Despite being male, I'd still swop my talking voice for Nicki Minaj's in a heartbeat.
Kanye West's film 'Runaway' premiered on the US networks at the weekend. Naturally, it was all over the sick, twisted and quite brilliant internet within a moment's notice.
The film is an interesting one, to say the least. I was going to try and write a small summary of what happens but I feel that you will all think I've finally lost it if I do. Let's just say that the film includes an asteroid smashing into earth, a phoenix being born, Kanye and phoenix watching a fireworks display whilst a massive Michael Jackson papier mache head is paraded and some ballerinas dancing around to a song that includes the line "24/7 365 pussy stays on my mind." All this and its only 34 minutes long. Take note James Cameron with your shitty little blue world boring everyone into submission for hours on end.
For a fan boy like me, the main draw of this film is to hear the vast majority of songs included on 'My Beautiful Dark Twisted Fantasy', albeit in snippet form. Safe to say that the ones I haven't already heard sound very interesting. Really digging the Rihanna featuring 'All of The Lights' I must say. The film is beautifully shot and at times is remarkably vivid, I've never seen anything like it before. My monitor is ancient and dusty as anything too. It's like it was recently salvaged from Tutankhamun's tomb. How much Mr West has to do with the actual cinematography and all I don't know, but either way, it's definitely worth watching. Gotta say that Kanye's acting when he has a line (which is rare) is a bit lame but he cleverly distracts you by wearing some super sharp suits. The mischievous, badly acting and well dressed little scamp.
I remember October 21, 2003 really well. It was the day my favourite artist, Elliott Smith, died. It was a normal day really, nothing extraordinary happened to make it stand out from any other. I remember that I heard the news and I remember that I went to the supermarket for something and it absolutely poured down. On the way there the radio was playing a recently released R.E.M song called 'Bad Day'. I won't attribute any greater meaning or anything to this weather or this song but both sort of made me think that I didn't wanna be out of the house that evening. I got home a little later and played Elliott's albums back to back like I had a million times before. I wasn't overwhelmed with sadness or loss, I remember just feeling very, very strange.
Seven years have now passed since that day and a lot has happened to me since then. The good and the bad, the ups and the downs. Nothing more or less than this life game promises us all, I suppose. Elliott's music, however, has always been a constant. He remains my favourite artist and I'm still regularly surprised by a turn of one of his phrases or a melody buried deep in one of the many astounding songs he released. I remember the day I first heard 'Either/Or' and couldn't help but think that I was the only person in the world to ever listen to the record. You'd listen to these songs and feel like you'd just shared a secret and a beer with the man. To this day, I'm still a little taken aback when I read an article about him or overhear someone discussing him. I always want to say "You're in on this thing too? I thought it was just me."
Since his death I've also come to understand why I felt so strange on that rainy day in October. I think it had something to do with knowing that someone like Elliott was out there, making the music he was making, on this same planet I was inhabiting. It was comforting, in a strange way. There was always the promise that he'd announce a tour and I could go see him or that he'd release some details of a new record that I could get stupidly excited about. When he died, he took this promise and this comfort with him. Whilst I'm eternally grateful for the body of work he has left behind, it's also difficult, from a purely selfish viewpoint, not to rue what could've been and what he could've done.
Elliott seemed to be a conflicted character that didn't get along with himself too well sometimes. I know that's a extremely basic way to put it but so much is written about his life, his death and everything in between that's it's almost easier to look at it that way. Whilst his life may have acted as the catalyst (be that for good or for bad) behind his art, I prefer not too look into it in too much detail. It's simply not my place to. Clearly, Elliott went to some dark places in his thirty four years. To me, however, it's now more important to stress that the man had an amazing gift for writing songs that speak to your very core. Songs that sometimes sounded more like whispered reassurances that everything's going to be okay than a guy with some instruments and a ludicrous amount of talent.
I'm trying to keep this short and not too gushing so I'll sign out here and just say, keep Elliott Smith in your thoughts for a minute or two this week. In fact, I'll help you with that one. Watch the video below, there's a couple of minutes or so right there that'll lodge him in the forefront of your mind.
You know when people get stranded by the tide coming in? They must be really thick, right? It's happened to me three times in my life thus far :*(
Not this one. I haven't blogged for so long that you couldn't really call this a job. Those lovely fellas in sportswear queueing up down at the jobcentre do more work in a day than I've done on this blog in the last three weeks. As always, no real reason. Life just tends to get in the way. If you aren't already, follow me on twitter at @manmeetdinosaur. I post far more frequently on there. The material is identical to this blog though, I warn you now. Posts containing content that mainly conform to a music/popular culture focus whilst often shot through with biting sarcasm and historical inaccuracies. Safe to say if you hate my blog, you'll despise my twitter.
