Lounge king Destroyer (Dan Bejar) is following up his 2011 full length Kaputt with an EP called Five Spanish Songs. He also believes in truth in advertising, as the release will contain…five Spanish songs. (via Destroyer Announces New EP “Five Spanish Songs” | Under The Radar)
Ben Greenman on the dauntingly comprehensive new Clash boxed set: http://nyr.kr/19IiBEr
“‘Sound System’ is more like the boom box it resembles than anyone seems willing to admit. It’s a museum piece that deserves to be viewed with tender suspicion, from a slight distance, rather than a living thing that rewards intimate engagement.”
Photograph: The Clash.
What do you think pop music has gotten from Glass?
BECK: So much. Especially when I was working on my own remix for this. Hearing little bits of bands of the past 40 years. I think there are these patterns in the music, and I think that that really has become part of the consciousness of different musicians, whether they’re aware of it or not.
GLASS: I felt completely comfortable working with people in pop music. I didn’t think of it as a higher or lower art form. Young groups like Eighth Blackbird now, they can take art music and turn it into colloquial music and go back and forth between the two. We fought to break down those barriers, and those barriers are gone, there’s no battle. When I hear young composers, it’s not even clear to me whether they were conservatory-trained or they were trained in bars or restaurants or pop-music venues of the big cities. It’s irrelevant.
What do you both think about timelessness and your work, and how things in your work feel dated or not dated?
GLASS: It all sounds dated. Because I can’t write that music again. I can’t write “Einstein on the Beach” again. I played from it in a concert the other day, and it’s like I never wrote it. My brain’s been rewired. I don’t think I’ve ever said this publicly, but I think that the music we write, it accurately reflects the way our brains work, and our brains are constantly evolving. Our brains are very plastic; they continue to grow.
How do you see the work that you did versus the work that you do?
GLASS: I don’t mean to give you a Zen koan, but the work I did is the work I know, and the work I do is the work I don’t know. That’s why I can’t tell you, I don’t know what I’m doing. And it’s the not knowing that makes it interesting.
Hear TV On the Radio’s lush and dreamy one-off single, “Million Miles,” which premiered on public radio and All Songs Considered.
Photo: Suzanne Hanover/Courtesy of Universal Pictures
If Justin Vernon never releases another record under the name Bon Iver — and he’s publicly suggested that that might be the case — more albums like Repave would render the issue largely irrelevant. His second album with Volcano Choir is just that good.
Almost 10 years after “Take Me Out” helped Franz Ferdinand break through commercially, win a Mercury Prize and craft a zeitgeist-defining sound — and two years after a rumored breakup — the Glaswegian dance-rock outfit returns with its first new album since 2009.
No Age's fourth album seethes stubbornly when it could have far more easily opened up at full blast and stayed there. A compact but searching 30 minutes of music, An Object hammers and wanders while upsetting and upending expectations.
Pond's Hobo Rocket is an exercise in organized chaos. When the band organizes its classic rock tendencies, hammering down power chords and feeding a hunger for severe fuzzy guitar freakouts, it makes for a perfect storm. Here, the ’70s merge with today, creating timeless songs that get inside your head. (via Pond: Hobo Rocket (Modular) Review | Under The Radar)
Poised to release their full-length debut Perpetual Surrender later this month on Aug. 20, Toronto-based quartet DIANA have shared a special remix of their LP’s title track by none other than Four Tet.