sNOw MORE SNOW
please
Monday, January 31, 2011
Tuesday, January 25, 2011
Daytrotter Notes, Jan 6-Jan 10
January 6 - Lone Wolf
Piano on the first track sounds really cool. I don't know if it's how it was recorded (hot and peaking all over the place), or if it's some sort of synth sounding like a piano and a harpsichord sounding at once. Whatever it is, the effect is really neat and is definitely a compliment to rest of the sad-but-still-jaunty-and-catchy song. That fake, long, hyphenated word describes the session pretty well. The other three songs in the session are all played on guitar, where pretty, driving, fingerpicked melodies compliment the strong, soulful (?) vocal really well. This was nice.
Notable track(s): 15 Letters
January 6 - Active Child
Legitimately pretty songs, maybe even ones that accomplish something beyond sounding pretty. It is pretty obviously the striking voices, somewhere between Andrew Bird and Shearwater's Jonathan Meiburg, are responsible for a vast majority of it, but the sparse, airy strings don't hurt.
Notable track(s): Wilderness
RIYL: Shearwater
January 7 - Happy Birthday
The first song, 'Evergreen', was a pretty, slow, pleasant sounding song that probably reminds you over a dozen others, but in an ok way. I liked the little bass line that is mostly tucked away beneath the guitar. The other three songs really took a turn, devolving into a messy sounding, raucous distorted, still twee-ish thing. The sort of music that might be fun live but doesn't really interest me on record too much.
January 8 - We Are Country Mice
Words thought of: southern rock, classic rock, psych-rock, the 60s, the 70s. We Are Country Mice sound like all of those things, for better or worse. I am probably not well-versed enough in any of those topics to name names, but the band definitely spends a lot of time sounding like something you've probably heard before. The final track, "Close Behind", caught my attention more than the others, staying fairly minimal and spacey (and staying sounding a lot like Pink Floyd (ooops, a name), until the thing explodes in its 90 seconds. Crunchy, echoey guitars.
January 9 - Wartime Blues
The riff-driven "California Winter" draws heavily from the same sonic palate Modest Mouse (which I'll be careful to not call "theirs" (see: a few sentences down)) has drawn from on several slower songs, while the rollicking "Grain Belt" would, musically, easily fit in somewhere on Bright Eyes' LIFTED. I hate that I can't do more than say "sort of sounds like Modest Mouse!" or "sort of makes me think of Bright Eyes!" when it comes to things that can be described at a high level as some combination of indie/folk/rock. But it is those comparisons are the ones that are easiest and most apparent for me.
I can talk about things that beep and boop a lot better than ones that twang.
January 10 - OK Go
Inoffensive, if not genetic indie rock/power pop stuff. All of the reverb on "White Knuckles" surprised me (I really like reverb, guys), but really all it does is drag out each sound of what is, more or less, to me anyway, completely ineffectual music.
Piano on the first track sounds really cool. I don't know if it's how it was recorded (hot and peaking all over the place), or if it's some sort of synth sounding like a piano and a harpsichord sounding at once. Whatever it is, the effect is really neat and is definitely a compliment to rest of the sad-but-still-jaunty-and-catchy song. That fake, long, hyphenated word describes the session pretty well. The other three songs in the session are all played on guitar, where pretty, driving, fingerpicked melodies compliment the strong, soulful (?) vocal really well. This was nice.
Notable track(s): 15 Letters
January 6 - Active Child
Legitimately pretty songs, maybe even ones that accomplish something beyond sounding pretty. It is pretty obviously the striking voices, somewhere between Andrew Bird and Shearwater's Jonathan Meiburg, are responsible for a vast majority of it, but the sparse, airy strings don't hurt.
Notable track(s): Wilderness
RIYL: Shearwater
January 7 - Happy Birthday
The first song, 'Evergreen', was a pretty, slow, pleasant sounding song that probably reminds you over a dozen others, but in an ok way. I liked the little bass line that is mostly tucked away beneath the guitar. The other three songs really took a turn, devolving into a messy sounding, raucous distorted, still twee-ish thing. The sort of music that might be fun live but doesn't really interest me on record too much.