I've decided to post because I'm avoiding (or trying to) eBay right now, if you must know. Not because I've bought some old shit that i'm trying to avoid paying for. I'm not just sat here as vitrolic negative feedback piles up. Oh no. I just always buy rubbish on ebay I don't want. In fact, in my university days someone once found me typing 'weapons' into the eBay search bar FFS. I wasn't even doing it in a Anarchist/kid about to go postal way either. I just thought it'd be cool to buy some ninja stars or something like that. Maybe some of those ninja sticks. I often wonder where my student loan went y'know.
So, whilst I'm here, I'll talk about The Walkmen. I was just reading this great little feature over at the ever brilliant FADER site about these guys and it got me to thinking about them and how truly magnificent they are. One thing I probably overstate when writing about bands/artists on here is consistency. I always seem to be lauding bands for being consistent when I can understand people who argue that if someone makes a record that is a stone cold classic, yet also a one off that they'll never match again, then what's wrong with that? Well, nothing really but The Walkmen are one of those bands that make great albums time and time again. They aren't unknown, sure, but the amount of inches you'll read on bands that don't stack up to the knees of this lot is enormous. Trust me when I tell you that they are far more than just 'The Rat'. Although, I must say here that song still makes me go absolutely mental when I hear it. Proper beating-my-heart-and-shouting-to-the-heavens style like I'm Brian Blessed after a full fat Red Bull. "CAN'T YOU HEAR ME! I'M BEATING ON THE WAAALLL!" I scream at the mirror. "Yeah I can, STFU!" wail the neighbours.
Anyway, I've just ordered The Walkmen's new record 'Lisbon' from the ever speedy* Play.com and I highly suggest you do too. I have the highest of hopes. The title video of this post is a song called 'Stranded' (horns baby! horns) and the song below is called 'Angela Surf City'. I think these two tunes highlight the quality of this band well and also, they couldn't really be more different. (Somebody give that drummer a glass of water. Boy on fiah.) Both songs are taken from 'Lisbon' which is out on Monday.
Can't imagine too many surfer chicks being called Angela, I must say.
No, this is not a drawing of Christian or Edge of WWF fame.
The title of this post also doesn't relate to the lack of readers I have either but yes I know, the numbers don't lie. No indeed, the title of this post relates to a song by The Mynabirds (and indeed the drawing above is of Laura Burhenn of Mynabird fame) which is taken from their splendid 'What We Lose in The Fire We Gain in the Flood' album that came out earlier in the year on Saddle Creek. The Mynabirds are just one of hundreds of artists that have performed mini sets for Daytrotter and all these sets are available to listen to and/or download for free from the Daytrotter site. A simple rule of thumb to work by is this: if you like the band, they've probably done a Daytrotter session. Personal highlights include The National, Two Gallants, AA Bondy, Josh Ritter, Quasi, Tim Fite. Man, there's just loads. Check out the alphabetical page for proof.
So yeah, just a quick post to say check out Daytrotter if you already don't. It's really an incredible archive of great music from a wide array of musicians of all styles and sorts that is unparalleled anywhere else online. It's even on my roll call of sites that I check on a daily basis and believe me when I tell you that only the best of the best get on that list. Current daily checkers: daytrotter, Hamsters Blog, 101 Ways to Make Money and Justin Bieber Music.
If I had one criticism of daytrotter, it would be that the drawings DT use when posting new sessions are sometimes a bit off. Don't get me wrong here, on the whole they're great and I think that aesthetically the site looks really cohesive but if you see below - Do you know who that is? That's meant to be Adam Haworth Stephens from Two Gallants. To me it's more "So why so serious?" than it is heartworn troubadour, no?
"I'm an agent of chaos."
Oh yeah, and whilst I'm here. The band OK GO. We get it now, okay? We really do. Yes, you're really good at spending ages and ages on really clever viral videos that amass millions of views on youtube, we know and believe me when I say that yes, that's cool. I do, however have one major issue -The tunes are still really dull. I hate to be a boner but d'ya think you could do anything about that me old pals?
