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March 22, 2006


GQ has a Waterloo Records sales clerk point out breakout acts from SXSW.

Wilco's John Stirratt talks to the Des Moines Register.

Q: What about the cult of Wilco and your role as indie-pop pioneers?

A: I feel lucky that people want to write about us. Some of the personal stuff is hard to take. I don't ever get hassled. Jeff, I'm sure, does. ... Jeff's a rock star. I don't think I'm a rock star, and I mean that just from a fame standpoint.

Erika Wennerstrom of the Heartless Bastards talks to Seattle Weekly.

What advantages does a three-piece have over larger, lusher outfits like the Drive-By Truckers or, taken to an extreme, the Polyphonic Spree?

I guess you make more money. Honestly, we never set out to be a three-piece. We had a guitar player and he left, and I'd booked all these shows already, and I thought we wouldn't get back in if we didn't play them. So we just started playing as a three-piece, and people seemed to like it. I kind of really love it right now while we've been recording, because I've been able to write it for a three-piece, where I wrote the last one with a lot of open spaces. This one will be a lot fuller.

Stylus finds a magic musical moment in Interpol's "PDA."

Lifehacker asks its readers where they find new music on the web.

Kathryn Yu reviews Magneta Lane's "Secrets Aren't So Bad" for NPR's "Song of the Day."

Singer-songwriter Sarah Harmer talks to Harp about her album, I'm a Mountain.

"I think this CD is definitely more music-for-everyone," she says. "Ideally, it's crowd-pleasing kinda stuff. It's quite simple, so it's something I think people can get behind. So, performing it live, I think there's a real connection there."

Scott McCaughey of the Young Fresh Fellows and Minus 5 reflects on the album that changed his life for Harp.

Philadelphia Inquirer music critic Dan DeLuca recaps his SXSW experience, as does Gorilla vs. Bear.

Aversion likens Britain's Great Escape Music Festival to SXSW.

Popmatters interviews singer-songwriter Kelley Stoltz.

Music critic Jim DeRogatis talks to Newcity Chicago about his new book, Staring at Sound: The True Story of Oklahoma's Fabulous Flaming Lips.

"I've wanted to do this book for years," he says. "I find the band fascinating. Name another band in existence that had their biggest successes on their tenth and eleventh albums. Pink Floyd? Fleetwood Mac? But those were like six different bands. This band also covered three eras of rock `n' roll--the eighties indie scene, with everyone sleeping on each other's floors, the nineties insanity when they found themselves on "90210," and now, whatever they are now. Plus, they are really fascinating people."

Threadless is having another $10 t-shirt sale.

Drowned in Sound interviews Broken Social Scene's Jason Collett.

Broken Social Scene doing well for themselves, though, and other Arts & Crafts acts following suit: is this something you always felt was coming, working as you have in something of an extended family?

No… it’s all been a pretty naive process, and I think that the secret to this success is the lack of calculation. I think you need to understand that there’s a historical context to this in Canada. Canada does not celebrate its own artists, and there’s a bad history of that. If you go back to Neil Young and Joni Mitchell, they had to leave; you get to the end of the 1990s, and Feist and Peaches and Gonzales taking off to Berlin. Los Angeles has the third-largest population of Canadians.

Deer Tick and Baskettree visited the No Love For Ned studio and contributed in-studio performances on this week's show.

Pattesron Hood of the Drive-By Truckers writes about Lyynyrd Skynyrd's induction into the Rock and Roll Hall of Fame for MSN Music.

I began writing "Southern Rock Opera" nearly 11 years ago, shortly after rediscovering Lynyrd Skynyrd. In doing so, I'm afraid I helped highlight their mythology. As a writer, you can't ask for better story elements than Skynyrd's brilliant rise and tragic fall. My original idea was to write "Southern Rock Opera" as a screenplay, but alas, the thought of a Hollywood version of this story seemed worse than a nightmare (Leonardo DiCaprio as Ronnie? AGGGGH!). In approaching the story in song, I hoped to at least give equal time to the music and its many political implications. By addressing the contradictions that exist in their music and the phenomenon it spawned, I hoped that perhaps people like me would be able to better appreciate the vast differences between what the songs say and how they've been interpreted through the years by both their fans and detractors.


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