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03/01/2002 - 04/01/2002
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05/01/2002 - 06/01/2002
06/01/2002 - 07/01/2002
07/01/2002 - 08/01/2002
08/01/2002 - 09/01/2002
09/01/2002 - 10/01/2002
10/01/2002 - 11/01/2002
11/01/2002 - 12/01/2002
12/01/2002 - 01/01/2003
01/01/2003 - 02/01/2003
02/01/2003 - 03/01/2003
03/01/2003 - 04/01/2003
04/01/2003 - 05/01/2003
05/01/2003 - 06/01/2003
06/01/2003 - 07/01/2003
07/01/2003 - 08/01/2003

Tuesday, May 27, 2003
re: Spiritualized - Amazing Grace

I listened to this for the first time last night and was pleasantly surprised. (And considered posting then considering this discussion). After subjecting the world to an overblown, floral misstep, releasing a more raw, direct record is the most obvious career move ever, but hell in this case it seems to have paid off. So the song titles read like bad parodies of Jason Pierce song titles and the quasi-spiritual puns are a bit much at times, this is still a redemptive record from someone I’d put out to pasture but now seems to have fury and purpose. Who’s next on the comeback trail? Mercury Rev? Ian Crause? (please, oh please let it be Ian Crause!)
Anyhow, let's move a few miles from Oxford to Reading; the new (as yet unscheduled) album by Spiritualized shows that yer man Pierce still remembers how to do The Stooges. Amazing Grace is Spiritualized's most direct album and shows a welcome change from the orchestrations of Let It Come Down. If you're after rock, Sam, come here; This Little Light Of Mine and She Kissed Me (And It Felt Like A Hit) are positively dangerous.
Monday, May 26, 2003
Re: Nick's comments

Don't get me wrong, man. That Blur record sucks.
re: sam on radiohead

my friend, I think you're saying a lot of rather, at the very least, questionable things here. The implication that rock packs a more emotional punch, that volume and aggression is the only thing that can "shake you" is implied and I find that disconcerting, and the flat-out erroneous claim that certain things aren't "real songs" should have been a notion that died before you were born! Also, I don't see what is inherently "experimental" or "indulgent" about not using guitars! Huh? Or that somehow those three tracks mentioned are 'sketches' (and therefore incomplete). (This seems like a weird post-mp3 phenomenom in which people consider each song invididually as either disposable or worth including on a record.) As Nick points out, if anything these sorts of sounds are the norm -- esp. in less dance-phobic Britain. (well, hell, in the U.S., too.) Radiohead hasn't made many chart-friendly songs on this album, but take that echo out of the music of "Backdrifts", add a middle section, and let the Sugababes sing a sultry ballad over it and it could go top 10 -- and that's one of the more "experimental" songs on the record. Between hip-hop, pop, ragga, house -- micro or otherwise -- bhangra, ukg, jungle, techno, etc., etc., not only is this record not experimental, it's the tracks that rub up against the band's conservative past that stand out and seem out of step to me.
re: radiohead and blur

Southall is otm, as usual, esp. his last multiple-sentence graf, all of which I feel the exact same about and will cover in part in a feature next month. (sorry for the plug.) (And Moroccan whatever and B&S deserve more of a savaging than polite regrets, tho! Ugh.)

My first, v. reductive thought is that pre-HTTT, it seems as if Blur = change and Radiohead = progression, evolution. Think Tank sounds like a guy reaching a specific age and trying to disengage with what he feels like was the frivolity /naivete of his youth, right down to getting Daniels in to do an anti-"Parklife." I’m not sure at all that it works, for the reason’s Nick states among many, and in the end the concept is what I hear more than the tunes, and listening to wheels spin inside someone’s head is awfully dull.

On the other hand, I don’t think Radiohead have ever denied or disowned their past, but they (until possibly HTTT) haven’t purposefully engaged with it, either. Blur’s move from guitars to rhythm isn’t some sort of futurethink or stab at sonic progression, it seems instead like another conscious rejection of their 93-95 work. Radiohead circa Kid A and Amnesiac is sonic ambition. Those are more the sounds of a rock band actually paying attention to what is going around them and incorporating it into a typical rock band structure (trying to say something, to make redemptive music that clicks with individuals and not just crowds, that offers emotional solace to a listener). (And of Radiohead’s early 00s bookends, I prefer the latter, I like the tension and I think the songs are simply better and a more well conceived blend of dance and rock. This idea that the one is better than the other because it flows better as an album sounds like some sort of tale from a topographic ocean, esp. in the Mp3 era.)

