I’ll admit to being a fair(merri?)-weather Animal Collective fan, having failed to gain satisfactory entrance into the aesthetic realm of their first 9 years or so of output –  bands like early Mercury Rev, Boards of Canada, and maybe very early Sonic Youth, being about the only relevant stamps on my passport.

However, I’m in with the outcrowd in saying that their Merriweather Post Pavilion album is this year’s best release. Verily, it is a solution to a conundrum I broach quite frequently w/ compañeros who’ve lapsed catholic on the music scene. They say:

It’s crap these days. All these internet, computer-recorded bands (oops), w/ fat indie promotion accounts, clogging up the blogosphere w/ faddy pastiche. Many cite the late 80s / early 90s as a highwater mark of genre-bursting inflorescence that glowers down on today’s indie output, aurora borealis-like. Young bands now naively mine these rich skyveins and there’s nothing new under the sun.

Of course that is bollocks, spiced meagerly w/ truth. Not appetizing. It’s bento boxes  like the A.C. that demolish the premise. Mixing synthetic and acoustic instrumentation; relying on seamless deployment of loops, electronic beats, noise and atmosphere; emoting circular murmurs and shrieks conjoined with  sunny pop vocal hooks, rice, the Animal Collective makes you think its ecological music is the sound of things to come. If so, what a weird place we will be living in…

Now, I wish it were true. An earthquake might open terra firma and take the Disney Culture Industry down into some sequestering saline aquifer, allowing us all to heal. That’s doubtful of course, almost by definition, since what A.C. does is so nigh idiosyncratic. Alas. Now they’ve bookended 2009 with the release of their Fall Be Kind EP, excerpted above. It is just as good as Merriweather and a fantastic embodiment of EPitome.  “What Would I Want, Sky” samples a Grateful Dead song, channels Mad Richard era Verve, and generally chimes along in “Empire State of  Mind”-beating uplift, since I don’t live in NYC, and I still have to face the day. In life, we can’t all be the Yankees.

for my essay on new media practice i have been looking at sound/internet and video art- which are all under the umbrella term of new media art.

Christian Marclay, along with Glenn Branca and Sonic Youth- came out of the experimental post punk era in the late 70s- i will post a few examples of branca, marclay and various other sound artists…

L.

Gene Wilder

   Je n’ai aucune idée de comment (re)commencer mon blog.

   Je devrais me présenter mais je n’arrive jamais à faire court. Je m’appelle Ced, je suis né en 1990 mais j’aurais dû naître à la fin des années 50 et grandir quelques part au Etats-Unis ou en Angleterre pendant les 60’s et les 70’s. Il y a pas si longtemps encore je rêvais d’être à l’image des héros tels que Kurt, Jim, Janis, Ian, Jimi, Sid… J’aime la musique plus que tout, Nirvana, the Doors, David Bowie, the Clash, the Rolling Stones, Joy Division, Lou Reed, Janis Joplin, the Sex Pistols, Hendrix, Pink Floyd, Jefferson Airplane, the Pixies, Sonic Youth, etc, etc. J’écoute à peu prêt tous les styles de musiques, bref vous aurez l’occasion de voir ça tout au long de mon blog.

SPACE ODDITY - David Bowie

   A part la musique j’aime beaucoup le cinéma, (les séries), l’art, voyager, etc… J’aime glander et j’aime par dessus tout avoir “la flemme de…”. J’aime la solitude et j’ai souvent besoin de me sentir seul. J’aime jouer de la batterie. J’aime les lives, les festivals et leurs ambiance.  Je suis fasciné par ce qui touche à l’univers. Je rêve d’aller vivre à Londres quelques temps, d’aller voir les temples Maya au Mexique et de faire le tour du monde. Et enfin je suis le genre personne capable de débarquer dans son lycée pour massacrer tout le monde avec un fusil à pompe. Bon j’estime que c’est tout ce qu’il y à a savoir sur moi, hin, hin. Bon aller je vous laisse avec du Surf Rock  et une video de Godspeed You! Black Emperor.

MARIACHI’S FEVER - Hawaii Samurai

Godspeed You! Black Emperor – Rockets Fall On Rocket Falls

Späte Jubiläumsfeier? Frühe Weihnachtsgeistbeseelung? Wirtschaftskrisenreaktionskräfte? Gutmenschentum? Oder gar einfach nur schnödes Marketing? Vielleicht alles zusammen – in jedem Fall eine feine Sache und vielen Dank dafür!

