May 2, 2007
Foxton and Buckler are quick to dispel any misgivings that diehard fans might have about such a venture. "We're doing the music justice. I can sleep easy. No qualms about whether we should or shouldn't be doing this," stresses the bassist. "I'm really excited about the whole thing. People ask: 'How do you reckon Paul feels about it?' I'd like to think he'd say: 'Well, I'm not interested but good luck to them'. If Paul came to see us, I think he would be pleased with the way we're performing those songs. He's more than welcome to join us."
The A.V. Club interviews X's Excene Cervenka.
AVC: You're still writing with mostly the same sense of humor that you had in X. Have you tried to change much about your songs?
EC: I would say nothing has changed. I think that there are varieties of songs that come and go, like families of songs. "Because I Do" is a certain type of song, and "New World" is another type of song, but there's gonna be songs that revolve around a certain type of things at some point. But I don't want to change the way I write my songs, I like the way I write my songs, so I keep 'em the same. I'd like to write more country songs, but other than that, I'm pretty good where I am.
The Chicago Tribune's Hypertext blog lists new and interesting music sites online.
Orange Twin Field Works, "Untitled"
AR: This is actually our label, Orange Twin. It's an album that we put out with Jeff Mangum from Neutral Milk Hotel—he went to Bulgaria and did field recordings at the Bulgarian Folk Music Festival. The album's just called Orange Twin Field Works, and it's just one long, 35-minute song, so there isn't really a song title. He recorded a lot of music there, and pieced it together in a sound collage.
Indeed. Tiger Saw’s earliest recordings were languid indie folk. Sing! was constructed to get audiences to sing along. Tigers on Fire has a very different aim. Metrano: “This record was about incorporating horns and doing some more rhythmic sort of music. We wanted to do a record that was our basement soul record.”
Philadelphia Weekly predicts unlikely musical mergers.
Alanis Morissette and the Arcade Fire
Canadians are so nice they’ll do anything for their fellow citizens, so Morissette would be more than welcome. And even if she weren’t, the Arcade Fire have like 37 members, so she could just sneak in the back and play French horn.
Rolling Stone lists their top 25 underappreciated artists.
BLVR: It was funny reading articles about you guys, or the blurb for the gig tonight. They kept emphasizing how bookish the band is—how you’re a “bookish, literary” band. And I always think of you as such a violent band—violently feeling, violent lyrics, musically violent. Supercharged, big swinging gestures.
WS: There is a definite difference between live shows and the recordings. The recordings are for all time, hopefully, so you do want to bring across these layers of subtlety. But the live show is this primal experience that everybody’s having at the same time, that the recording can at best try to imitate or duplicate. There’s this DVD we’ve been watching in the van—and I can’t believe it’s true but it really is, it’s changing my whole attitude about live music—it’s a DVD of Dr. Hook and the Medicine Show, in the Netherlands in 1975. It’s going to be a classic one day. It’s the best concert film I’ve ever seen.
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