Twitter Facebook Tumblr Pinterest Instagram

« older | Main Largehearted Boy Page | newer »

October 27, 2006

Shorties

"K-Town Super Frog," a film based on the Haruki Murakami short story of the same name, is apparently in production. Does anyone have any more information?


Popmatters interviews former XTC frontman Andy Partridge.

“I think I’m gonna have to make a solo record just to get rid of all these songs I’m amassing. And, also, lots of other projects, things that I fancy trying, and areas I would like to go into,” Partridge asserts. “But it’s difficult to stop music. Not being able to play the guitar for six months, and not being able to hear any loud noises or put on headphones and stuff with my hearing, that’s been tough. It’s sort of made me want to do it even more now.”


Magnolia Electric Co.'s Jason Molina talks to Athens Exchange about his songwriting.

"I definitely don't write songs from the perspective of other people," he replies, slowly. "I think every song is personal, though. Whether you're Tom Waits, taking on the persona of one of these gutterbugs that he manifests in his songs, or Nick Cave - I think all those songs are personal for them, even if you're selecting traditional material that's hundreds of years old. It becomes personal when the singer sinks into it. I don't feel like I'm giving a narrative history of myself in a three minute song. But everything I've ever written has been from my perspective."


A Wired News writer takes issue with the graphic novel, American Born Chinese, being nominated for the National Book Award.

I have not read this particular "novel" but I'm familiar with the genre so I'm going to go out on a limb here. First, I'll bet for what it is, it's pretty good. Probably damned good. But it's a comic book. And comic books should not be nominated for National Book Awards, in any category. That should be reserved for books that are, well, all words.


UGO lists their top 11 scariest songs.


Thrill Jockey's Bettina Richards talks to the Chicago Reader about marketing and selling an indie label's music in the 21st century.

"I believe if people can listen to the albums, they tend to buy them," she says. "The other key thing is that each record has its own page, and as you listen to it you can read the bio or whatever the artists want to say about the record." The Thrill Jockey site has been offering downloads of the label's music for a year, and Richards says some of her recent jazz releases have racked up 40 percent of their sales through digital-only outlets. At the end of November she'll formally launch a more comprehensive download service, which will join the handful of existing label portals that offer music both from their own catalogs and from those of other imprints -- including Bleep.com, founded by Warp Records, and the site run by indie hip-hop tastemakers Definitive Jux.


Singer-songwriter Shawn Colvin talks to the Seattle Post-Intelligencer about her record label, Nonesuch.

"It's really a music label, not a money label," Colvin said. "I met everyone who worked at the company in one room. So there's a big difference right there. The three guys who started it -- and they're still with the label -- have been there for 25 years. And that's not about to change. And there's nobody there in the background deciding to 'shake it up.' "


The New York Times profiles the city's rock clubs now that CBGB is closed.

“Right now there’s a renaissance of venues in New York,” said Adam Shore, the manager of Vice Records in Brooklyn and a veteran club trawler. “This is a great time. It’s going to be pretty cutthroat for promoters, but it’s great for bands and agents and fans.”


Poet Sharon Olds talks to the Independent.

Perhaps inevitably, there were comparisons with the so-called "confessional" poets - Sylvia Plath, Anne Sexton and Robert Lowell. In fact, says Olds, it was a different group of poets - people like Muriel Rukeyser, Gwendolyn Brooks and Galway Kinnell - who had a greater influence on her work. "Those were the poets," she says, "whose lives I loved and whose work I loved. Although I felt, once I read her, that Plath was a great genius, with an IQ of at least double mine, and though I had great fellow feeling for Anne Sexton being the woman in that world, their steps were not steps I wanted to put my feet in."


Author Augusten Burroughs talks to O.C. Weekly about the film adaptation of his book, Running With Scissors.

“When you give your book away to become a movie you have to either take control of it, like John Irving did with Cider House Rules, and write the screenplay yourself, or you have to give it up and you have to let it go and just hope that it turns out all right. So, mentally and emotionally, I did that.”


In the Guardian, Chris salmon's new "Click to Download" column features looks at Tom Waits and two mp3 blogs, Music Like Dirt and Headphone Sex.


Gothamist interviews the Undisputed Heavyweights.

Who would be in your ultimate music supergroup, your all-star Olympic team of rock?

Does The Beatles count as an answer? No? Darn, ok, then Stevie Wonder and Morrissey on vocals, Nada Surf on harmonies, Duane Allman & Adam Levy on guitar, McCoy Tyner on piano, Jon Price on bass, Matt Chamberlain on drums, Timbaland on beatbox and Shakira on hips. Sufjan Stevens would make our costumes and write our arrangements. I would get to carry everyone's gear.


My Brightest Diamond's Shara Worden talks to Tandem about being part of Sufjan Stevens' backup band.

"There is something liberating and fun about being a cheerleader and having butterfly wings was also really great," she laughs.
Worden is an imaginative lyricist, but she explains that "I do think of myself as a singer first. I'm not exactly ready to give up songwriting, but in some cases I think I sing other people's music better than my own. You can have more objectivity."


NPR's Song of the Day yesterday was Okkervil River's "The President's Dead."


Boston University's Daily Free Press interviews Matt Friedberger of the Fiery Furnaces.

Muse: How would you describe your band's sound?

Matt Friedberger: We kind of make records based on the records that we like, but we can't have them closely based to the records we like, because it needs to be legit. I mean, [musicians] make records based on different combinations of things that you like, but you need to exaggerate elements of the things you like because [if not] what would be the point?


see also:

this week's CD & DVD releases

tags:


permalink






Google
  Web largeheartedboy.com