Indie-Online-Dealer Insound bietet nämlich 50 mp3s seiner Top-Seller von 2009 als Download an. Kostenlos, für umme, lau und als Geschenk noch dazu! Und da sind durchaus Heroen wie Sonic Youth, Dinosaur, Jr. oder Jarvis Cocker dabei. Wer nicht die Katze im Sack kau…äh… sich schenken lassen will, kann sich die Tracks vorher als Streaming-Radio anhören. Man kann sie nämlich nicht als Paket runterziehen, sondern muss sich jeden Song einzeln ins digitale Gedächtnis laden. »Och nööö….wie nervig…puuh…ach…« höre ich da schon wieder einige übersättigte und extreme-convenience-ierte Datenautobahnlinksblinker maulen. Aber sowas unterstützt die Wertigkeit von Musik, die in den letzten 10, 15 Jahren ja schon gelitten hat. Dass man eben nicht nur mal wieder schnell sich noch ein paar hundert MBs auf die Festplatte schaufelt, weil’s gerade so schnell geht, im Vorbeigehen, auf die Hand. Und dann in ein paar Monaten zufällig wieder in den Untiefen des digitalen Vermächtnisses findet. Sondern dass man sich schon kurz Zeit nehmen muss und vielleicht mal wieder was bewusst wahrnimmt.

Wenn also bloß schnödes Marketing – dann mit einer feinen Prise Gutmenschentum.

Hier geht’s zu den kostenlosen mp3s der 50 Insound-Topseller 2009

Und hier zu noch mehr kostenlosen mp3-Appetithappen, die Insound sowieso anbietet

Qual a semelhança improvável entre o João Gilberto, o Sonic Youth, o Dream Theater e o Krisiun?

É simples, cada um dos supracitados tenta ser o “mais” alguma coisa. O mais sofisticado, o mais diferente, o mais virtuoso e o mais brutal. Todos eles se esforçam bastante em seus objetivos e por vezes pode-se dizer que atingem suas metas.

Porém todos eles se perdem em um momento crucial da coisa toda, eles se esquecem de serem legais. Sim, afinal de contas, estamos tratando de música aqui e música acima de tudo tem que ser legal. Pouco importa quantos acordes dissonantes você toca, se você usa afinações alternativas, se conhece mais escalas ou a quantos BPS você toca. Tudo isso é superado facilmente quando ouvimos o velho “one, two, three, four…” dos Ramones.

Não que a simplicidade seja a chave de tudo. Há muitas tentativas de sofisticação que soam bem legais, o Police por exemplo, ou os Beatles.  Assim como o virtuosismo do Jeff Beck, a velocidade do Megadeth e a esquisitice dos Mutantes. Destes, cada um a seu modo explorou determinadas características mas tendo sempre a música em primeiro plano.

É óbvio e ululante dizer que um Mi Maior do Malcom Young vale mais que todas as escalas juntas do John Petrucci. Mas por que? Porque o Mi Maior do Malcom vem cheio de sinceridade, sem ter que dar explicações, sem ar blasé e sem se preocupar com o mundo. Ele quer tocar o Mi Maior e toca sem medo de ser feliz. Não precisa de um E6/11+ só para não soar óbvio, nem que este Mi seja precedido por uma série de arpejos para parecer complexo, nem de microfonias para ser diferente, muito menos ser repetido 650 vezes em cada compasso para ser rápido.

No final o que ficam são as grandes músicas. O resto é igual a excesso de chantilly no bolo, vai ficar separadinho no prato. Duvida? Então tá: quem acha “All You Need is Love” uma música complexa? É melhor ouvir de novo para responder.

IRC Exclusive: Legendary Producers Martin Bisi & Bill Laswell Team Up with Fiery Furnances and Dresden Dolls

Martin Bisi is a famed producer who built a recording studio with Brian Eno three decades ago, producing albums for some of the best bands of the 1980’s and early 90s underground rock movement, including Sonic Youth, The Swans, Dresden Dolls and The Boredoms, to name just a few. Bisi, who is also a musician, songwriter and engineer, recently jumped into the sound tank himself to record tracks with folks like Fiery Furnances’ dummer Bob D’Amico, prolific producer and bassist Bill Laswell (The Ramones, Iggy Pop, Mick Jagger and many others), and members of The Dresden Dolls and Balkan Beat Box. Laswell was also instrumental in creating the studio with Bisi and Eno.