This was End of The Road's fifth festival. It was MMD's third consecutive appearance. The line up has got better with each year MMD has attended. You can call that coincidence if you like. I'll try and waste no further time with these introductions as I often do, instead I'm going to take a day-by-day approach to this thing. I just think thats more organised, more professional and as David Brent once said "Professionalism is.....and that's what I want."
Thursday
So the festival started properly on Friday but the campsite opened a day early which seems to be a trend with these summer festivals - I'm pretty sure the campsite for the next Glastonbury is open now - and as the organisers of EOTR are a pretty good bunch, they put a few bands on to keep the earlycomers entertained. The whole thing kicked off with an unannounced surprise acoustic slot from Willy Mason. I've never really given him a chance in all truth nor am I familiar with any of his songs aside from 'Oxygen' and 'Where The Humans Eat' but he was nice enough. You know, songs about whiskey and southbound trains and the travellin' man and all that. The main draw of this precursor day, though, was undoubtedly Isobel Campbell & Mark Lanegan. They did their gravel vs honey trick pretty well and after starting off a bit suspiciously sound wise, it wasn't long before they hit their stride and got into their groove. I particularly enjoyed 'You Won't Let Me Down Again' from the recently released 'Hawk' because it's got a bit of tempo and although I really like the duo, it can get a little wearing live. Mainly because each song has a tendency to sound very similar to the last one. No hatin', just sayin'. Oh and Mark Lanegan I know your schtick is to be all moody and that but c'mon man, say "hello" at least.
I missed Allo Darlin' later on that night which could've been regrettable because apparently they were pretty good. I do wish that they'd tone down the tweeness though, I'm not alone in thinking that right? Still, I should've watched them but I was oblivious over in my tent playing scrabble, drinking tea out of china cups and smoking a pipe.
Friday
I may as well sketch photos court room style in the future. L-R: Joaquin Phoenix, Stone Cold and Beck.
Elliot Brood had the dubious honour of being the first band of this festival that I was really looking forward to seeing. Mainly because I've listened to them for years but I've never had the opportunity to see them live. I've never even seen a picture of them in fact. They could've looked like anyone. Turns out, they don't look out of the ordinary. At a push they look like, erm, Joaquin Phoenix, a mix between Beck/Matt Berninger and the drummer looks like, well, he's bald so take your pick. Not Stone Cold Steve Austin though, he doesn't look like him. Enough with tedious lookalikes though, Elliott Brood were really good, perfectly twangy and refreshingly loud. 'Second Son' filled all my expectations wonderfully as did 'Acer Negundo'. Both are taken from an album called 'Ambassador' that you should already have if you're any good but if not, sort that. You do get the impression at this festival that people often watch bands with open minds and perfectly intend to investigate further if a new band impresses them. EB definitely impressed here and I hope a few people check them out on the back of this performance
After that it was to the main stage for a run consisting of Freelance Whales, The Mountain Goats, Wolf Parade and headliners of the night, Modest Mouse. I may or may not have made a joke about all the bands having animal band names at some point. Yeah, it sank like a lead zeppelin. Still, Freelance Whales. I'd been enjoying 'Weathervanes' a great deal in the week leading up to the festival but I did think they got a bit lost in the wind in this sort of live setting. Perhaps in a small venue it would have worked better (they did play a smaller tent the next night which got rave reviews) but here it sounded like someone had set up a ghetto blaster on stage to play the Freelance Whales album at a lowish volume. Next up was the library heartbreak/resolve of The Mountain Goats and as I expected, they've got some real devoted fans. I can see why too. John Darnielle is easily one of the most consistent songwriters going and whilst his body of work is a pretty hefty one, there really isn't too much fat in it at all. Nor did he disappoint here. I don't think I was the only one to be hoping for as many songs as possible from 'The Sunset Tree' and from memory we definitely got 'You or Your Memory' and 'This Year'. "I am going to make it through this year if it kills me..." we all sang. Not really one for those on death row that tune.
The Mountain Goats doing their thing. John Darnielle thinking we're falling for him plugging his guitar into a piece of strawberry liquorice.
Wolf Parade didn't happen because we found out that was a secret gaming garden near the main stage and I just love games too much. I say gaming garden there but for any of you younger readers out there, this wasn't like the Trocadero or anything. This is a gaming garden at a indie/folk festival we're talking about. There wasn't an Xbox or PS3 in sight which to me is a good thing because if they had Call of Duty set up I wouldn't have seen a band. I mean that too. Instead we had table football, table tennis and a skittles thing. So, sorry about that Wolf Parade (and I did hear they were really good) but man, table tennis is such a good game. Just hitting a little ball over a little net on a little table. That's what life's really about. Could table tennis help those in poverty or in need? I think it coul....it wouldn't would it, it is really good fun though.
