5 days ago

This is everything.

[via The AV Club]

1 month ago

3 note(s)

High Quality
Fuck yeah things I like intersecting.
[via]

Fuck yeah things I like intersecting.

[via]

1 month ago

271 note(s)

Reblogged From:
nickdrake
nickdrake:

John Lennon, Ringo Starr, Paul McCartney and George Harrison preparing to cross Abbey Road for their legendary album cover.

I bet that little old lady cracked a hilarious joke.

nickdrake:

John Lennon, Ringo Starr, Paul McCartney and George Harrison preparing to cross Abbey Road for their legendary album cover.

I bet that little old lady cracked a hilarious joke.

4 months ago

1 note(s)

My Top 10 Albums of 2013

I’ve grown obsessed with their single “The Wire” (I literally had it on repeat for about 6 hours yesterday; I was in a bad place…) and have been trying to give the rest of the album more spins as of late. They kind of terrify me (did you see them on SNL?) but I like that, rock chicks should be able to be themselves on stage. So I hope there is more to them but I somehow fear there isn’t; the LP is kind of a weird pop/dubstep/rock mix (think 90’s Michael Jackson meets Ke$ha meets Heart). Despite this, there are some solid songs on there, and they get the coveted Newcomer of the Year #10 slot.
 
It’s technically 2 LPs, one from 2012 and one from 2013, but I think it was combined as a full album in 2013 and I dig it. It’s about as punk/hard as I go, but it’s familiar enough with hints of the Hold Steady and Strokes to make the medicine go down.
 
You kind of HAVE to have these both on your list, right? Don’t get me wrong, I liked both, and they’re incredible examples of complete albums, but I feel a bit too “obligated to like” as opposed to “excited by” them.
 
You don’t get how badly I wanted this to be good. And it is; it’s really good. But it’s not GOOD. That makes no sense, but I have realized I can no longer define or defend the Strokes. They’re my transformative band, so I’m leading more with heart than ear here. Side note: it made me want to listen to Angles again, which is odd.
 
I see that in writing this Top 10 that my front 5 was full of gripes. So I guess this list is really a Top 5 and a Honorable Mention 5. So now the good stuff. This is a record I fucking loved. You can hear how much fun these guys are having in the studio. I’ve never been a huge Bon Iver fan, but he should make more dirty bar-blues music and less mopey echo-chamber missives (although I did love that song “Byegone" by his other 2013 outfit, Volcano Choir).
 
You know those albums that become places? They’re tied to a location by both play-count and the cosmic coincidence of the tracks matching up perfectly with the experience. MMJ’s Z is that for me. I listened to it on repeat, in and out of consciousness, on a train from Berlin to Prague. It’s forever tied to that; I can’t separate it from that memory. Muchacho joins the ranks, becoming the soundtrack of mai waiiife and I driving all through France like a bunch of yuppies in our rented BMW. From the cliffs of Cannes to the golden fields of the Rhone wine valley, Phosphorescent played in the background and fit just so perfectly. It’s a gorgeous, fun and unexpected album, just like our trip to France. La vie est belle.
 
Enough of that flowery prose. This is a great rock album. It moves in fits and starts, weaving between rock genres. Let’s break them down by track:
  1. "The Rock"  Operatic Rock
  2. "The Curtain"  Early-Aughts Fuzz Rock
  3. "Just Friends"  California Sunset Rock
  4. "The Dream’s In The Ditch"  Dreamy Pop-Folk
  5. "Mirror Walls" Minor Key Heartbreak Crooning
  6. "Mr. Sticks" Storytellers Rock
  7. "Trash" Brassy Soul
  8. "Thyme"  Haunted Mansion Rock
  9. "In Our Time" Opry Country Duet
  10. "Hey Doll" Piano Confessional Balladeering
  11. "Pot Of Gold"  Thrash Rock
  12. "Big House" Old-School Deer Tick Rockabilly
It’s just a great listen and a really emotionally raw rock n’ roll journey.
 
I like to call these guys the Not-Shitty Lumineers. Male and female lead vocals, catchy hooks, backwoods twang, and mostly acoustic instrumentation, but with a backbone and a dirty side that keeps it fun and authentic. “On The Road” and “Come On, Illinois” are the two standouts, but the whole thing is a fun and cohesive album exploring themes of bootlegging, murder, infidelity and drugs. You know, normal rock stuff.
 