In fact, Bisi and Laswell collaborated with Herbie Hancock to record the 1983 Grammy Award-winning song, “RockIt” – the first hit song to feature turntable scratching. Jumping forward to this year, all of this talent in one room is a combination sure to result in something interesting, which is exactly what these next songs, “Mile High – Apple of My Eye” and “Drink Your Wine,” prove to be. The songs are from the recently released five-track digital only EP Son of a Gun, and were sent to IRC by Bisi himself. The first song featured below is a perfect track for Halloween, or even The Twilight Saga: New Moon soundtrack, while “Drink Your Wine” is more of an uptempo rocker that is fun and infectious at the same time (watch the video above).

“Mile High – Apple of My Eye” - Martin Bisi & Bill Laswell from Son of a Gun (2009)

“Drink Your Wine” – Martin Bisi & Company from Sun of a Gun (2009)

Get Son of a Gun from iTunes.

Of the recording of the EP, Bisi said: “With Laswell, I did the ‘modern’ approach of sending him files, letting him do whatever, and then adjusting. He really surprised me. I was expecting his usual very groove or dub oriented bass, and he gave me something very ambient, laden with effects and trippy. That pretty much sums up the M.O. on this EP…With “Mile High- Apple Of My Eye,” I asked Butterface (the keyboardist on the EP) to give me some programmed rhythms and sounds with a trip-hop vibe, specifically for Laswell to play on, and he turned it around in 30 minutes.”

I’ve been listening to them pretty regularly over the past days, and from what I’ve heard, I like them. they’re noisier and less ameteurish than a lot of what I listen to, but I really like the whole double vocalist, girl-guy thing. I hadn’t even heard of such an approach until I started listening to hazel and even though sy is more subtle about harmonies, they’re still cool in that regard.

thing is, they’re one of those super intimidating bands to get into. their fans, from what I’ve seen, are sort of obsessive and snide about music. sonic youth has something of an underground legacy, plus they have about thirty billion albums, and you’re a poser if you don’t recognize some obscure b-side.

so I won’t be stating my growing interest in this band in too many places. mostly cause I don’t like getting attacked by rabid fans or hipsters or like, much of anyone. it’s so stupid.

currently listening – sappy – nirvana.

Sonic Youth is playing tonight in NYC, which got me thinking about Coco.

Coco is the daughter of Thurston Moore and Kim Gordon, the guitarist and basisst for Sonic Youth.  I remember hearing about her being born and getting all fuzzy and warm feeling for how awesome of an upbringing that would be.

So I thought, since she’s probably nearly an adult now, let’s look her up.

Coco (on the left) hanging out on the set of Gilmore Girls in 2006

Look at how adorable and not famousy this girl looks.  She just looks like a cool ass kid you’d want to have lunch with, unlike other rock royalty (I’m looking at you, Francis Bean)

…anyway, you can read all kinds of fun stuff about Coco here, but my favorite factoid is that she’s in a band called Lightbulb.  But also, she was in a Dinosaur Jr. video with her dad.  SWOOOOOOOON

I was really amazed at how Kim Gordon as a 56 year old woman can rock out at the Sonic Youth show last night at the Music Hall of Williamsburg. A true indie rock cougar. 

Chris

mmm nice legs, but even nicer guitar playing

Artist(s): Sonic Youth, The Feelies
Location: Wilbur Theatre
Date: 11/22/09
Grade: A+

The Feelies:
I can safely say I was feeling the the Feelies haha. Nothing too special, but decent. I sensed some really catchy material and I could tell the young to the young at heart audience dug it; particularly one fan who was wildly dancing, to the point that it looked like he was having a seizure a la Ian Curtis. This continued during Sonic Youth’s set lol. I’m surprised he took a break in between performances! Anyway, the band seemed pretty chill, making very little contact with their fans. With that being said, the lead singer/guitarist rocked out and hopped and bopped a little. I might listen to them more, I haven’t decided; either way, they were a solid opening act. Clearly, the audience was pleased enough with their performance that they applauded long enough to elicit an encore. An encore for an opening band? I’ve never seen it. So, hats off to them!