January 8 - We Are Country Mice
Words thought of: southern rock, classic rock, psych-rock, the 60s, the 70s. We Are Country Mice sound like all of those things, for better or worse. I am probably not well-versed enough in any of those topics to name names, but the band definitely spends a lot of time sounding like something you've probably heard before. The final track, "Close Behind", caught my attention more than the others, staying fairly minimal and spacey (and staying sounding a lot like Pink Floyd (ooops, a name), until the thing explodes in its 90 seconds. Crunchy, echoey guitars.
January 9 - Wartime Blues
The riff-driven "California Winter" draws heavily from the same sonic palate Modest Mouse (which I'll be careful to not call "theirs" (see: a few sentences down)) has drawn from on several slower songs, while the rollicking "Grain Belt" would, musically, easily fit in somewhere on Bright Eyes' LIFTED. I hate that I can't do more than say "sort of sounds like Modest Mouse!" or "sort of makes me think of Bright Eyes!" when it comes to things that can be described at a high level as some combination of indie/folk/rock. But it is those comparisons are the ones that are easiest and most apparent for me.
I can talk about things that beep and boop a lot better than ones that twang.
January 10 - OK Go
Inoffensive, if not genetic indie rock/power pop stuff. All of the reverb on "White Knuckles" surprised me (I really like reverb, guys), but really all it does is drag out each sound of what is, more or less, to me anyway, completely ineffectual music.
It is a weird feeling. To feel like you are just not ready to go ahead and create something specific, not yet. Like having a novel you want to write, but somehow knowing you are just not ready to do that.
I feel a little bit like that and can't really explain it to much better.
I've had the words "______ Fight Song" written down on a post-it for a while.
I don't know what it is. But that is what it is called.
I feel a little bit like that and can't really explain it to much better.
I've had the words "______ Fight Song" written down on a post-it for a while.
I don't know what it is. But that is what it is called.
Monday, January 10, 2011
Caltrain blog 2
This train isn't nearly as nice.
But with how good the rest of absolutely everything is, i barely noticed.
I am going to say 'I love you' in every volume of voice I have.
But with how good the rest of absolutely everything is, i barely noticed.
I am going to say 'I love you' in every volume of voice I have.
Wednesday, January 5, 2011
Daytrotter Notes, Jan 1-Jan 5
Every year, for the past two or three [years], I've resolved to listen to every session daytrotter.com posts (which these days is 365+ a year). In 2010 I made in three months or so before falling a few weeks behind and went back to picking and choosing, mostly bands I already liked. Which isn't really a good way to find out about new things at all.
So I am trying something new! It is called "write a little blurb about each session this year". Mostly for my own reference down the road, but maybe having a place to put it will keep me on top of it a little more. Maybe something will sound nice, or I will make a comparison to a band someone really likes/hate and they will check it out and find new things along with me.
January 1 - Korean is Asian
The year started with what might be the hardest type of music for me to write about. Not because I don't like it, or really like it, or have trouble understand how anyone could like it; just, there are so many things that sounds like this. Even a few days later I can't really recall what this band really was about outside of 'acoustic folky music' even though I listened to the session three times. And it's nothing against them. I just don't know if I have the vocabulary for it anymore. Sorry, guys.
January 2 - Eagle Seagull
I liked this a little more. A lot of the songs they played had some neat things going on aesthetically once in a while. Between lots of sparse jangling guitar (think early Modest Mouse) and some really constant fiddling, it's a fun listen. I guess the vocal (and what is going on lyrically, really) isn't the most original sounding thing if you've heard Franz Ferdinand or the Killers any of the copy-catish bands that popped up around the same time in 2006, but it's nothing that bothered me too much.
Apparently this band released their second album last year and then broke up. That is kind of sad.
January 3 - MGMT
I am sort of weird about MGMT. I am pretty aware of them, and they have their place, I guess, but their place is sort of removed from anything I care about musically. But this was all a lot less irritating than I was expecting. Maybe it was that the set the played here was a lot less electronically-based/reliant (which is usually what I am all into, so I do not know what is up), but these tracks were nice. When they are using synths it's not overpowering. The drone-y pitches in 'I Found a Whistle' work really well. I don't know if they are going to win anyone over, totally, or anything, but it's inoffensive. I sort of would have liked to hear 'Kids' arranged like this.