It’s seriously a shame, I think, six years after OKC, that the only big psudeoindie band to emerge in the 90s (in both the US/UK) willing to both work within a commercial landscape and continue to test rock’s sonic limitations is maligned for not making arena-size guitar music with all of the 70s trappings like big chords and hooks and proper verse-chorus-verse, etc. (irony is that the Kid A/Amnesiac songs all are v. powerful in a live setting.) Are people this running scared of technology or of the 'legacy' of rock eroding, or of rock's rigid quantative values becoming increasingly marginalized? I mean, hell, that NME review of HTTT is patently pathetic. They aren’t even trying to engage with the music, it’s as pointless and stuffy as Hornby’s silly condemnation of Kid A, but at least that guy has the excuse of talking to a "stuffy" audience and being a middle-aged man (no offense to middle-aged men sez the guy staring down 30 next month). The NME business, made worse by James Oldham’s financial connections to the New Rock Revolution, borders on anti-intellectualism and is flat-out musical conservatism. It’s as if they’ve completely given up on trying to engage with modern music and instead are trying to create some sort of alternate universe/musical themepark in which it’s always some point in time between 1963-1978. Incredible, really, the lengths that rock culture continues to go through to convince itself of its pious, unimpeachable superiority, and this Radiohead business has been one of the more lamentable manifestations of that to me. I'm glad then that although I wasn't terribly gung-ho for another Radiohead record after the hangover of Kid A/A discourse, I like a great deal of it -- although it's the first time in a while that the music feels more like a compromise, it seems to have one foot in 1997 and one in 2003. Which I guess still places it a generation ahead of the NME.

The thing is that I don't even like Radiohead. I'd certainly never describe myself as a fan, and I'd never describe myself as caring about them. I was more than prepared to take apart Hail To The Thief but I can't because I think it's a very good record. It's not about trying to unify experimental influences and more straightforward rock music album and song structures and aesthetics either, and for what it's worth HTTT works much better than Think Tank although they're both aiming at very different things, musically and spiritually. Think Tank fails because it loses its flow in the middle third and after that one no longer cares about the denoument, which is a shame because the last three tracks are all very good. HTTT maintains a consistent tone throughout the record, and avoids being preachy at any point, which Think Tank falls down on twice at least (Brothers & Sisters and Moroccan Peoples...); plus Crazy Beat is just clumsy. There's no obvious single on HTTT (there are by my count three on TT) and so the rest of the material doesn't pale in compare.

OK Computer has becomes Radiohead's albatross and it bids fare well to destroy them; not because they're hung up about it but because their fans are, demanding and expecting a return to that aesthetic and form when they really shouldn't. They're not even, I think bothered about 'pushing' themselves either, because HTTT doesn't sound like the work of a band struggling to come to terms with ambitions like the last too (and especially Amnesiac) did. Like Spinning Plates was a pointless test; at least Treefingers worked as a segue; but The Gloaming is a purposeful piece, auditory disorientation and much more effective than it's two most direct forebears from the Radiohead canon. As for influences, well, what's that? We've all heard Autechre and Plaid now, Humphrey Lyttelton, Ornette Coleman, whoever. We've also all heard Muse (go there for Just if you're that desperate) and Coldplay (or there for High And Dry) and Travis and whoever.