I reviewed a Modest Mouse show for this here blog a while back and whilst I enjoyed it I also thought there was something not quite right about them. I'll level with you here, I didn't really enjoy their headline show at all. Again, it's hard to put a finger on why. Some of the song choices seemed a bit obtuse for a festival slot (why play 'The Whale Song'?') and even the songs the band knew would be crowd pleasers sounded a bit murky and off paced. I'm talking things like 'Satin In a Coffin' here. At times, I found my spirit and mind had been left over at the table tennis table whilst my body stood shoulder to shoulder with others watching Modest Mouse sort of wishing they'd finish soon. I know, I'm sorry, it just wasn't for me that night.
Saturday
This was the day that, on paper, looked by far the weakest for me. It started pretty dismally when I woke at 6am to find my tent pretty much entirely filled with water. I was just pleased I slept in a scuba mask. This Saturday, however, actually turned out to contain the highlight of my festival. I've loved Iron & Wine for a long long time now. I think Sam Beam is in the top five lyricists working today if he isn't the best and it really gets to me how his songs and the words contained in those songs are often dismissed as sounding "all the same". That said, I haven't seen I&W live for a couple of years but recent reports I've read and heard have suggested that he's a bit of a noodling jamster these days which is frustrating because he's capable of silencing wars when he stands alone with an acoustic guitar. Either way, I made my way to watch him on the main stage as it was getting dark and I was completely unprepared for what happened next. Firstly, Sam Beam came out alone with an acoustic guitar. Secondly, he played a set that, if I'm not mistaken, consisted of every single one of my favourite I&W songs. Starting with an acapella 'Flightless Bird, American Mouth' Beam silenced the crowd in a way very few performers can. From the plucked beauty of ' Upwards Over The Mountain' to the rolling majesty of 'The Trapeze Swinger', it was then that I knew I'd just witnessed two things. 1. something very special and 2. the best performance of the weekend. The latter song, in particular, was jaw dropping.
. Clearly not recorded at EOTR but just watch it. You'll see what I'm saying
Iron & Wine had already made my night but as is the way with this festival, there's always something to watch. Later that night we caught Caitlin Rose who had packed out the 'Local Stage' (read as 'not-so-big top with stage in middle. Open on one side) and she sounded in fine voice even if I'm a bit baffled by her popularity. I mean, it's just classic Nashville sound country isn't it? There's a million cassettes of people sounding like that clogging up those reduced baskets up and down the country's service stations. Fill yer (Topshop) cowboy boots pardners! Later that night I played some more table tennis including a game against some guy (he looked like a drummer) from Black Mountain who CHEATED to a win against me. Kinda mean considering I was handicapped at the time. Yeah, I was drunk, I mean I was drunk.
Sunday
The Antlers were charging £15 for a t-shirt. No wonder they can afford that fancy lighting.
This was the day that leapt out of the schedule for me with The Antlers, Felice Brothers, The Low Anthem and Wilco playing in a row on the main 'Garden Stage'. The Antlers kicked off in the sunshine playing a pretty short set consisting of songs from 'Hospice' which was my favourite album of last year. As I mentioned when reviewing last years festival, some bands sound a little strange in certain situations and I think that applied here too. 'Hospice' is an extraordinary album about a set of circumstances that, seem at least, desperately tragic. For me, songs like that sound a bit weird in Dorset sunlight whilst the bloke to the left of you concentrates on stopping his Solero from dripping. Still, they stayed faithful to those brilliant songs and I only hope so of the crowd were turned on to the band from seeing that set. If not, they truly do not know what they are missing out on.
The Felice Brothers irritated me. I've never been overwhelmingly in love with them anyway but I'm certainly partial to the odd song and don't deny they have a certain charm. In a live setting though, their whole country troubadour thing is really played out. They spoke of how they'd been up all night and the singer was slurring because he had no doubt had been drinking bourbon constantly for the last xx years despite looking about 14 and they sounded all over the place but yes, I know, that ramshackle approach is supposed to be part of their charm etc. Bleurgh. I just didn't really enjoy it all. We left halfway through this set to get some food and as always, the food at this festival is as diverse as it is good. It's all well expensive but everyone knows that money doesn't really mean anything at festivals and the majority of people are perfectly happy to frit away small fortunes on food, drink and whatever shit they sell in those stalls around the site. Any combination of bongos, fur coats, high visibility vests and army jackets by the look of things.