Notable track(s): "I Found a Whistle"
January 4 - DJ Spooky
The most interesting part of the single track "Daytrotter Mix" is probably the short, found sound collage that serves as the mix's intro. Not that the rest is bad, or not well done, but I am probably not alone in finding it more and more difficult to be impressed by straightforward DJ stuff in a post-Girl Talk world. It ends a bit stronger though. Programmed drums over post-rock violins. Kind of neat, I guess.
January 5 - Twin Shadow
This is a band who put out one of my favorite albums of 2010 so it was exciting to see him here, but even more exciting were the live in studio arrangements. I missed out on seeing him live back in October or November and knowing this was what I missed--that it probably wasn't the low-key intimate performance I expected--makes it even harder.
Notable track(s): Slow
So I am trying something new! It is called "write a little blurb about each session this year". Mostly for my own reference down the road, but maybe having a place to put it will keep me on top of it a little more. Maybe something will sound nice, or I will make a comparison to a band someone really likes/hate and they will check it out and find new things along with me.
January 1 - Korean is Asian
The year started with what might be the hardest type of music for me to write about. Not because I don't like it, or really like it, or have trouble understand how anyone could like it; just, there are so many things that sounds like this. Even a few days later I can't really recall what this band really was about outside of 'acoustic folky music' even though I listened to the session three times. And it's nothing against them. I just don't know if I have the vocabulary for it anymore. Sorry, guys.
January 2 - Eagle Seagull
I liked this a little more. A lot of the songs they played had some neat things going on aesthetically once in a while. Between lots of sparse jangling guitar (think early Modest Mouse) and some really constant fiddling, it's a fun listen. I guess the vocal (and what is going on lyrically, really) isn't the most original sounding thing if you've heard Franz Ferdinand or the Killers any of the copy-catish bands that popped up around the same time in 2006, but it's nothing that bothered me too much.
Apparently this band released their second album last year and then broke up. That is kind of sad.
January 3 - MGMT
I am sort of weird about MGMT. I am pretty aware of them, and they have their place, I guess, but their place is sort of removed from anything I care about musically. But this was all a lot less irritating than I was expecting. Maybe it was that the set the played here was a lot less electronically-based/reliant (which is usually what I am all into, so I do not know what is up), but these tracks were nice. When they are using synths it's not overpowering. The drone-y pitches in 'I Found a Whistle' work really well. I don't know if they are going to win anyone over, totally, or anything, but it's inoffensive. I sort of would have liked to hear 'Kids' arranged like this.
Notable track(s): "I Found a Whistle"
January 4 - DJ Spooky
The most interesting part of the single track "Daytrotter Mix" is probably the short, found sound collage that serves as the mix's intro. Not that the rest is bad, or not well done, but I am probably not alone in finding it more and more difficult to be impressed by straightforward DJ stuff in a post-Girl Talk world. It ends a bit stronger though. Programmed drums over post-rock violins. Kind of neat, I guess.
January 5 - Twin Shadow
This is a band who put out one of my favorite albums of 2010 so it was exciting to see him here, but even more exciting were the live in studio arrangements. I missed out on seeing him live back in October or November and knowing this was what I missed--that it probably wasn't the low-key intimate performance I expected--makes it even harder.
Notable track(s): Slow
Sunday, January 2, 2011
MMXI.1
Year started.
And so far I've spent every second of it in love. And it is great.
There are some other things to probably talk about. Some resolutions, what I am going to be doing/want to do, a bunch of music stuff.
But I am not really thinking about any of that right now.
I am thinking about how good I think this year might be.
And so far I've spent every second of it in love. And it is great.
There are some other things to probably talk about. Some resolutions, what I am going to be doing/want to do, a bunch of music stuff.
But I am not really thinking about any of that right now.
I am thinking about how good I think this year might be.
Monday, December 27, 2010
At the time of writing, I have been, more or less, trapped in a house that isn't mine (or even a house I would really prefer to be in) for nearly two days. Hopefully I can sleep until the town has actually plowed the roads and make some sort of escape.
I'll be out of clothes then, anyway. And food, I hear. Bad news, this snow. Get thee gone.
Despite having my laptop I haven't gotten anything that I've wanted to get done, done. Or even worked on.
It probably hasn't been that bad. It's just kind of like... confronting restlessness every second of the day. And knowing there are things you much rather be doing than being stuck wherever you are. And there a lot of things I would rather be doing than this. And people I would like to be spending time being with and being warm with.
