When you take the LSAT, many of the questions you answer require you to make inferences and deductions based only what’s on paper, essentially asking you to forget any outside knowledge or understanding you have. Let’s take that approach with Slint’s Spiderland. If you knew nothing else about the group or their seminal album, you wouldn’t have a lot to go by outside the strange bobbing heads staring through your soul on the front. From the music, you could glean the group had interests or training in jazz, classical, psych, punk, and noise, and had a weird thing with pirates and insects. From the imagery and album inset, all you would know about the context of Spiderland is that they had Palace Brother Will Oldham go swimming with them one day at the Utica Quarry in southern Indiana (and took pictures), the band prefers you listen to this on vinyl (as stated on the CD and cassette copies), and they were no longer interested in mumbling narratives by themselves. The latter is what seems most interesting to a lot of people. That makes sense considering the band melted down either during or shortly after Spiderland’s release and the fact that, other than the track titles, it’s the only real, tangible information included on the album cover.
interested female vocalists write
1864 douglas blvd. louisville, ky 40205
My apartment is about a seven to ten minute bike ride from this address. It was a nice Saturday afternoon, I was listening to the Slint EP, and thought, what the hell? Let’s go on a vision quest to find the Slint house! Continue reading ‘The House That Slint Built (Perhaps)’
Once again, “woj” emerges victorious with another quality recording of WFMU’s broadcast of last weekend’s All Tomorrow’s Parties. This time, he comes bearing gifts of the Brain Jonestown Massacre and Spectrum (a.k.a. Spacemen 3’s Sonic Boom). Continue reading ‘Brian Jonestown Massacre and Spectrum at ATP’
Califone played Monday, 8.11.08, at the Jay Pritzker Pavilion in Millennium Park in Chicago as part of the Audible Architecture Concert Series and Pitchfork’s Nightclubs at Noon Series. I caught Califone back in November of ‘06 as they were pushin’ Roots and Crowns. Though the show was good, it was held in an art space with little to no heat, the band seemed sorta bummed, and it certainly didn’t hold any weight compared to what they brought Monday (and at lunchtime, no less).
Perhaps it was just the acoustics of the Frank Gehry designed amphitheater, but Califone got better since last time we met. Tim Rutuli’s vocals were at their most melodic and pop-aware, meanwhile the band was increasing their sonic depth before your very eyes, unfurling louder, thicker, trippier soundscapes that were strange even for Califone. Walls of thick ambience, collapsing structures and disjointed melodies, violins, horns, jingly percussion – Califone did not fuck around. Seeing them reminded me of why I like Animal Collective, as in, there were two very disparate forces pulling away from each other at the same time. While one segment of the music moved more into the major key pop realms, the other spun off into a noisy, marshmallowy sea of sine wave shredding psych. Jesus fuck, they were really good. The hippie contingent was out in full force, too, which is always fun to see juxtaposed with all the douchey fasttrack business folk.
Continue reading ‘Califone – “The Orchids” in Chicago – 8.11.08′