Jeff Tweedy was forced into making a more abstract record when he lost his guitarist, as have been Blur, and both have recieved great acclaim. Radiohead chose to move away from their six-strung beginnings and people don't know how to dea with it; why is that? NME are desperately trying to shoo the public away from this experimental music, from electronic frippery, and back towards wholesome goodness in the form of U2-wannabes and two-bit punkers, Sutherland accusing Radiohead of creative cowardice because they didn't make a straight-ahead rock record again, Oldham recognising the most obvious piano-led track as the standout (for him at least); these people have all got ulterior motives, either in direct management positions with certain groups or else simply in the fact that they want to ensure they have careers as 'rock' critics; Radiohead aren't 'rock' and thus people don't know how to write about them. Indie's dying on it's feet in the UK in terms of being something people want to read about and there's a whole generation of rock crits who can't talk about dance or hip hop or pop music; they're running scared because they can't write about anything that's popular anymore. The Britpop surge in the UK made a lot of people very rich and famous and popular, journalists and musicians alike, but it also operated as a cover for the reception of some really quite radical records that found audiences (Maxinquaye, Ladies And Gentlemen We Are Floating In Space, Snivilisation, OK Computer to a degree). Ever since then we've been suffering from the hangover.

Nevertheless, Radiohead have made a very good record.

Re: Radiohead

A lot of people seem to claim that on Think Tank, Blur did what Radiohead was trying to do with Kid A: branch off into a corridor of experimentation and come out the other side with an actual pop/rock record that works. The silly thing that I think about Radiohead before they've even released Hail to the Thief is "well, that's what do you think they'll do next?"

I guess it's indicative of how little I care about this band anymore and what they used to be. I never thought of myself as one of those reactionary OK Computer/Bends lovers who hates the new stuff, but more and more through my conversations with people it appears that I am. But I don't think this album regains any of the force at all. And I don't think anyone is claiming that, either...

What am I trying to say...Radiohead is boring because I already listen to all of the influences they distill already. There.
Re: Nick and Radiohead.

This shit gets so boring so quick. I don't really feel like being rock-criticky - fuck, let's face it, I'd be surprised if anyone even reads this - but the album abounds in masturbatory, "experimental" loads of suck.

Funny that I like the direct rockers more than any tracks on here - I'll take the startling thrash of "2 + 2 =5," the yearning heartbeat of "There There," and the massive guitar build-up of "Go To Sleep" over "The Gloaming" anyday. It really was a shame when the band hung up their guitars - I'm not saying Kid A wasn't one of the most magnificent albums in recent history, but Jesus, just listen to "Just." I mean, damn. When this band wants to visibly shake you, they sure can - and they've still got it.

And I'm really glad that the band flirts with good ol' rock 'n roll on this one. But despite the indulgent sketches of "I Will," "Scatterbrain," and "Sail To The Moon" - much like another highly awaited return (Think Tank) this album features more than its fair share of ... well, not real songs - shit like the all-out techno shimmy of "Sit Down. Stand Up," and eerie lounge of "Wolf At The Door" (think a fucked up version of "The Tourist") encourage me to listen to this mess more and more. Radiohead still pushes themselves ... kind of.

Sunday, May 25, 2003
Distance: A Microhouse Mix

Markus Guentner- Sunset
Dntel- The Dream of Evan and Chan (Superpitcher Mix)
Sascha Funke- Safety First
Todd Sines and Natacha Labelle- Skin (il travaille devant un ordinateur toute la journee)
Gustavo Lamas- Juvenes
Sami Koivikko- Obela
OM1- Opium
Superpitcher- Time to Cry
Luomo- Tessio (Mathias Schaffhäuser's Decomposed Subsonic Remix)

Colin's review of Cex's newest effort is right on the money. In doing an interview recently with him, in which my tape recorder didn't work (sorry, rjyan!), I get the feeling that Cex is getting closer and closer to a major breakthrough artistically. His warts and all approach to releasing albums has garnered a lot of skepticism, even among artists on his own label. While quality control and restraint may not be his strong suit, it seems like a privilege then to be able to chart easily the constant evolution and progression that this guy is going through. I'm guessing that the Maryland Mansions EP that should be upcoming in fall will be his final practice run and that his next LP will his first record deserving of something approaching mature and considered work that will vault him into the big leagues.
Say something interesting about Radiohead...