This guy thought carrying a duck on a stick was quite literally the funniest thing ever.
The Low Anthem are the archetypal EOTR band. They really are. They are of a certain size. They play indie folk/americana. They are on Bella Union and Nonesuch in the US. You see where I'm going with this. They got another great reception this year on a main stage that, for their time slot, was as busy as I'd seen it. I seemed to be alone as I struggled with the lack of variance in their music as their set wore on. It's perhaps a bit rich to talk of variety at a festival like this because that's not really the aim of the whole thing but I found myself getting bored a fair distance before the band closed their set. After they'd just finished I heard a girl near me say "...that [the set] was so perfect, the atmosphere here is so beautiful." I looked at her as she said this, I then looked at the bloke stood next to her and he was picking his nose and examining the extractions. I found that kinda funny. Beautiful indeed.
Chances are your Dad was ROCKING OUT to Wilco whether you knew he was at EOTR or not.
Wilco were the last band I saw at the festival and, as expected, the ended the thing in a fantastic manner. Rarely do you see a band that contains such professionals on every instrument like them. Jeff's voice has been at the top of its game for years now and I couldn't criticise at all aside from saying they didn't play enough from 'Yankee Hotel Foxtrot' (obviously) and that they didn't play 'Spiders (kidsmoke)' because that song live is an absolute juggernaut. With Wilco, you know what you're going to get and everyone loves them for that. They have the largest of back catalogues to choose from and let's fact it, must of those songs are winners. This one was a foregone conclusion before the band even came out. Brilliant.
End of The Road surely remains the best small festival in the country and as I said last year, if you like this sort of thing, there really is nowhere better. I've got some concerns to how sustainable the festival is at its current size because after all, these guys are running a business here and to progress, well, surely that means selling more tickets or selling the same amount of tickets at a higher price. Of course, This could reflect both postively and negatively on the festival as a whole but either way, I'll be here next year and I urge you to be too
P.S EOTR organisers: Next year, perhaps throw a token act from a different musical genre on here or there though yeah?
Regrettably, I did an end of the road Boyz II Men pun on last year's review so I'm all out of jokes.
End of The Road festival starts in earnest tomorrow (sort of today, more on that later) and we're going to be there. I've got a feeling, no, not that tonight's going to be a good good night, but more that it's going to rain all weekend. Still, it'll take more than that to dampen our spirits! That's lies actually, if it is persisting down all weekend that will be probably wholeheartedly dampen our spirits but even so, here's a preview.
The lineup is really strong this year. Thankfully (for me at least), EOTR is a rare example of a festival thats lineup gets better with each year that passes. Headliners this year are Modest Mouse, Yo La Tengo and Wilco. For a festival with a 10,000 capacity. That's not half bad, is it? As I said in my review of last year's festival, if you like this sort of music (and yeah, you know what I mean by that) I don't think there's any better event.
Bands/Artists of particular interest:
Dylan LeBlanc The Antlers ('Two' video above) Felice Brothers The Low Anthem Wilco The Unthanks Iron & Wine Phosphorescent Freelance Whales The Mountain Goats Wolf Parade Modest Mouse Kath Bloom Black Mountain Elliott Brood ('Second Son' video below) Woodpigeon Here We Go Magic The New Pornographers Isobel Campbell & Mark Lanegan Caitlin Rose
Bands/Artists of particular interest not appearing this year:
Okkervil River
As you can see, quite a few big names (and a glaring omission) in there. One thing I did notice whilst looking around the set times page was some guy called 'Daredevil Christopher Wright'. I'll be honest, I've never heard of this man. HOWEVER, if this actually is a real daredevil I'm so in for this. Real talk, if there's a guy doing motorcycle jumps through burning rings of fire in white leather with glamourous assistants and stuff then well, I'll be ecstatic. Why? Well, you can only have so much indie music with a folky slant/beards can't you? Am I the only person to go to festivals, and really enjoy them, yet at various points during the weekend find myself thinking "God. I could do with someone getting their Evel Knievel hustle on right now." Yeah, I probably am. Either way, I'll review this thing upon my return and I'll let you know about Daredevil Christopher Wright too. If he's still alive by then the crazy/bonkers/stuntman/daredevil/nutter.
