't done for almost two years -- actual reporting. And that reporting yielded indie rock fruit, people. As usual, it seems all musical roads in Philadelphia lead to the Lilys. But that comes later.
We saw The Low Numbers about eight years ago on a bill wedged between Sonny Sixkiller and Storm and Stress at the Balcony. Or at least that is how we remember it. Anyway, The Low Numbers killed, delivering a captivating set of guitar/bass/organ/drums indie rock that was both dynamic and eery. The music sounded like a sinister twin of Rocketship, and the band even had a look that was great. We don't usually go in for a look, but we were totally buying it that night. Anyway, not too long after we vacated Philadelphia, but the Low Numbers performance stuck with us. We periodically scoured the Internets for information. We turned up the amazing song "Entertain Good Taste," which was released on the mix accompanying Chunklet #14 and is still available for download here, but that just made us all the more hungry for Low Numbers info.
Recently our operative BlastsOfStatic took our quest to ILM, where he turned up the following information: The Low Numbers eventually mutated into a new band called the Hi-Soft, who have a song on a Philly compilation called Hoags. Last night, armed with that information we returned to our old friend Google and struck gold -- a Philly blog that has podcasts that claim to include songs by Hi-Soft. We took a chance and emailed someone apparently affiliated with the band, and turned up being computer screen to computer screen with the bassist for Hi-Soft, a nice person named Jesse. So here comes the payoff.
The Low Numbers were the brainchild of songwriter Gerhardt Koerner, who put the act together whilst in college. Two original members left the band for grad school, and after several more line-up changes Hi-Soft formed. Somewhere between The Low Numbers and Hi-Soft the band was known simply as Numbers (oh sure, now that we know all this, it is easy to turn up good info, like this feature in Philadelphia Weekly), not the same Numbers as the San Francisco-based neo-No Wave act that had that song "Disease" a couple years back. Anyhow, our protagonist Jesse joined in the fray as the bassist for Numbers, and as noted above continues to play in Hi-Soft. Jesse reports that, like seemingly every musician in Philly that hasn't played with the Lefty's Deceiver guys at some point, Gerhardt and drummer Steve Keller did a stint with the Lilys (the list of people who have been a Lily is quite long -- an attempt at cataloguing all of the members is made here at this excellent Lilys fan site) around the time of 2003's Precollections record. The exciting news is that Hi-Soft intends to release an EP this spring on the Chocolate Hearts label and support the release with some shows and a web site.
Finally, just to really nerd out on you, here is the discography of Low Numbers, Numbers and Hi-Soft stuff. Alas, I spent a few minutes earlier trying to find the 7 inches listed below for purchase, but came up empty:
1. Low Numbers - Telekom/ Josef Albers 7" on Numeric (some still available).
2. V/A - Legion of Boom, Philadelphia Pop Comp, vol. 1 on iSPY Records.
Numbers track is "Junior Mornings" Available at www.insound.com
3. Numbers - What Good Girls are Good For/Sunlight Over Detroit 7" on Roof Rack Records.
4. V/A - Hoags: A Philadelphia Compilation on Hot Dog City Records.
Hi-Soft track is "Faith" also available at www.insound.com
5. Forthcoming CD ep on Chocolate Hearts.
--------------------------------------------------------------------
Speaking of old music, maybe we are getting on in years here, but it is nice to have something that can evoke the feelings of being a dumb lovelorn teenaged kid. We here at Clicky Clicky find that nothing really brings on adolescent nostalgia like New Order's "Leave Me Alone," from their 1983 full-length masterwork Power, Corruption & Lies. Make a point to dig out your cassette sometime soon.
Scenestars has a nice little blurb about Teenage Fanclub and a link to a new tune. We don't care what anyone says, "The Concept" and "Star Sign" are superlative songs and the rest of Bandwagonesque could be filled with the sounds of cows standing and it would still be an awesome record based on the strength of those two songs alone. So there.
Oh yeah, if you haven't already turned up the Radiohead songs everyone is going nuts about, perhaps there is something of interest to you here.
That is all.
March 27, 2005
"Don't feel sorry for the protagonist, he's just down on his luck." - Uzi & Ari.
Admin: We've updated the links and blog roll and whizzutnot, so look right. Take special note of the Tuning blog. The Google indicates that he's been linking to us for a while, and we had no idea. So thanks Mr. Tuning. Also, we tried to change the overall width of Clicky Clicky, but were stymied by the grey line that encircles the box surrounding this text you are reading. And laziness. Perhaps we will persevere another time.