Thumb Yorke and my brother JR (it stands for Jesus Rises) share the same birthday - October 7th, 1969 - and used to vaguelly know each other when Thumb was at Exeter University in the late '80's / early '90's. My brother was at the time in a band called The Love Children (which is, incidentally, a great name for a band - top song = There's A Banana In The Woods Over There) and Thumb used to DJ occasionally at a University venue called The Lemongrove where The Love Children used to play. JR tells me that the nascent Squint-Rock Messiah's DJ sets contained not, as you would expect, experimental ambient compositions by a certain Richard D James and Thelonius Monk jazz work-outs, but rather a blend of particularly bland and teary- eyed indie-bollocks. Anyway, to cut a long story short... Thumb Yorke fancied some bird. Said bird refused to go out with Thumb Yorke because a; he was a squinty little twerp with shocking taste in music and also b; she was vaguelly seeing my brother the Local Pop Star. Said girl called Thumb Yorke a "creep". Thumb pens song detailing the soul-rending existential horror of being called a "creep" by a girl that you fancy. Thumb gets in some indie band. Indie band release said song. Song goes massive. Thumb gets very very rich and very very pretentious. JR becomes big fan of Thumb Yorke's band. Bizarre, eh? And all completely true too. According to JR.
Saturday, May 24, 2003
Phenomenal Video Producer

Can be found here. Contained within are videos for Aphex Twin, the Blood Brothers, Squarepusher, and Radiohead. Definitely check the Blood Brothers and Aphex Twin, if you have to choose.
Thursday, May 22, 2003
Andrew's Wilco review
I haven't heard the EP yet, but nice job. My only comment is that the line "I'm not a poet/and I know it" that you poke fun at is obviously a take-off from Dylan's line "I'm a poet/and I know it" - which makes sense in a song named after him. I don't know if that makes it more or less clever, but in any case the blame can't rest squarely on Tweedy for that one. ;)
Tuesday, May 20, 2003
Radiohead - Hail To The Thief

So where are Radiohead now? No-man’s land. Is Hail To The Thief a return to form? Yes, if only because Amnesiac was a poor refraction of Kid A. Is it more like OK Computer? It is more like OK Computer than Kid A is; but it still has more in common with Kid A than with The Bends. What did you expect? Garage rock? The shameless platitudes and U2isms of Coldplay? How foolish you have been. No need to be scared now.

Techno-fetishisation still abounds. ‘2+2=5’ is the most direct thing they’ve done in years; ‘The Gloaming’ the most abstract. There is a sense of purpose here that had been left outside the rehearsal room of the last two albums. They are better for it. Putting ghosts inside machines and making the repressive beautiful. Kid A now appears inspired. There are still no singles. ‘Where I End And You Begin’ replenishes itself organically while ‘Backdrifts’ eats itself and ‘Stand Up. Sit Down’ propels itself into the future-noir. This is no-man’s land because nobody else can. Magnificent.

More on Monday.
Thursday, May 15, 2003
Marah - Float Away With the Friday Night Gods
Fiction Plane - Everything Will Ever Be OK
Monday, May 12, 2003
Re: Ed's K-os Review

Excellent review, I think Ed really nailed this one. My one minor quibble is that "Superstar Pt. 0" has been in heavy rotation on BET's Rap City for about a month now, so this kind of style is not exclusively relegated to "MTV2 and its ilk." Nevertheless, it's a pretty interesting diversion from Rap City's usual fare (I don't think I've ever seen an Astralwerks artist on the show before). Just a reminder that Rap City is ground-zero for a wide variety of hip hop entering the popular market.
Sunday, May 11, 2003
Paul McCartney is standing in a big stone circle on his farm in whereverthefuck and he is shouting at the sky and saying “I am The Beatles! I am I am I am! Me me me me me me me! The others are all dead or Ringo and I am all that’s left, ha HA, I won John you fucker! I am The Beatles!” Every album he has ever recorded ever is being released this month after being remastered by angels on God’s mixing desk, and we must own them all by sundown or be shot in our beds. There’s an advert on British tele at the moment where Paul is seated in a big room with every instrument ever made ever and some that haven’t been invented yet too and he’s playing Band On The Run on all of them at once and it sounds like that chap from The Beach Boys, the fat one who went mad and put his piano in a sandpit, yes, him, it sounds like him being skyfucked in his dreams by a big beautiful bird with a piano and an accordion in it’s brain and a jew’s harp up it’s ass and now is the time to turn back to Macca and say, quietly but firmly, “Paul, the others may be dead or Ringo but you are STILL THE BORING ONE, Jane Asher or not, now FUCK OFF back to bed.”
Friday, May 09, 2003
nick southall is totally crazy, and those were great.