I’m not going to pretend like this is their best album (that’d be Nothing is Wrong), but Dawes is the most pure Americana rock band out there, and this is their most pure Dawes record. Somewhere between Jackson Browne, The Eagles, Tom Petty, Warren Zevon, Bruce Springsteen and Michael McDonald lies Dawes, apart from their peers for their absolute mastery of American song structure and sound. They don’t have the edge of Deer Tick, the fun energy of Delta Spirit, the marketability of Kings of Leon or the cool factor of Arcade Fire, but they write better hooks and sound more essentially American than any of them. This record is such a distillation of that ability, from the literal cross-country-travel metaphor (lyrically and musically) of “From A Window Seat” to the summer-break freedom feeling of “From The Right Angle” to cheesy pop rock of “Hey Lover” (a cover), to the depressing-but-relatable lovelornness of “Just My Luck.” It’s gorgeous and tight, clear and straightforward, powerful and soothing, and my favorite record of the year.

5 months ago

1 note(s)

A quote from

Taylor Swift, throwing “mad shade” at Arcade Fire?

[via NYMag]

"At the same time, there’s a mistake that I see artists make when they’re on their fourth or fifth record, and they think innovation is more important than solid songwriting. The most terrible letdown as a listener for me is when I’m listening to a song and I see what they were trying to do. Like, where there’s a dance break that doesn’t make any sense, there’s a rap that shouldn’t be there, there’s like a beat change that’s, like, the coolest, hippest thing this six months—but it has nothing to do with the feeling, it has nothing to do with the emotion, it has nothing to do with the lyric. I never want to put things in songs just because that might make them popular, like, on the more rhythmic stations or in dance clubs. I really don’t want a compilation of sounds. I just need them to be songs."

6 months ago

4 note(s)

High Quality
I’m a terrible friend.

I’m a terrible friend.

8 months ago

2 note(s)

This is the focus of my own personal YouTube Geek Week.

[via The AV Club]

8 months ago

1 note(s)

…and Deer Tick saves the summer from itself with a new, bright and sunny, but deeply sardonic single. It’s fucking awesome.

(Source: Spotify)

8 months ago

1008 note(s)

Reblogged From:
thegaslightanthem
thegaslightanthem:

7.28.13
"Tonight You Have Broken My Heart."
Tonight we played the third show of a three night stand in NYC.  It was a beautiful venue at Pier 26 and we played with one of my favorite bands the Hold Steady. But tonight, after the show, I found myself with some things I feel I need to say that have been a long time coming…
I play music because something stirs inside of my heart and it needs to be expelled.  I have found from a young age that music is the avenue which relieves me.  It allows me to say words and choose notes that speak to my own soul.  It comforts me.  There are people who have found something in my band’s songs that speak to them as well.  I’ve met some of them, they come to our shows and have purchased our records because they’ve found something that speaks to them somewhere in the things we have created.  That, to me, is amazing.  
However, I feel it necessary to address that we are The Gaslight Anthem.  We play Gaslight Anthem songs.  We’re not the band you think we may be akin to.  My name isn’t Bruce, It’s not Eddie, or Joe, or Paul either.  If you’d like to hear their songs they are readily available and the former two tour quite often.  You should go see them, they put on great shows.  They play long sets over two hours sometimes.   It’s truly amazing to watch them at their craft.  But again, we’re not them.  We have a different set of rules.  We’re on a different course, because we aren’t them and can’t be them.  We have to find our path, because that’s the only honest thing we can do.   Which is where I find myself now, proud of what we’ve done, and where we’ve come from, but it’s time to find the next thing.  Time to create a new sound, time to create the next Gaslight Anthem.We will always play those songs, but we will never be that band again.  
When I was 27 years old we wrote a record called the ‘59 Sound.  It was our first break.  We got to work with a wonderful man named Ted Hutt who taught us things we never would’ve known without him.  
I was a kid pouring his heart out about what moved him inside and what I loved. Now I have to be a man pouring my heart out about what moves me inside.  
Bands who have long careers change.  Drastically.  That doesn’t mean they no longer like what they did in the past or what got them where they are. It means they have to create and be true to who they are RIGHT NOW, not be true to what people want them to be.  
To say that bands don’t owe their fans anything is wrong.  They owe them the truth of their art.  They owe them a performance of songs they’ve written at that specific show as they are that evening.  The ticket doesn’t promise what happened at a show three years ago, or five years ago, or ten years from now.  Live music is beautiful that way, because it’s that night only.  It’ll never be that show again.  
When you go see a band it’s a gamble, like going to see a movie.  You may not like it in the end.  But you can’t change it.  It is what it is.  The only difference between bands and movies is that one show might be 90 minutes, one show might be three hours.  But the ticket just says what band is playing.  It doesn’t make promises of that cover they did once,or that guest they had last week, or… your favorite song.   
Here’s an example of what I’m talking about…
I love the movie Kill Bill.  I love Uma Thurman, but no matter how hard I wish or yell at the screen, or insult, or wave my hands.  She’s not coming over after the film.  No matter how many times I watch it.  It’s also not gonna change, it’s not gonna add a scene or delete a scene just because I want to get to my favorite part quicker.   She’s not gonna make out with me because I think she’s pretty.  She doesn’t owe me anything because I like her or her movies.  She is not her work.
I am not my work.  I am a guy who happens to have felt some things and gotten in a band that put those things to music and a few people thought it spoke to them.  That’s a miracle to me that I remember everyday.  
I’m going to go away from the press and interviews now until we finish writing our next record and find out what we will be in the next chapter of our artistic careers.  I have nothing left to say until we find what that next chapter of our band is.  
To our fans… please bear with us through this awkward period of finding our new legs.  I’m being honest with you here because I am grateful for your loyalty to my band.
To the spiteful reviewers… just remember no one’s singing for you.
 I’m asking openly and humbly that if anyone would like to come to a Gaslight Anthem show, please come because you want to see what we’re doing on that night.  Don’t come to see Bruce, he won’t be there.  Don’t come to hear a cover, it probably won’t happen.  Don’t come to yell at me when I’m trying to share something with the audience to reach out to them about something I feel is moving me.  For some reason I’m the one with microphone, which may be a mistake entirely.  But if you want one and have something to say, please start a band, get in the van, sleep on floors, and work your butt off and maybe one day I’ll find your band and I’ll come see you play.  
But I swear I will not yell at you or call out for you to play one of your influences songs… because I’ll be there to see you.
Brian Fallon