Reader #6 kindly extended permission to post some of the Wendyfix he sent along recently, so here is the song "Forward + Upward (Ridge)." This is the song that really sticks to your ribs longest when you first hear the set of later King Size demos the trio did. Which is notable if only because when we originally got the stuff on cassette we think it was sequenced last, meaning every other song had its way with you before this one. But anyway, there is something in the main riff and dense chords in the chorus of this song that, as H-Dawg from Accounts Receivable once noted about the title track to ...AYWKUBTTOD's Source Tags & Codes, just sounds like an old friend the first time you hear it. We once saw a large-scale painting of a sort of post-industrial, Bosch-ian landscape with a lot of reds in it in Reader #6's studio, and we've always equated that with this song due to the lyrics. There is likely no actual association, but what the hell, that is what we think of, besides some mythical Evanston where the song was probably written.
So we did the right thing and "supported the scene" by purchasing the Uzi & Ari record at the behest of Music.For-Robots. It is a really solid record of big-guitar indie rock. We'd like to believe that it is the beginning of a new trend toward the sounds of the early '90s, but we can't really back that up. What we do know is that M.F-R's likening Uzi & Ari to Haywood may not be the most apt comparison. U&A have more sprawling and dense compositions and somewhat more twee vocal delivery that suggests more a mix of Saturnine 60 (We don't care that you dropped the 60 from your name, that is how we will always remember you) and Spent (drinking and rebellion, indeed, good sirs) and Seam. So there. On the whole, however, the eight-song set is rock solid. There is one sort of trite lyrical couplet that jumps out at me every time we hear it, but we learned a long ago as a songwriter that you have to be true to the song, even if it leaves you a little more wide open in the end than you'd like to be.
COming Up: Thinking about The Halo Bit; the mysterious Low Numbers.
That is all.
Admin: We've updated the links and blog roll and whizzutnot, so look right. Take special note of the Tuning blog. The Google indicates that he's been linking to us for a while, and we had no idea. So thanks Mr. Tuning. Also, we tried to change the overall width of Clicky Clicky, but were stymied by the grey line that encircles the box surrounding this text you are reading. And laziness. Perhaps we will persevere another time.
Reader #6 kindly extended permission to post some of the Wendyfix he sent along recently, so here is the song "Forward + Upward (Ridge)." This is the song that really sticks to your ribs longest when you first hear the set of later King Size demos the trio did. Which is notable if only because when we originally got the stuff on cassette we think it was sequenced last, meaning every other song had its way with you before this one. But anyway, there is something in the main riff and dense chords in the chorus of this song that, as H-Dawg from Accounts Receivable once noted about the title track to ...AYWKUBTTOD's Source Tags & Codes, just sounds like an old friend the first time you hear it. We once saw a large-scale painting of a sort of post-industrial, Bosch-ian landscape with a lot of reds in it in Reader #6's studio, and we've always equated that with this song due to the lyrics. There is likely no actual association, but what the hell, that is what we think of, besides some mythical Evanston where the song was probably written.
So we did the right thing and "supported the scene" by purchasing the Uzi & Ari record at the behest of Music.For-Robots. It is a really solid record of big-guitar indie rock. We'd like to believe that it is the beginning of a new trend toward the sounds of the early '90s, but we can't really back that up. What we do know is that M.F-R's likening Uzi & Ari to Haywood may not be the most apt comparison. U&A have more sprawling and dense compositions and somewhat more twee vocal delivery that suggests more a mix of Saturnine 60 (We don't care that you dropped the 60 from your name, that is how we will always remember you) and Spent (drinking and rebellion, indeed, good sirs) and Seam. So there. On the whole, however, the eight-song set is rock solid. There is one sort of trite lyrical couplet that jumps out at me every time we hear it, but we learned a long ago as a songwriter that you have to be true to the song, even if it leaves you a little more wide open in the end than you'd like to be.
COming Up: Thinking about The Halo Bit; the mysterious Low Numbers.
That is all.
March 24, 2005
"Touch each other in black and white - go!" - The Futureheads
Fluxblog rightfully sings the praises of Yo La Tengo's "Tom Courtenay," and offers the song as a download. For a long time, this was my favorite YLT jam. That was, until I got thoroughly hooked on "Blue Line Swinger," which is, of course, the best YLT jam. I have glanced at the track list for the new YLT comp that is coming out shortly and I don’t see a compelling reason to buy it. Perhaps I can be convinced (Doctor?). But I have most of the material it covers, and if anything, it makes me want to get a CD copy of "Genius+Love=Yo La Tengo" to replace my cassette dub, and which covers the less electric period of YLT that I don't know too much about. [YLT factoid: The Barnabys, later just Barnabys, long since disbanded, were originally called "Barnaby, Hardly Working," named for the YLT song of the same name.]
