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April 21, 2006

Shorties

The Columbia Spectator profiles author Chuck Klosterman and his separation from Spin.

This is a guy who waxed prolific on Saved By The Bell, Real World, and Billy Joel. Recently he’s written about text messaging and tacky t-shirts and the death penalty. Either nothing today even warrants mention or Klosterman’s just disinterested. In this case it seems like both.


Rilo Kiley's Jenny Lewis talks to Manchester Online about the inspiration for her solo album with the Watson Twins.

"The main inspiration was Laura Nyro's Gonna Take A Miracle," she says. "It's one of those records that seems to appear in my life every five years or so. I've also always been a fan of the Sun Records sound. I think it's a sound that's very simple, it's not a wall of sound - you can hear all the instruments. And the space that creates is haunting."


The film adaptation of Michael Chabon's first novel, The Mysteries of Pittsburgh, may not be filmed in the city.

I was almost excited about the project until I read that Rawson Thurber (Dodgeball) was writing/directing the project.


Popmatters interviews the Prodigy's Liam Howlett.


Singer-songwriter Andrew Bird talks to Billboard.

"My angrier songs tend to be more peaceful sounding. It's a twist I do to make every song believable," the Chicago-based songwriter says. Many of the new songs have been featured at Bird's live performances, including "Dark Matter," "Plasticities" and "Sycophants."


The Flaming Lips' Wayne Coyne is interviewed by Harp.

Harp: So many themes just tie together in your songs, like death, the ambulance, the blood.

Coyne: We’re lucky that people can associate death with us and have it be sort of a triumphant revelation, as opposed to it being like Bauhaus or a Nick Cave death-y sort of thing.


Harp talks to LHB logo creator Phil Szostak about his upcoming Guided By Voices comic, Pop Zeus.


The Independent interviews author Don DeLillo.

"What do you really see? What do you really hear?" DeLillo ruminates, when I ask how he stays tuned in to the dream waves of American life. "That's what in theory differentiates a writer from everyone else. You see and hear more clearly."


The Gainesville Sun profiles three authors of Harry Potter fan fiction.


Patterson Hood of the Drive-By Truckers (and other members of the band) talk to Harp.

“The duality thing is something that I’ve kind of come to terms with lately,” Hood says. He’s been reading the four-volume Robert Caro biography of President Lyndon Johnson, whom Hood refers to as “the duality president.”

“Dualities are just my obsession. I don’t know if it always will be, but it’s been such a recurring thing for the last 10 years in my writing, and just when I thought I was moving away from it, I find myself even more drawn to it.”

Two more reviews of the band's A Blessing and a Curse:

Orlando Sentinel: "Even short of perfection, this new album still qualifies as a blessing.."

Yale Daily News: "The album plays with this idea of fun versus grave and genuine Southern rock versus self-conscious indie rock. More importantly, no matter which one of these concepts is prevalent, the songs are all accessible, straightforward and unpretentious."


Absolut Noise is an mp3 blog covering Swedish music.


MTV.com lists the ten greatest MC's of all time.


Matthew Sweet talks to Nerve about his recent collaboration with Susannah Hoff.

DRE: Why did this album have to be produced in your house?

Sweet: That just how they’re doing it now. There’s been this big shift and it’s been terrible for big studios. My very favorite studio in LA, which most recently was called Cello used to be the western side of United Western Studios. That’s where they made all these classic recordings like Beach Boys and Sinatra records. One of my favorite, if not my favorite engineer in the whole world, Jim Scott, worked only in those rooms and that studio is gone. They couldn’t keep it alive because of the advent of home recordings. The quality of which has gone up to where you can do a really good recording at home. For us it meant not having the pressure of a big budget.


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