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August 15, 2007


The Baltimore City Paper reviews reunion albums by Dinosaur Jr., Smashing Pumpkins, And Shellac.

The Philadelphia Inquirer interviews singer-songwriter Rufus Wainwright.

Singer-songwriter Linda Thompson talks to the New York Sun about her son Teddy's contribution to her recent songwriting.

"Teddy's input is so crucial to me," Ms. Thompson, 59, said. "He's very tasteful. When you get older, your schmaltz meter goes awry. You get a bit more sentimental. He pulls me back from that."

Shout Out Louds singer Adam Olenius talks to the Age about the band's sound.

"I always wanted to sound like Neil Young when I started but it came out like Robert Smith," he says. "I suppose the Cure do have a darker side and a brighter side. We can work with that contrast - it's very important to the Shout Outs, too."

Isaac Brock of Modest Mouse talks to the Cleveland Free Times.

Torontoist previews this weekend's Toronto Comics Arts Festival.

Maximo Park's Paul Smith talks to the Sydney Morning Herald.

The Boston Globe reviews Jean Thompson's short fiction collection, Throw Like a Girl.

Thompson excels at portraying characters too easily betrayed by those they hoped to love and be loved by, too unobservant or naive to notice the thunderbolts poised to strike them down. She's unsurpassed at exploring the defensive psyches of people who know they don't fit in. And she can encapsulate a life's worth of disillusionment in a single stinging, hurtling sentence: "You're supposed to say the years flew by without your noticing but that's not true; I felt their shape and weight at every step."

see also: Thompson's Largehearted Boy Book Notes essay for the book

Salon's Machinist blog explains how the Guitar Hero video game saved guitar music.

The Polyphonic Spree's Julie Doyle talks to JamBase.

Dusted reviews the new Okkervil River album, The Stage Names.

All these clever references are wrapped into a stream of images so continuous and fluid that you hardly pick them out at first. What's artful about the writing is not just that it plays difficult games, but that you never see the strain.

In Harp, singer-songwriter Emily Haines shares her love for Robert Wyatt's music.

Prefix features a preview track, "Under the Ether," from PJ Harvey's new album, White Chalk.

New York magazine's the Comics Page is excerpt from Doug Tennapel's graphic novel, Black Cherry.

With legendary New York Yankee Phil "Scooter" Rizzuto passed away, CNN excerpts some of his spoken word poetry from O Holy Cow (based on his announcing calls, comments and non-sequiturs).

"Bobby Thigpen out there.
Number thirty-seven.
That's the guy in the Peanuts cartoon.
That's a joke.
That guy in Peanuts with Charlie Brown.
He's always dirty.
Oh yeah.
Every day.
Orphan Annie.
You know,
She hasn't changed in thirty-two years."

Popmatters eulogizes Factory Records' Tony Wilson.

In the Atlantic, Robert Atwan lists fictional great moments in baseball.

Batting against the Yankees on August 12,1969, Indian centerfielder Gabriel García Márquez hit the longest home run in baseball history. According to fans in the left-field bleachers, as the ball reached the upper deck it suddenly sprouted wings and floated high over the stadium. The ball was reportedly picked up by a very old man in the parking lot who was never seen again.

Maria Christopher and Ayal Naor of 27 talk to Boston's Phoenix.

Chicago's Metromix interviews Erika Forster of Au Revoir Simone.

Do people know where the band name comes from?

It's very split. It's fun because for people who know that it's from "Pee-wee's Big Adventure." It's like this little secret discovery. And then they're always so excited that they got the reference, and it makes us happy too because it just seems so random and funny. We have had people in France think that we're French. People say, "Oh, they speak really good English for French girls."

Alt Search Engines lists the top ten music search engines.

Drowned in Sound interviews hip hop's Aesop Rock about working with John Darnielle of the Mountain Goats.

The guys you tend to work with are pretty much always label mates and genre buddies, but this time you’ve got folk rocker John Darnielle from the Mountain Goats involved. How did this happen?

I was a fan of him for a long time. 1994, I think, was the first time I heard them and I just really thought he was a good lyric writer for many years. I’d seen them play a lot of times and at one point I had read an article, like some top ten list, and he had put Bazooka Tooth on his top ten of the year and I was like, “Holy shit, this dude actually knows my shit?”. So I was at a show and I just walked up to him and said hi, introduced myself and we basically kind of fanned out on each other and started this friendship… this was maybe three or four years ago. Basically, we had planned on doing stuff together for a while but it just never came about, and then at some point this year when I was recording that song (‘Coffee') I thought: “I’m just gonna send this to John and if he’s feeling it he can sing on it and if he’s not then we’ll try something out later”. He was into it, recorded his parts and had it back to me within a week, so it felt good to just finally get it together enough to do it. I’m so used to collaborating with other rappers because it comes around so easily but doing something with a vocalist that sings… I’m just not used to it. It was a little nerve wracking.

Shoutmouth lists the 50 hottest women in music, and Idolator names its 50 "hottest hotties."

PaperbackReader offers daily reviews of comics.

AOL lists the 77 most unforgettable movie songs.

Drowned in Sound interviews Mogwai’s Stuart Braithwaite.

That’s something that critics would say a lot of post-rock acts lack: imagination. Do you think that the genre has become a little stale, perhaps, due to a rash of bands quick to ape the sounds of CODY and similar albums of that time?

There are a lot of bands inspired by us, obviously, and some are better than others, but that’s not so bad. When we started we were just pretty much a carbon copy of The God Machine and My Bloody Valentine, but after six months we sort of found our own feet, and that’s what’ll happen with bands influenced by us. They might start out sounding like us, but then they’ll grow. With any kind of music – music that people can get into, and work out – there’s going to be copyists.

Minnesota Public Radio's The Current features a streaming in-studio performance by Son Volt.

The Futurist recaps Ra Ra Riot's Lounge Act performance, and offers a couple of the in-studio tracks.

also at Largehearted Boy:

2007 Lollapalooza downloads
this week's CD releases


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