I was at this show last night, and although this is a mostly heartfelt missive, it’s a little off. The problem that occurred at Pier 26 wasn’t that fans didn’t want to hear Gaslight songs, and chanted “Bruuuuuuce” out of the blue. The problem was that in the encore, Brian came out with some terribly awkward crowd banter where he talked about covering Lady Gaga the night before, and then asked the crowd if we’d sing along as the band covered Bon Jovi. For a Gaslight (and Hold Steady) fanbase, watching a Jersey Pride band on a stage overlooking their home, the equation is simple and obvious: Springsteen > Bon Jovi. In addition, Gaslight has a history of covering, sitting in with and inviting onstage Bruce. If this was a part of a larger tour-long epidemic of heckling by the audience, that’s fine, but don’t take it out on fans that sat in the rain for you, sang along to all your songs before the encore, and up until that point were on your side.
And for the record, Craig Finn and company were tight, fun, and appreciative of the crowd (who was a mix of their regular hardcore fans and some new ones waiting for Gaslight). So in my mind, it’s been solidified: Hold Steady > Gaslight Anthem.

thegaslightanthem:

7.28.13

"Tonight You Have Broken My Heart."

Tonight we played the third show of a three night stand in NYC.  It was a beautiful venue at Pier 26 and we played with one of my favorite bands the Hold Steady. But tonight, after the show, I found myself with some things I feel I need to say that have been a long time coming…

I play music because something stirs inside of my heart and it needs to be expelled.  I have found from a young age that music is the avenue which relieves me.  It allows me to say words and choose notes that speak to my own soul.  It comforts me.  There are people who have found something in my band’s songs that speak to them as well.  I’ve met some of them, they come to our shows and have purchased our records because they’ve found something that speaks to them somewhere in the things we have created.  That, to me, is amazing.  

However, I feel it necessary to address that we are The Gaslight Anthem.  We play Gaslight Anthem songs.  We’re not the band you think we may be akin to.  My name isn’t Bruce, It’s not Eddie, or Joe, or Paul either.  If you’d like to hear their songs they are readily available and the former two tour quite often.  You should go see them, they put on great shows.  They play long sets over two hours sometimes.   It’s truly amazing to watch them at their craft.  But again, we’re not them.  We have a different set of rules.  We’re on a different course, because we aren’t them and can’t be them.  We have to find our path, because that’s the only honest thing we can do.   Which is where I find myself now, proud of what we’ve done, and where we’ve come from, but it’s time to find the next thing.  Time to create a new sound, time to create the next Gaslight Anthem.
We will always play those songs, but we will never be that band again.  

