Wow to that cover art. Everything about this is awesome! Missy’s Girls on repeat.
Wait, so just to clarify, you didn’t read Hipster Runoff before because it is fucking terrible, but now that you have read it you now realize that you didn’t read it before because it is fucking terrible? I’m sorry your sentence didn’t work out too well, Nick, nice idea, but bleh.
It’s like he’s trying to figure out as many ways to sustain output without making an actual new LP. Christmas songs (mostly all preexisting), Illinoise b-sides, and now a remix album? I hope the next thing is Seven Swans overdubbed in an amalgamation of Esperanto and Hopelandic. Probably!
You watch your mouth about Fiona Apple.
“Overjoyed” accurately describes how I feel about this news! CS’s first album is pretty immaculate in my opinion, even now when I listen to it it still sounds fresh. And no, I don’t expect it to be a carbon copy of OTC, as another commenter pointed out they are two different bands. Perfect start to my day, thanks Amrit!
It will be interesting to see how Wavves are received at P4k this year….
AGREED. (Not sarcastic.)
What about HAVING IDEAS ABOUT THE WORLD? What about that?
Okay, not to be the Pitchfork apologist, but I think P4k is really not that megalomaniacal. That’s really silly. Sure they kind of broke down Black Kids, but I think they were just being honest about their lapse in taste then rather than “testing their powers of destruction.” Plus, if they didn’t report the Wavves meltdown, don’t you think it would be even more conspicuous? If the article carried a noticeable tone of disappointment (I think the word “tragically” was used), it was probably because they were understandably disappointed, like many people were.
Good comment. Very critical.
No. I’ve been a violinist for over a decade and Boyd is one of the best rock violinist I’ve ever heard. Playing violin and not making it sound folksy or overly classical is not only difficult, but rarely done. Artists like Andrew Bird, Owen Pallett, Petra Haden, Sarah Neufeld, etc. are decidedly excellent but all obviously classically trained and not that great at extemp or improvisational playing, which is where true genius shows itself. Rarely do you have a violinist in such an incredibly mainstream band who is often featured so prominently and ALWAYS tears it up. His energy and enthusiasm is ridiculous. I think a lot of what I said can be applied to other DMB members (especially Carter and the late LeRoi).
Thank you Amrit, you always somehow cover the artists who are nearest and dearest to me. “I want to go to there” is exactly right.
Ahhh thank you Amrit, I crave anything Condon. East Harlem is so gorgeous. For some reason those horns sounded particularly NMH, I mean more than usual. I would kill for an mp3 of that. I feel like I’m always whining about mp3s, sorry!
Yes, please! email@example.com
Oh, sorry if this is annoying, but is there any possible way you can get an mp3 of this?
Every day when I wake up I think, “Is this the day I will hear something new from Fiona Apple?” Thanks for making my day! She is one of my favorite favorites.
Context is right, but this is a composition, not just a track on an album. There are many silent tracks on many albums, but those are just lack of sounds, blank spaces (even though they too serve purposes). Cage’s “silence” is a constructed silence…it’s written “for all instruments” and involved actual recording and presence of musicians. Whereas artists with blank tracks inserted in their album for whatever reason would never “play” it live, 4’33 was/is often performed, and it is different each time. Kind of like how Warhol’s repetitive paintings look like the same image over and over, but the normality of the repeated image lets you notice the little ways in which they are all different, like when there are small slips of the silkscreen or more paint was applied on one than another. (Actually, Cage and Warhol were proteges and influences each other a lot.)
I got an A in “Freshman Painting.”
Unrelated, sometimes Chris Taylor reminds me of a more hipster Neil Patrick Harris.
Um, the intention of my post was obviously not to say it wasn’t art. I was just replying to CD’s assertion that it was neither art nor music. I wasn’t replying to Evan.
No. It’s music. The point is to listen to the random sounds created by your own environment while 4’33 is “playing” and to accept those sounds as a form of music. Cage was obsessed by chance and the idea of silence and wanted people to see that music was just what we listened to when we didn’t listen to our own surroundings. In that way 4’33 is a sort of “found” musical piece, in the way that Duchamp’s Fountain is a “found” work of art: it is an excerpt taken from the everyday environment, isolated, and reexamined.
(Most Self-Serious Comment of the Year award goes to me.)
You’re right, textbooks have all of the answers to all of the questions, and everything should be simultaneously incredibly insightful and immediately comprehensible. And the most any contemporary artist wants you to consider about their work is if it is art. Thinking! You are John Cage’s boyfriend.
Don’t you have anything better to do, or is your Twilight fanfiction all writers-blocked up at the moment?
Wayne FTW. Wait.
I love that incredibly snide “BUT YOU KNOW WHO WAS TOTALLY SWEET AND AMAZING AND A BETTER BAND THAN RADIOHEAD…..COLDPLAY!!!!!” As if somewhere 3,000 miles away Thom York is like “OH NO SHE DIDN’T”