SVC has a neat post devoted to King Tubby, and the blog hints more dub posts are in the offing. Nothing sounds better in the early summer than dub music turned up really loud, preferably on the porch, late afternoon, drinks and smokes at the ready. Unfortunately it is only early spring. And, of course, no one smokes anymore. But it is the thought that counts, right? [Clicky Clicky factoid: one of the multitude of nicknames my older brothers had for me when I was a kid was Tubby. Not that I was Tubby. I guess that was the joke?]
Spending the night playing with my new external soundcard.
That is all.
Fluxblog rightfully sings the praises of Yo La Tengo's "Tom Courtenay," and offers the song as a download. For a long time, this was my favorite YLT jam. That was, until I got thoroughly hooked on "Blue Line Swinger," which is, of course, the best YLT jam. I have glanced at the track list for the new YLT comp that is coming out shortly and I don’t see a compelling reason to buy it. Perhaps I can be convinced (Doctor?). But I have most of the material it covers, and if anything, it makes me want to get a CD copy of "Genius+Love=Yo La Tengo" to replace my cassette dub, and which covers the less electric period of YLT that I don't know too much about. [YLT factoid: The Barnabys, later just Barnabys, long since disbanded, were originally called "Barnaby, Hardly Working," named for the YLT song of the same name.]
SVC has a neat post devoted to King Tubby, and the blog hints more dub posts are in the offing. Nothing sounds better in the early summer than dub music turned up really loud, preferably on the porch, late afternoon, drinks and smokes at the ready. Unfortunately it is only early spring. And, of course, no one smokes anymore. But it is the thought that counts, right? [Clicky Clicky factoid: one of the multitude of nicknames my older brothers had for me when I was a kid was Tubby. Not that I was Tubby. I guess that was the joke?]
Spending the night playing with my new external soundcard.
That is all.
March 23, 2005
"And I'm still dreaming of, the day." - Mazarin.
Spent the evening in the drink. Let's see how this goes:
The Farmhands could be quite large. I am not sure they know this yet. Particularly since no one knows who the Farmhands are, except, of course, The Farmhands. There is no web site (yet). To date there have been no shows. So here is the dirt, interesting part first: The Farmhands is an indie rock band which is about to self-release Sunday, April 3rd [record release party at Cambridge's The Abbey Lounge] a concept record about baseball that has 30 songs, apparently each one about or loosely based upon a major league baseball franchise. A pretty good concept, right? Well, the songs are even better. I got a six-song advance from the band in the mail over the past weekend and every song is ace.
The band is comprised of Mike Robb (a.k.a. Mr. Obb, one time Haywood/Small Hours tour support under the moniker And Joseph), Jeff Stern (a.k.a. Mr. Self-Help) and another guy, a.k.a. High Cheese, perhaps Mike's brother. I played ever so briefly with Jeff and Mike in the short-lived Bucknell entity The Suck Project. This should not tarnish your opinion of these guys. What you need to know is that they make loose indie rock with discernible Pixies, Beck, and They Might Be Giants influences.
The EP traverses multiple genres, even a successful send-up on '90s hip-hop. Definitely come out for the show if you can. Here is an instrumental from the EP, "The Friendly Confines (Chicago, NL)," since I couldn't really decide which song to hit you with first.
Catbirdseat has a funny SXSW wrap. Spoilt Victorian Child has a little Shellac post with a download.
That is all.
Spent the evening in the drink. Let's see how this goes:
The Farmhands could be quite large. I am not sure they know this yet. Particularly since no one knows who the Farmhands are, except, of course, The Farmhands. There is no web site (yet). To date there have been no shows. So here is the dirt, interesting part first: The Farmhands is an indie rock band which is about to self-release Sunday, April 3rd [record release party at Cambridge's The Abbey Lounge] a concept record about baseball that has 30 songs, apparently each one about or loosely based upon a major league baseball franchise. A pretty good concept, right? Well, the songs are even better. I got a six-song advance from the band in the mail over the past weekend and every song is ace.