When I was 27 years old we wrote a record called the ‘59 Sound.  It was our first break.  We got to work with a wonderful man named Ted Hutt who taught us things we never would’ve known without him.  

I was a kid pouring his heart out about what moved him inside and what I loved. Now I have to be a man pouring my heart out about what moves me inside.  

Bands who have long careers change.  Drastically.  That doesn’t mean they no longer like what they did in the past or what got them where they are. It means they have to create and be true to who they are RIGHT NOW, not be true to what people want them to be.  

To say that bands don’t owe their fans anything is wrong.  They owe them the truth of their art.  They owe them a performance of songs they’ve written at that specific show as they are that evening.  The ticket doesn’t promise what happened at a show three years ago, or five years ago, or ten years from now.  Live music is beautiful that way, because it’s that night only.  It’ll never be that show again.  

When you go see a band it’s a gamble, like going to see a movie.  You may not like it in the end.  But you can’t change it.  It is what it is.  The only difference between bands and movies is that one show might be 90 minutes, one show might be three hours.  But the ticket just says what band is playing.  It doesn’t make promises of that cover they did once,
or that guest they had last week, or… your favorite song.   

Here’s an example of what I’m talking about…

I love the movie Kill Bill.  I love Uma Thurman, but no matter how hard I wish or yell at the screen, or insult, or wave my hands.  She’s not coming over after the film.  No matter how many times I watch it.  It’s also not gonna change, it’s not gonna add a scene or delete a scene just because I want to get to my favorite part quicker.   She’s not gonna make out with me because I think she’s pretty.  She doesn’t owe me anything because I like her or her movies.  She is not her work.

I am not my work.  I am a guy who happens to have felt some things and gotten in a band that put those things to music and a few people thought it spoke to them.  That’s a miracle to me that I remember everyday.  

I’m going to go away from the press and interviews now until we finish writing our next record and find out what we will be in the next chapter of our artistic careers.  I have nothing left to say until we find what that next chapter of our band is.  

To our fans… please bear with us through this awkward period of finding our new legs.  I’m being honest with you here because I am grateful for your loyalty to my band.

To the spiteful reviewers… just remember no one’s singing for you.

 I’m asking openly and humbly that if anyone would like to come to a Gaslight Anthem show, please come because you want to see what we’re doing on that night.  Don’t come to see Bruce, he won’t be there.  Don’t come to hear a cover, it probably won’t happen.  Don’t come to yell at me when I’m trying to share something with the audience to reach out to them about something I feel is moving me.  For some reason I’m the one with microphone, which may be a mistake entirely.  But if you want one and have something to say, please start a band, get in the van, sleep on floors, and work your butt off and maybe one day I’ll find your band and I’ll come see you play.  

But I swear I will not yell at you or call out for you to play one of your influences songs… because I’ll be there to see you.

Brian Fallon

I was at this show last night, and although this is a mostly heartfelt missive, it’s a little off. The problem that occurred at Pier 26 wasn’t that fans didn’t want to hear Gaslight songs, and chanted “Bruuuuuuce” out of the blue. The problem was that in the encore, Brian came out with some terribly awkward crowd banter where he talked about covering Lady Gaga the night before, and then asked the crowd if we’d sing along as the band covered Bon Jovi. For a Gaslight (and Hold Steady) fanbase, watching a Jersey Pride band on a stage overlooking their home, the equation is simple and obvious: Springsteen > Bon Jovi. In addition, Gaslight has a history of covering, sitting in with and inviting onstage Bruce. If this was a part of a larger tour-long epidemic of heckling by the audience, that’s fine, but don’t take it out on fans that sat in the rain for you, sang along to all your songs before the encore, and up until that point were on your side.

And for the record, Craig Finn and company were tight, fun, and appreciative of the crowd (who was a mix of their regular hardcore fans and some new ones waiting for Gaslight). So in my mind, it’s been solidified: Hold Steady > Gaslight Anthem.

10 months ago

24 note(s)

High Quality
Emojis are useful

Emojis are useful