I haven't fully researched clashes yet. I do know that Modest Mouse will probably run into the The New Pornographers set a little and that Iron & Wine are to clash with Caitlin Rose but, as with life, I will wing this thing as I go. I'm not one to print out times and make a spreadsheet. Oh no, not me. I'd rather not plan anything and then curse my rotten luck come the end of the festival when I realise that, due to my poor planning, I've missed 78% of the bands I wanted to see.
I'll be back early next week with a review and some photos like only Man, Meet Dinosaur can (grainy, out of focus, someone's thumb covering the lens). If you're going, enjoy and stay away from all the artists I'm going to watch, I need some space. If you're not, well, why not? Enjoy B&Q and playing Mario or whatever else you're doing with your time loser.
As for me, apparently Campbell/Lanegan are due to play today (Thursday) in the 'Tipi Tent' so I'm heading over for that. Other than that I think today is mainly reserved for setting up tents, resetting up tents when they fall down and mainly walking around the site going "Oh this is nice isn't it?"
Oh and btw, I'll be live tweeting this thing from my twitter @manmeetdinosaur if you're *that* bored. Follow one, follow all!
Yo it's me, your main man, your light in the dark, checking in. Just thought I'd write a bit on where it's at right now in my own inimitable and meandering way.
This is going to be a big one. Trust me on this. The first two singles were exactly what I wanted from the man. Exactly what he needed to push this one to the next level where he belongs. Check 'Welcome (Gotta G0)' and 'Deadly Medley' to see just where I'm coming from. Links courtesy of BM's official site and the ever excellent 2 Dope Boys. Horrid title though. Saddle Creek darlings The Good Life tried the exact same thing a while back (i.e. called their album 'Album of the Year') and I don't think anyone ever really found it half as amusing as Cursive themselves did. Bit like how no one thinks these blog posts are anywhere near as good as I think they are.
This is very much more of the same. You all knew I was going to say that right? As ever, Campbell & Lanegan's voices contrast each other so starkly that their tales of wayfaring, wrongdoing and repenting are never anything but engaging. Lanegan is the earth, Campbell is the sky. For once, you can say that the sum is far more than the parts. Also, that song of theirs, 'Trouble', has sung me to sleep many many times. The sleep of a restless sinner, I usually wake up with a wet pillow.
I'm going to give this a try. I think Flowers really is a far better writer than he gets credit for. Yes, he fronts a massive stadium band that never stick to one style for more than five minutes but that isn't necessarily a bad thing. Let's be honest, he writes enormous songs that at some point in our lives or another, we've all loved. In particular, that 'Read My Mind' tune from 'Sam's Town' I thought was really affecting. This is the second time I've mentioned emotions in this post. This is all getting too much isn't it? I'm sorry. You all know the truth about me. I'm a man, not a damn flower picking mouse that smells all pretty and enjoys talking about emotions.
Fashawn just dropped the third installment of the 'Grizzly City' series mixtapes and just like the other two, this is well worth getting. Link here courtesy of Nah right, like normal. Check out 'Santiago's Revenge' to see why this boy is worth talking about. Twice.
Yes that's a serious band name. I've gotta feeling that being a freelance whale would be really tough work incidentally. Being a whale in general is a full time job in itself. Just too much weight to drag around those vast lonely seas where you swim and swim thinking about your one and only glory day. That being when you flapped your fin that one time on Encarta 97 and the world watched you. Then you were held up with MLK, a butterfly and Bowie. Now you're freelancing.
Properly digressing there, sorry, 'Weathervanes' then. This is a beautiful little album (that you can get on spotify). Really dreamy and you can definitely tell that these guys have spent some serious time with some Sufjan Stevens records in their time. There's a fair bit of Death Cab in here too but I shouldn't really say that because I often find mentioning DCFC puts people right off. It's like that thing where you say "Wow. This [object/gone off food item] really stinks! Give it a try. G'on, smell this buddy," and then, of course, people always say "If you say it really stinks why would I smell it? Get it away from me." For this reason, I hate people.
Before I go, a little note on the Madvillian video up there. That's the Four Tet remix of 'Great Day' and that I've recently been introduced to and damn, doesn't that feel so life affirming?! I always thought the original of that song was good but that there was a little too much 'distance' between the track and the vocal if that makes any sense at all. Madvillian specialises in sounding spaced like that, I know, but I knew that rhyme had such potential. Well, actually, I knew someone could do what Four Tet has done up there with it some day. Sorta sounds like a Dntel track, doesn't it. Either way, simply awe inspiring shit.
"Couldn't find a pen, had to think of a new trick/ This one he wrote in cold blood with a toothpick."