Sonic Youth:
It never ceases to amaze me how cool, hip, YOUNG, Sexy( especially Kim in her black and white dress!) and all around mysterious these guys and gal appear to be. When Sonic Youth hits the stage, it’s not “Hello, Boston are you ready to rock?! Now we’ll kiss your ass with all our hits you know and love!” Nah, lame for these Artsy Fartsy hipsters. Instead they produce an enormous, four guitar assault, simply a Pounding, Pulsing Wall of noise,feedback, distortion, and killer tunes! Not to mention a crazu light show to complement the music. They essentially played their latest album, The Eternal in its entirety, minus “Thurnderclap For Bobby Pyn,” one of my favorites, but that’s okay. They played the somewhat new songs in no particular order with a few tracks from their 1980s catalog as well. One of the most memorable moments for me was when Thurston laid down frontwards on the stage and practically scraped his guitar across it, generating some sweet, guitar sounds. Everyone else, except the Nightwatchman, would have fucked up their strings and created some cacophanous racket. As of now, SY holds the candle (no pun intended) for best encore, previously held by King Khan & The Shrines. They kicked right into “The Sprawl,” track 3 from 1988’s Daydream Nation and followed it in sequence with track four, “Cross the Breeze,” an amazing powerhouse. Then they said peace and left the stage. But, that wasn’t good enough for us! We screamed for our No Wave heroes to return and return they did for Encore 2. I don’t think I’ve seen 2 encores by a band, but for some reason I feel like I have, either way it could not compare to the Supreme Genius of this or else I would have stored it better in my psyche. So, they blasted into “What We Know,” a new classic from The Eternal and finished the terrific evening with the 80s bizzaro Americana anthem, “Death Valley ‘69.” Definitely my favorite song all night. As the married couple of Thurston and Kim made their way backstage they playfully pushed each other around like teenagers flirting with each other in the hall between classes. That’s pretty cool, considering they have been married for 25 years!

Overall: This is a well-deserved A+. I loved every moment of Sonic Youth’s set and I dug The Feelies too. This concert ranks as # 5 for all time best concerts. In fact, SY were, musically, the best performers I have ever seen, with The Shrines, Radiohead, and Dinosaur Jr as moderately close rivals. The cool thing about these folks is the fact that they can be so damn, high energy and engaing and at the same time, so modest and mellow. It’s very fascinating, to say the least. Simply stated, seeing Sonic Youth is a spectacular attack on multiple senses!Pixies have tough competition, but I think they can do it…

Glen: I wouldn’t argue with Chris on SY’s performance. Stunning. If I had done my homework and listened to more of The Eternal before this show I’m sure this  would easily be a top 5 concert. It was nice to sit down and bask in the glory of the sound around me, but an all-time favorite for me is one where I’m standing front-row and doing various “dances” such as the pogo, mosh, or head movement all while basking in the glory of the sound. That said this show made “Death Valley ‘69″ an instant favorite for me and made damn sure that “‘Cross the Breeze” is freaking amazing. I’d give this show an A.

Here’s the setlist with the name of the album each song appeared on.

1. “No Way”
2. “Sacred Trickster”
3. “Calming the Snake”
4. “Stereo Sanctity”
5. “Walkin’ Blue”
6. “Anti-Orgasm”
7. “Leaky Lifeboat (For Gregory Corso)”
8. “Shadow of A Doubt”
9. “Antenna”
10. “Malibu Gas Station”
11. “Poison Arrow”
12. “Tom Violence”
13. “Massage the History”
——-Encore Break——–
14. “The Sprawl”
15. “Cross the Breeze”
—–2nd Encore Break—-
16. “What We Know”
17. “Death Valley 69″

1-3, 5-7, 9-11, 13, 16- The Eternal (2009)
4- Sister (1987)
8 & 12- EVOL (1986)
14 & 15- Daydream Nation (1988)
17- Bad Moon Rising (1984)

Chris

Just in time for your holiday shopping… the gang at Tulip Frenzy World HQ has voted.   The best albums of 2009 were:

1.  Sonic Youth    ”The Eternal”

They are not young, though they’re certainly youthful, and while some of Sonic Youth’s most devoted fans would recoil at this judgment, Tulip Frenzy thinks 2006’s Rather Ripped and this year’s The Eternal are the best records they’ve released since the mid-’80s.  Incredibly sharp, able to turn on a silver dime, Sonic Youth have still got the basic formula of punk rock punctuated by sudden aural entropy.  Beat that.  And this year, no one could.