The band is comprised of Mike Robb (a.k.a. Mr. Obb, one time Haywood/Small Hours tour support under the moniker And Joseph), Jeff Stern (a.k.a. Mr. Self-Help) and another guy, a.k.a. High Cheese, perhaps Mike's brother. I played ever so briefly with Jeff and Mike in the short-lived Bucknell entity The Suck Project. This should not tarnish your opinion of these guys. What you need to know is that they make loose indie rock with discernible Pixies, Beck, and They Might Be Giants influences.
The EP traverses multiple genres, even a successful send-up on '90s hip-hop. Definitely come out for the show if you can. Here is an instrumental from the EP, "The Friendly Confines (Chicago, NL)," since I couldn't really decide which song to hit you with first.
Catbirdseat has a funny SXSW wrap. Spoilt Victorian Child has a little Shellac post with a download.
That is all.
March 22, 2005
"Who's gonna cut my taxes and defeat the evil axis?"- The Farmhands.
So it is worth noting that H-Dawg from Accounts Receivable and I went and saw Slint Sunday evening at the Roxy. We are all familiar with Slint, the cool kids in college made sure of that. For me, it was this guy Andrew Dickinson (dyed black hair, dark blue t-shirt, brown Dickies pants) in my Music Recording and Sound Design Class, who brought Spiderland into the studio one day and cued up "Bread Crumb Trail." And that was that.
The Slint show was revealing in that the live experience is heavily focused on the drummer, who is imbued with bandleader-type power by dint of being situated squarely in the center of the stage, the rest of the players inhabiting the periphery. H-Dawg had some solid thoughts on the show, particularly the extended breaks between each song, which I will paste here rather than go through the trouble of paraphrasing his email (tough break, H-Dawg):
My big discovery of the day, thanks to the very trustworthy Music.For-Robots, is the band Ari & Uzi (think hard, you'll figure out where the name came from in a minute). Anyway, check out this post, which features an awesome track called "Lungs Out." Great '90s style indie rock with guitary goodness. Yeehaw.
Mobius Band also gets a little ink in Music.For-Robots, who review a show where the band played with former Haywooder Danny Barria's Big Sleep and the hotly tipped The Go Team. The kids seem to like The Go Team. But I haven't heard them yet. So there. The Good Doctor saw Mobius Band at South By Southwest and said they killed. Good for them.
Chromewaves reports that Belle & Sebastian will release a singles compilation in late May. That is good news, since I was always wary of starting down the road of buying the various singles for just this reason.
Next up: an introduction to The Farmhands.
That is all.
So it is worth noting that H-Dawg from Accounts Receivable and I went and saw Slint Sunday evening at the Roxy. We are all familiar with Slint, the cool kids in college made sure of that. For me, it was this guy Andrew Dickinson (dyed black hair, dark blue t-shirt, brown Dickies pants) in my Music Recording and Sound Design Class, who brought Spiderland into the studio one day and cued up "Bread Crumb Trail." And that was that.
The Slint show was revealing in that the live experience is heavily focused on the drummer, who is imbued with bandleader-type power by dint of being situated squarely in the center of the stage, the rest of the players inhabiting the periphery. H-Dawg had some solid thoughts on the show, particularly the extended breaks between each song, which I will paste here rather than go through the trouble of paraphrasing his email (tough break, H-Dawg):
The drummer was some hot shit. And, although I would have enjoyed it a lot more if "that guy" hadn't chatted through each of the silent pauses between songs (description of asinine guy sitting next to H-Dawg inserted here) I kind of really enjoyed what would have been the silence. Not only did the silence break up each song in the set so that you judged it more as an individual composition than a total summation... though it all summed out in the end... it also felt defiantly punk... like, this was a challenging band back in the day, and f*ck you all, we're still challenging you and your expectations of what a show should be... so just wait, be patient, and you will be rewarded.
My big discovery of the day, thanks to the very trustworthy Music.For-Robots, is the band Ari & Uzi (think hard, you'll figure out where the name came from in a minute). Anyway, check out this post, which features an awesome track called "Lungs Out." Great '90s style indie rock with guitary goodness. Yeehaw.
Mobius Band also gets a little ink in Music.For-Robots, who review a show where the band played with former Haywooder Danny Barria's Big Sleep and the hotly tipped The Go Team. The kids seem to like The Go Team. But I haven't heard them yet. So there. The Good Doctor saw Mobius Band at South By Southwest and said they killed. Good for them.
Chromewaves reports that Belle & Sebastian will release a singles compilation in late May. That is good news, since I was always wary of starting down the road of buying the various singles for just this reason.
Next up: an introduction to The Farmhands.
That is all.
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