i just want to post, for a second, about the greatness of this guy called osymyso, who for those of you who dig cutups should be pretty familiar for his bizarro 12-minute mash-up "intro-inspection," which was easily the best thing to come out of that phase. (should that really have been past tense? is mash-up as a trend over yet? whatever.)

anyway, i'm not posting about "intro-inspection," though, you should all already know about that. i'm posting about "rabbit to rabbit," this totally great 4-minute track that apparently turned up on a 10" or 7" or something equally rare at some point, but now can be found very easily thanks to this wonderful Internet thing i'm on right now. the song is a mess of WB Bugs Bunny-isms with bluegrass guitar and vocals (singing "run little rabbit, run," what else?) and some great beats. it's totally silly, but so much fun, which is what osymyso does best. i've tired of a lot of mash-up stuff pretty quickly, but osy's music seems to have a longer shelflife for some reason, and now i've rediscovered this song like a year after i first downloaded it.

yup, still as great as a nick southall rant.

edit: googlisms. i get it now.
Wednesday, May 07, 2003
post-rock is the latest manifestation of one of these inward contractions
post-rock is this faux white
post-rock is a term that's not meant to be taken literally
post-rock is the modern equivalent of prog
post-rock is like rock but with hardly any singing
post-rock is what happens when the pretensions of prog get a good thrashing by punk noise
post-rock is
post-rock is meaningless
post-rock is the new prog
post-rock is to small
post-rock is rooted in the rock era
post-rock is a critical invention? name me a single band that is self
post-rock is the indie hipster's version of new age music
post-rock is a strange place if you're a girl
post-rock is 'wankey'
post-rock is over
post-rock is that some of it doesn't rock
post-rock is supposed to be
post-rock is post
post-rock is a reaction against all rock music that came before
post-rock is just a gussied
post-rock is so indefineable that most people don't understand it anyway
post-rock is a lazy and overused term
post-rock is a genre known for innovation
post-rock is an unfortunate label
post-rock is uncertain
post-rock is rock that doesn't
post-rock is 'shite'
post-rock is less a definable style of music and more a lazy generic label
post-rock is like jazz
post-rock is a terrible millstone
post-rock is one of those musical genres that seemed like such a good idea a couple of years ago
post-rock is bad enough
post-rock is that mogwai do it very
post-rock is a genre
post-rock is what they're calling it
post-rock is just a
post-rock is that
post-rock is back heart
post-rock is to use disney's view at his kodak picture spots
post-rock is and why it's called post
post-rock is this accessible and this pleasurable without straying into poppier waters
post-rock is a uniquely british phenomenon that was seized by american bands in the late '90s
post-rock is the indie kid's equivalent of those tapes you find in your parents' car called "meditations"
post-rock is just a new term for prog
post-rock is the order of the day for friday 15 november
post-rock is a genre which mixes electronics with live instrumentation while avoiding any semblance of the pop/rave nonsense we're all subjected to by rolling
post-rock is alternately enervating and narcotic but always winning
post-rock is the "krautrock" of the '60s and '70s
post-rock is too 'cliquey' and should try harder to be more successful
post-rock is so early 90's anyway
post-rock is there
post-rock is nu enorm in trek
post-rock is the latest in shoegazing artistry
post-rock is dead techno
post-rock is horrified to be associated with the past
post-rock is the new rock
electronica is about swimming
electronica is focused on digital
electronica is the leading exhibition for electronic components with more than 83 000 trade visitors from 62 countries
electronica is the term i like to use as an umbrella description for all the kinds of music listed on this web site
electronica is the music i listen to the most
electronica is an online design firm based in austin
electronica is a peer
electronica is the word that generally describes the most experimental side of electronic music pionneered by cult labels such as warp
electronica is highly graphical in both format and content
electronica is one year old
electronica is one of them
electronica is a term used to describe all sampler
electronica is about being involved in developing raw acts to their
electronica is all about mystery
electronica is a catch
electronica is an international known and current trend barometer of digital media art and illustrates the cultural and social
electronica is organized within the ars electronica festival
electronica is an open platform for the entire spectrum of disciplines in the field of digital media design at the interface of art
electronica is organized by the ars electronica center and the austrian broadcast corporation
electronica is genetic engineering
electronica is also awarding the movie titanic itself
electronica is an online tutorial created for anyone interested in becoming proficient in electronics
electronica is the new punk
electronica is hardcore or speed techno
electronica is hardcore or speed garage
electronica is more than strange lights and chaotic dancing
electronica is becoming so popular is that the rest of our culture is finally catching up with the electronic vanguard
electronica is cutting edge electro industrial for the 90's and beyond
electronica is a manufacturer of door phones and video door phones which takes pride in being among the elite in the sector
electronica is a different experience
electronica is dance grooves that will shake a club to its foundation
electronica is so difficult to classify
electronica is the next big thing in
electronica is to help you get a good web site running that will promote your sound and improve your chances of building your
electronica is in your diary – from november 12 to 15
electronica is awarded in the categories computer graphics
electronica is becoming more and more a part of our lives there is no better music to represent our days
