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May 15, 2006


In the Denver Post, Wayne Coyne of the Flaming Lips talks about the Oklahoma music scene.

"Most art is made in isolation," Coyne said. "You don't want to sound like anyone else. ... People should come to Oklahoma City, take advantage of how cheap it is to live here, play in a band, work at a restaurant that affords you the freedom to create your own identity - but it also affords you the ability to fail.

"Maybe people expect you to be weird if you come from Oklahoma City. But you certainly wouldn't want to move to Seattle to be a Seattle band, so don't move to Oklahoma City to become an Oklahoma City band."

Popmatters annotatedly deconstructs the hype surrounding Wolf Parade.

Singer-songwriter Richard Hawley talks to Popmatters about his lyrics.

In terms of his lyrics, Hawley said, "I don't like to write songs that look at the big picture of the downtrodden masses, but that doesn't mean I don't understand. This is no time for foolish complacency. My way of thinking is to treat human beings with respect on a one-on-one level. That's what I do in my songs. I think that itself is a political statement, even if it boils down to 'don't be an arsehole'".

Stylus interviews Tom and Christina Carter of Charalambides.

Who or what do you do you give credit to for the rising profile of 'experimental' music in the past few years? Or do you feel that this has even happened?

C: Yeah, I do feel it has actually happened. It seems to be the cumulative effect of the work of tireless music supporters like Thurston Moore, Byron Coley, Ed Hardy, and David Keenan and the availability of information and recorded music on the internet. The internet is a huge part of it. Any and all interest can be noticed, documented, and therefore it grows exponentially as there are worldwide communities in constant touch.

goodhodgkins interviews Matthew Friedberger of the Fiery Furnaces.

NadaMucho profiles singer-songwriter Robbie Fulks.

In the Atlanta Journal-Constitution, author Jennifer Moses bemoans the state of "post-literacy in America today.

Today's students — like their elders — are in the grip of what I call post-literacy. True, they have board scores that would make Einstein weep with envy, varsity letters, and experience digging drainage ditches in the Third World — not to mention perfect grades and teeth — but without having put in the time snuggling up with a good book, they're intellectually handicapped.

AfterElton interviews author Augusten Burroughs.

AE: How does Possible Side Effects compare to Magical Thinking?

AB: It's very different. I wrote all of it here recently, in my house. Magical Thinking was a mix—a couple of essays were previously published, some were emails I wrote to my friend Suzanne years ago. A couple of the essays were written when I was an active alcoholic, so there's a lack of self-awareness and absolute rage simmering just below the surface. Both works are similarly constructed yet diverge in tone.

Placebo's Brian Molko talks to Suicide Girls about singing a duet with REM's Michael Stipe.

DRE: I assume you’ve known Michael Stipe for a long time.

Brian: Yeah we met Michael in 1998 when he was executive producer on Velvet Goldmine which we had small parts in. We became friends then and kept bumping into each other. In fact, it was in this very hotel itself that we had the idea of working with Michael again because we bumped into REM here. We had written a song about adultery for a duet and we weren’t sure if we were going to include it on the album because we couldn’t find the right female vocalist. Then we saw Michael and it just was like, “Michael. He’s the one.” That immediately made sense to us, because there have been so many songs written about adultery and so many duets sung about adultery and it’s always been a guy and a girl. It’s so much more modern to have a song about adultery sung by two men.

Singer-songwriter Erin McKeown talks to AfterEllen about her lastest album, We Will Become Like Birds.

“In the past I've done all these records that bounce around from one genre to the next,” she says, “and I thought it would be interesting to see what would happen if I went for depth instead of variety.” She says wanted to challenge herself to get her mind to stand still for 12 songs.

“I'm a person who's full of ideas, for better or for worse, and they don't always turn into something.” This time she says she wanted to see things through before moving onto something else. In a song titled “Air” she sings: “What I lack in guts and blood I make up for in dreams.”

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