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September 11, 2007


Spin's band of the day is Drug Rug.

What's the Deal? Together the two's vocals, paired with their brand of sunshine lo-fi, teeter on the shrill end, a la the beginnings of electric-Dylan. But like the D-man, it fits seamlessly. Drug Rug's self-titled debut, out this week via the Black and Greene label, opens with a '50s A.M. radio effect, washing over Cronin's lyrics in treble, before exploding back into equilibrium with a furious blues-y breakdown chorus, "Nobody nowhere can tell you you're wrong (For the Rest of Your Life)."

SavingAdvice lists ten "free (or nearly free" ways to get books.

On the Bat Segundo Show literary podcast, author Rupert Thompson is interviewed.

Stylus lists the best covers of Neil Young songs.

Drowned in Sound interviews Broken Social Scene's Kevin Drew about his solo album.

And you’ve got J Mascis on there, too, playing on ‘Backed Out On The…’ How did you find working with him, and it’s quite clear that you’re a fan?

You can’t glorify these things, but it was great. We went to his house and hung out for a few hours, and I think he did two takes. That was it. He did two solos, and he asked if we wanted anything else. I was like, “What are we asking you for?”, y’know!? Wanna do another solo? It was very simple, but getting to know him and the band over the past couple of years has been fun.

Harp lists comedians "you need to know."

Drowned in Sound interviews Dan Deacon.

I want to ask about electronic music in performance. Obviously a lot of the stuff you play live is pre-recorded. How do you feel about people questioning the authenticity of this type of performance?

I don’t know, I try to make the performances as intense and unique as possible considering that the backing band is pre-recorded. So many bands just run through the same set night after night, same set list, same banter in-between songs, I don’t really see the difference, especially if I’m just one guy, I mean what the f*ck do they want me to do, have a machine with ropes and levers and stuff?!

Interpol bassist Carlos Dengler talks to the Boston Herald.

“I dare anyone to listen to ‘Our Love to Admire’ and say that it’s more commercial than ‘Turn on the Bright Lights,’ ” he said. “It’s more epic, it’s more expansive and better produced, but no, it’s not more commercial at all.”

Idolator examines watermarked CD "paranoia" among music critics.

But both leak culture and the lousy position that the music business is in are making writers and people who put out music more suspicious of each other, and not in the good "if your mother says she loves you, check it out" way. I still am pretty firm in my belief that the only way to solve this problem is to get rid of the idea of the long-lead advance--for bands like Beirut in particular, where so much of the demographic is Internet-savvy and more likely to pick up a band based on a Pitchfork review than a Blender writeup.

The Flight of the Conchords talk to New Zealand's Stuff about their new-found fame.

"I've been in a room before when you see a famous person go in and everyone turns around and looks at them. But it's weird that suddenly I'm the person that people turn around and look at."

AM New York interviews author Paul Auster.

Do ideas for novels and screenplays come from the same place?

I don't know, I've never been able to witness the birth of an idea-- what is actually taking place in the brain. I've never been able to track the little germ that takes hold. That's the mystery of inventing things. I'm sure scientists go thorough the same process. Anyone trying to create anything goes through it.

The New York Times reviews Sunday's Farm Aid concert.

The exhortations didn’t come only between songs. The refrain of Mr. Mellencamp’s “Troubled Land” was “bring peace to this troubled land”; the refrain of one of Mr. Nelson’s new songs, “A Peaceful Solution,” was “Let’s take back America.” In this context a fresh peach was political. But the most striking thing about Farm Aid was the novelty of going to a (more or less) rock festival focused not on outsiderness, fashion, derangement of the senses or even its own brand power, but on the survival of small businesses and the health of our species.

Daytrotter's Monday session featured Blitzen Trapper with an interview and performance.

Basement Tapes features four in-studio tracks from a recent Cracker in-house session.

also at Largehearted Boy:

2007 Lollapalooza downloads
this week's CD releases


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