electronica is available at texas a&m university
electronica is an
electronica is indebted to popular science
electronica is a broad category
electronica is a company specialized in electronic engineering
electronica is prohibited
electronica is not to take stock of the past
electronica is
electronica is providing online updates on an almost
electronica is held
electronica is in trouble
electronica is a music and a lifestyle
electronica is my main passion in mu
electronica is a reductive definition for moby
electronica is very much about the hypnotic power of looped samples and the textural possibilities of digital sound
electronica is beveiligd tegen impulsen van gsm
electronica is the world's largest festival of electronic arts
electronica is a general paleontological journal of the widest possible scope and is accessed through a world wide web
electronica is all about mystery; flight; dreams; visions; escape; meditation
electronica is music that is almost entirely produced with electronic instruments like synthesizers
electronica is an opportunity to deepen customer relations rather than launch new products
electronica is following the genetic theme again next year
electronica is a company devoted to the design
electronica is the most diverse and progressive music in the world
electronica is no stranger to controversy as the next sex theme in 2000 had a sperm race which created a stir and net artists are still grumbling about
electronica is currently played by and for younger people
electronica is shared as much as it is distributed
electronica is interesting for sure
electronica is restricted to a beat
electronica is part of an ongoing area of my practice concerned with the exploration of my work through electronic means
electronica is the premiere interanational festival for interactive art
electronica is such that the show is huge
electronica is the world's first electronic palaleontological journal
electronica is timed to coincide with comtek
electronica is divided into 17 segments
electronica is providing online updates on an almost daily
electronica is hot
electronica is connected to the following things
electronica is a blanket term that is used to describe electronic music in general
electronica is een gerenommeerd bedrijf wat ruim tien jaar bestaat zich toelegt op de verkoop en installatie van consumenten hifi en video apparatuur
electronica is long on beats and texture
electronica is able to
electronica is an enhanced internet browser built specifically to find free music on the web
electronica is the place to be
electronica is the next big thing
electronica is a renowned meeting
electronica is the world's biggest electronic art contest annually held in linz
electronica is the leading international electronic components/equipment exhibition in russia and the nis countries
electronica is currently receiving
indie is out there
indie is your music?
indie is the reason¤
indie is not a style of music
indie is dead
indie is your music? by ed howard think you want to start listening to indie music? wanna have
indie is more than just a computer trade magazine
indie is all about doing it your way
indie is foregoing its traditional spot in the shadow of the international film festival to
indie is a network of filmmakers helping out other filmmakers
indie is where their tastes intersect
indie is an online artist development company thats focus is the three t's; distribution
indie is a fairly new 1 genre of music which was added/invented/dreamt up to serve a rather particular purpose and group of individuals
indie is a fairly new
indie is an authoring tool that enables non
indie is clearly interface independent
indie is in birmingham
indie is short for independent
indie is independent
indie is proud to be associated with liquid dreams records
indie is living in a small town in maine with her mate
indie is a danish band
indie is an internet database full of information
indie is proud to present the fantastic twigs from bergen in norway
indie is a company formed to provide services and resources catered to the needs of independent artists and labels
indie is no longer taking submissions
indie is
indie is all about being self reliant
indie is a compilation of indie tunes whose playlist is still very much under development
indie is the primary theme
indie is more about personal reactions to films rather than media studies deconstructionism
indie is very similar to the typical contract between a label and an individual artist
indie is a heuristic bottom
indie is a seven month old purebred english labrador retriever
indie is the same as it's always been
indie is he for putting that on his list? oh
indie is also a member of the american academy of pain management
indie is voorgoed voorbij
indie is an attitude with a sound
indie is a programming language that combines the popular features of java and c++ with some interesting features of more eclectic languages like dylan
indie is a new constellation of seasoned musicians
indie is being maintained in a small
indie is wendigo
indie is a term that holds no sure footing in anyone?s musical vocabulary
indie is a name that was carried down from generation to generation
indie is suddenly all the more important
indie is an award winning screenwriter first
indie is so cool
indie is an engaging mix of homegrown cinematic entrepreneurial spirit and enlightened self
indie is the new scourge of the british music scene
indie is the non
indie is only as good as its distributor
indie is a genre
indie is on track to become the slamdance of toronto
indie is screening twenty
indie is a web site and monthly newsletter dedicated to showcasing and promoting independent artists from around the world
indie is currently available at a list price of $2295
indie is struck by lightning
indie is jpc
indie is a source for the best independent bands online
indie is a fun thing to have
indie is looking for all types of rock/alternative music
indie is what goes on in olympia
indie is a map turtle and belongs to my friend and rehabilitator
indie is voor deze voc een goudmijn
indie is purchasing a
indie is an attitude
Tuesday, May 06, 2003