2. Assemble Head In Sunburst Sound  ”When Sweet Sleep Returned”

We have asked ourselves if this is love on the rebound, if the reason we were so drawn to the second Assemble Head In Sunburst Sound album is because the other bestest neo-psychedelic band in the land, First Communion After Party, failed to release an album this year.  But it’s not true.  When Sweet Sleep Returned is equal parts spectacular San Fran guitar attack and dreamy loveliness.  This is a band that can rock as hard as The Warlocks, and then pivot to an interlude of, well, inter-’ludes. This one filled our head with sunburst and other sounds throughout much of the summer and fall.

3.    Robyn Hitchcock   “Goodnight Oslo”

Yes, we’d probably enjoy Robyn Hitchcock singing an entomology textbook, and sometime over the past 30 years that he’s beguiled us, we probably have.  That he’s never sounded more self-assured, that his band has Peter Buck and Scott McCaughey playing in it, that(for the most part) he actually dropped the irony and insect bit to sing incredibly punchy pop songs wound ’round the twanging Byrdsy lead guitar he’s been brandishing since the Soft Boys rendered this Frequent Spinner Miles on our office playlist.

4.  Neko Case   “Middle Cyclone”

Here’s how important Neko Case is: because she wanted to push her own album this year, two of our favorite bands — The New Pornographers and Calexico — essentially sat the year out, the former because without Neko, why play?  the latter because they were backing her up.  Forget Neko’s pipes, her incredibly loud tomboy holler, this is a songwriter in the Flannery O’Connor tradition.  Middle Cyclone is a career highlight, and what a career this is proving to be, parked in the middle of the base path between alt.country and the hippest rock around, daring someone to tag her out.

5.  Reigning Sound   “Love And Curses”

It didn’t top their imperfectly heralded masterpiece, Time Bomb High School, but the Reigning Sound’s Love and Curses had me the moment I realized Greg Cartwright’s my favorite rock singer probably since John Lennon.  Just thinking about how a garage band laboring in the grease and sawdust of Asheville, NC could put out a record that spans the whole of rock’n'roll, with a dollop of blue-eyed soul, a sprinkle of punk, and a scoche of roots rock for good measure unpacked smiles wherever they were heard.

6.  Tinariwen  ”Imidiwan: Companions”

We’re still trying to fathom how the most compelling Delta blues band we’ve heard since the Jelly Roll Kings conquered Arkansas could have emerged from the Touareg lands of Mali, but by now Tinariwen has figured out how to mix the village singalong with the ululations of the women folk atop an undulating beat that feels like you’re hanging on to a fast camel.  Never expected to spend this much time listening to music from the Sahara.  We’re glad we did, even if they may be a Khaddafian plot more diabolical than his hiring Italian models just to listen to him read the Koran.

7.  The Decembrists  ”The Hazards Of Love”

We got over the need for concept albums around the time the Kinks stopped touring behind Preservation, but in another cultural mashup, The Decembrists, citizens of Portland, Oregon, released the best British folk album since Fotheringay.  Awfully pretty, ambitious, and bold, the only grabbing of the stereo dial this prompted when it came on in the car was to turn the volume up.

8.  Pearl Jam   “Backslider”

What does it say about music in Anno Domini 2009 that the finest punk rock extant was from Pearl Jam?  We are as sincere as they are; we’ve never been snide about these guys, and do not put irony on a higher shelf than straightforwardness, of which they’ve also carried a copious supply.  Apparently, boys just want to have fun, and it really sounded like they did making this excellent return to form.

9.  Wilco “Wilco”

Wilco, the album, was a bit of a let down for Wilco, the band.  But even when they miss the mark, they hit the spot, with an album that sounded like master musician Nels Cline wasn’t too proud to invoke his inner Wilbury.  Look, we expect something more from a band that, since 2001’s Yankee Hotel Foxtrot, has been in a league of their own. As it is, Wilco, the album, kept up the streak of us playing Wilco, the band for half the year’s weeks, and when you think about it, dominating 26 weeks of any given year for this long is like Threepeating the NBA Finals or something.