I think we will soon, though. And then hopefully a lot of times after that.
I have been listening to a lot of weird things. I made it through the whole of Bright Eyes' Fevers & Mirrors, Digital Ash in a Digital Urn, and I'm Wide Awake, It's Morning while shoveling a driveway. I remember it being the exact same soundtrack to shoveling snow back in, like, January/February 2005. Maybe it is just the almost six years of general life that has happened in between, but those albums were a sort of heavy soundtrack to whatever I was upset/angsty/whatever about. The first of the three, especially. Or maybe that is the idea. I think I realized for the first time that that album's high/hopeful moments do basically nothing to fix the crushing stuff.
Not that it has to. Or that there has to be a balance. Just, Fevers & Mirrors it ends with some sort of positive feeling, I think, as if to say "there is hope here", except after the rest of it, it barely matters. Maybe that is why I always stopped the thing at "Sunrise, Sunset" and let it be a solid, sad thing. I think this line of thought is sort of dumb. Never mind, probably.
I also went through Animal Collective's Merriweather Post Pavilion for the first time in a while. It's such a summer recording, but it'll always probably be linked to winter memories. I really vividly remember it leaking in the afternoon on Christmas Day in 2008 and leaving out Christmas dinner early just to go home and listen to a pretty shitty vinyl rip of it. But it was still sort of magical. Held the title for biggest Christmas miracle until this year's Abraham Lincoln day calendar exchange, at least. It says a lot about both things.
But MPP. I still probably don't like it as much as some people do, and it isn't my favorite Animal Collective album, but it definitely is special to me. So warm and comfortable and sleepy (in a good way). I think I almost described it as sexy, which could be a weird way to describe music that obviously isn't, I don't know, 'doin' it music' (of which I do not have any (except The-Dream (but come on))).
It might be.
Or maybe it just a good time for it maybe. It was just really nice to listen to again. I'd like to nap to it somewhere warm soon (((((and i hope it is with you))))).
I'll be out of clothes then, anyway. And food, I hear. Bad news, this snow. Get thee gone.
Despite having my laptop I haven't gotten anything that I've wanted to get done, done. Or even worked on.
It probably hasn't been that bad. It's just kind of like... confronting restlessness every second of the day. And knowing there are things you much rather be doing than being stuck wherever you are. And there a lot of things I would rather be doing than this. And people I would like to be spending time being with and being warm with.
I think we will soon, though. And then hopefully a lot of times after that.
I have been listening to a lot of weird things. I made it through the whole of Bright Eyes' Fevers & Mirrors, Digital Ash in a Digital Urn, and I'm Wide Awake, It's Morning while shoveling a driveway. I remember it being the exact same soundtrack to shoveling snow back in, like, January/February 2005. Maybe it is just the almost six years of general life that has happened in between, but those albums were a sort of heavy soundtrack to whatever I was upset/angsty/whatever about. The first of the three, especially. Or maybe that is the idea. I think I realized for the first time that that album's high/hopeful moments do basically nothing to fix the crushing stuff.
Not that it has to. Or that there has to be a balance. Just, Fevers & Mirrors it ends with some sort of positive feeling, I think, as if to say "there is hope here", except after the rest of it, it barely matters. Maybe that is why I always stopped the thing at "Sunrise, Sunset" and let it be a solid, sad thing. I think this line of thought is sort of dumb. Never mind, probably.
I also went through Animal Collective's Merriweather Post Pavilion for the first time in a while. It's such a summer recording, but it'll always probably be linked to winter memories. I really vividly remember it leaking in the afternoon on Christmas Day in 2008 and leaving out Christmas dinner early just to go home and listen to a pretty shitty vinyl rip of it. But it was still sort of magical. Held the title for biggest Christmas miracle until this year's Abraham Lincoln day calendar exchange, at least. It says a lot about both things.
But MPP. I still probably don't like it as much as some people do, and it isn't my favorite Animal Collective album, but it definitely is special to me. So warm and comfortable and sleepy (in a good way). I think I almost described it as sexy, which could be a weird way to describe music that obviously isn't, I don't know, 'doin' it music' (of which I do not have any (except The-Dream (but come on))).
It might be.
Or maybe it just a good time for it maybe. It was just really nice to listen to again. I'd like to nap to it somewhere warm soon (((((and i hope it is with you))))).
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