It's funny because it's Cex.
Sunday, May 04, 2003
Jacksonville sucks.

Last night, my friend/photographer Matt and I went to Jacksonville with the purpose of seeing Schneider TM. We walked around a part of town known as Five Points, where we bought juice at a Shell station. No big deal, except that the seemingly female sales clerk had a beard and a voice that makes Tom Waits' growl seem like that of a little girl singing nursery rhymes. We went to the park across the street, which, from afar, looked beautiful, but turned out to have a pond full of sludge that pitiful ducks opted to fly over. I was harassed by a wino, and so we left. Backstage at the show, we were entertained with tales of our hometown by members of Les Savy Fav and sneered at by members of the Faint. The gentlemen from Schneider TM were very nice, and the show itself was great. We spent the night dodging indies we knew from our respective towns, basically because we were too tired for small talk. Despite having had fun, we were really tired. Overall, everything went well except trying to navigate the hell known as I-95 and I-10. Post-show, we tried to get back to our hotel from I-95. We had to get back onto I-10 to get to where we needed to be. As could be expected, we got lost. Jacksonville, besides being a really ugly town that spat out Fred Durst, has a screwed-up interstate system. We ended up in what could be considered a rough neighborhood, trying to find the on-ramp for I-95. We're traveling along this backroad when we see signs designating an on-ramp for I-95. Imagine a little back-alley in a residential neighborhood that branches DIRECTLY ONTO THE INTERSTATE. Don't ask me why this freaked me out so much, but it did. It just seems wrong to have an interstate on-ramp made of dirt branching out from an alley behind someone's house. The hotel we stayed at consisted primarily of loud truckers who started their rigs at 3 a.m., continuing until check-out time. I'm sleepy, borderline delirious as a result of sleep deprivation, and I'm transcribing an interview.

Things have to get better from here, but just so you know:

I cannot, for the life of me, stop listening to this Hugo Largo Drum EP. It has completly taken over my week. All week it's been that and "Something/Anything?" by Todd Rundgren which a friend of mine in England copied for me. The amazing thing is that I found the album on vinyl for $1 at my local used record shop. It's in perfect condition, too. Wait -- now I can't remember if it was more than a dollar but I clandestinely slapped a $1 sticker on it, or if it really was a dollar. Nevertheless, I purchased it for a dollar. My only complaint about the record is that Michael Stipe couldn't just stick to producing the EP, but had to inject his nasally vocals into some otherwise perfect tracks. In my daily browsing I found out that the lead singer of the group, Mimi Goese, released a solo album under the name "Mimi" in '98. It's classified as "Club/Dance." Should be interesting. I'll have to add it to my records-to-hunt-for-till-I-completly-forget-why-I'm-hunting-for-it list.