10.  Cracker  ”Sunrise In The Land of Milk and Honey”

It’s not the soft spot we have for David Lowery that got this one clinging to the bottom rung of Tulip Frenzy’s Top Ten list.  Sure, after listening to enough Pearl Jam, you might want some irony, and Lowery’s served it up in spades, both in this Southern combo and among their West Coast brethren, Camper Van Beethoven.  The actual irony is just how much that Pearl Jam album reminded us of the near-equal grip Cracker has on those punkrock power chords.  You can’t have too much fun, and we thank the Lord on a regular interval that this too is Cracker’s attitude.

Photo: Jerome Eno

Even before there were festivals like All Tomorrow’s Parties to formalize the concept, Sonic Youth have always given off a curatorial air. In addition to their own music, they have consistently gone to great lengths to telegraph their associations with underground acts they approve of, as well as older acts they count as important influences. Tonight’s show found them dragging out an example of the latter, as New Jersey’s legendary Feelies opened with a rare reunion set.

The band is best known for their seminal 1980 debut, Crazy Rhythms, and tonight, as they played a set that drew heavily from that album, it was easy to see why. The insistent throbbing pulse of jittery poppers like “Crazy Rhythms” and “Raised Eyebrows” radiated an infectious vibe that resuscitated the band’s trademark. That latter tune also indicated where the band’s seminal album might have gotten its name — their typical two-drum assault was augmented by bassist Brenda Sauter’s added percussion, resulting in some truly nutty moments of manic rhythmic bliss. The band is still, fortunately, partial to a Velvet-esque sense of tense cool that gives way to regular eruption of guitar pyrotechnics, and tonight was a rare opportunity to see guitarists Glenn Mercer and Bill Million trade licks one more time.

The Feelies laid the groundwork for a lot of what would be dubbed “indie” in their wake, and Sonic Youth were, in a sense, one of the many bands (cough, Yo La Tengo, cough) who would take their baton and run a lot further with it. Tonight, Sonic Youth strolled on stage with the relaxed confidence of tenured college profs giving one more in a series of countless brain-blowing lectures. And why shouldn’t they? They’re going on their fourth decade and seem constantly in the throes of a new album. Tonight was no exception, as the setlist leaned very heavily on this year’s The Eternal — a strong record that finds the band continuing to dig themselves out of the effects-laden doldrums that made so many of their mid-’90s-to-early-’00s albums such a chore to get through.

Sonic Youth are known largely as noise practitioners, and although to a certain extent this is true, it ignores the fact that guitarists Lee Ranaldo and Thurston Moore are meticulous songwriters, creating their ornate guitarchitecture out of intricate interlocking lines, textures, and tunings. The duo even took the stage sporting their own signature Fender guitars, and when they locked into the articulate frenzy of newer tracks, like “Anti-Orgasm” and “Poison Arrow,” the reality of a Sonic Youth guitar line seemed neatly explained.

There’s an ageless grace to this band that is, all these years later, still a wonder to behold. Bolstered more recently by erstwhile Pavement bassist Mark Ibold (meaning that, yes, much of the set is powered by two basses — his and Kim Gordon’s), the band is still in prime form, able to dip into an endless back catalog of favorites while still letting their current material set the mood. The Eternal rocks darkly, and when the band veered from that track list, it was only to revisit equally dark and mysterious mid-’80s sleepers like “Tom Violence” and the particularly shimmering “Shadow of a Doubt” — with Ranaldo and Moore clanging a vaguely Japanese-sounding melody over Gordon’s noir whisper. Returning for their encore, they rocked a twin blast of Daydream Nation’s “Cross the Breeze” and “The Sprawl,” closing with a powerhouse run-through of “Death Valley ’69.” As they waltzed off, leaving their feedback to writhe around on stage, it was like seeing an old friend depart after a particularly nice weekend visit. May they never stop dropping by — and bringing friends.

The review is coming up soon, but for now here is their set list from last night at the Wilbur Theatre:

1. “No Way”
2. “Sacred Trickster”
3. “Calming the Snake”
4. “Stereo Sanctity”
5. “Walkin’ Blue”
6. “Anti-Orgasm”
7. “Leaky Lifeboat (For Gregory Corso)”
8. “Shadow of A Doubt”
9. “Antenna”
10. “Malibu Gas Station”
11. “Poison Arrow”
12. “Tom Violence”
13. “Massage the History”
——-Encore Break——–
14. “The Sprawl”
15. “Cross the Breeze”
—–2nd Encore Break—-
16. “What We Know”
17. “Death Valley 69″

amanhã tem fashion mob e desfile das gêmeas! vai ser muito lindo, beijos

That’s right, in exactly one week, Glen, John, Paul, and I will witness the Supreme Genius of The Pixies, not to mention, supporting act, Jay Reatard and his new crew, whom apparently have more chops than his former band mates. Anyway, The Pixies are playing their 1989 magnum opus, Doolittle in its entirety at the Wang Theater!

But wait…. before then, Glen, Paul, and I will experience the Supreme Genius of Sonic Youth in just two days!

WARNING: More Pixies updates will probably come this way.

Chris

Things going on that we find interesting for the next week.  Next Thursday and Friday are up for grabs, since most people will be digesting and shopping.

Friday, November 20th

NYU takes over KGB for something called “Coming of Age on the Page”.   Jonathan Liebson, Karol Nielsen, and Erik Rhey read.

Saturday, November 21st

Mike Edison, some wine in the afternoon, some blues.  The guy has fun everywhere he goes.  Sort of a no-brainer.  3pm at Le Du’s Wines, 600 Washington Street by Morton St. in the W. Village.

Sunday, November 22nd.

Tim Burton’s art retrospective at MoMa opens Nov. 22. Access to the exhibit is through a black and white cave.

Camera Obscura and Papercuts play Music Hall of Williamsburg. Devandra Banhart plays Town Hall, and Dirty Projectors are at Bowery Ballroom.   This is one of those nights where everybody can say “this is why we pay so much to live in New York City.”

Monday, November 23rd

Dick Cavett talks to Stuart Hample about his comic strip, Dread & Superficiality: Woody Allen as Comic Strip at The Strand, 7pm, free.

Tuesday, November 24th

Sonic Youth play the Music Hall of Williamsburg. I think this means nothing else should be going on within five miles.

Well, except Chris Leo doing his lyrics vs. poetry thing at Lolita Bar.

Wednesday, November 25th

If you aren’t leaving New York for Thanksgiving, you can go on a scavenger hunt all through Gowanus, Park Slope, and Carroll Gardens.  You might find a baby. It all starts off at The Bell House.

Thursday, November 26th

Be thankful.

Got something you want us to list? info@vol1brooklyn.com send it by Thursday morning for it to on the list.

What is in Thurston Moore’s iPod? Well, the Boston Globe put his musical device in shuffle mode and here’s what they got:

1. “Pinch,’’ Can. “I got it as a teenager in the early ’70s, and it was 49 cents at Woolworth’s.’’

Nick: Melodic to the point of prettiness.

so you don’t like it?

no, no you’re confused.

I don’t like wimpy, I do like pretty.

there’s some strange level shifts going on.

did he engineer this himself?

ehh.. maybe.

this is going on a bit long.

it’s very musical, nice bits of…..instrumentalisation?

or whatever you call it.

{track 3: Movie On The Way Down}

is this the same album?

why would I change it?

wow, ok well this is a whole different feel.

more contemplative.

it’s hard to believe this was written by the same person.

you should hear some of his other stuff.

very..

versatility and eclecticism come to mind.

but very nice.

lovely music.

{track 4: Through The Night Softly}

he uses everything doesn’t he?

{huge cheesy/amazing sax solo comes blasting in}

hahahaha oh my god!

just when you thought it was safe to go back in the water!

it’s pretty incredible really.

the only disadvantage is it’s not like listening to an album, it’s like he has a split personality.

in a recent interview Jim said that this record ‘represents a real failure for me.’

if it’s a real failure, why did he publish it?

that is a bit much isn’t it?

giving us his failures, that’s not very nice.

please buy my failure.

I guess it’s just one of the best failures ever committed to tape.

http://www.myspace.com/halfwaytoathreeway