It’s honestly terrible... I think Pitchfork actually nailed it this time. I have no clue why it took them so long to realize they were dealing with such garbage 👎 🙂
Thankfully there are plenty of other summer bands to catch this season 😎
To me feels like they’re better suited for those tiny, dimly lit dive bars where even a place like the Hudson would feel way too massive. If you put them in a huge venue, it just turns into one of those cheesy karaoke night vibes where nobody is actually taking the music seriously anymore. I’ve caught a few of their sets like that and honestly, I walked away feeling pretty good about it 😁 (well, except for that time they played at the Spider, which was just way too big for their whole aesthetic).
I thought it was actually pretty killer, though I gotta say, the drums were driving me a little crazy at times because they were just way too loud on certain tracks, but then again, they hit perfectly on others. Oh, and yeah, that was the show for $8.25 😁. Honestly, if only there had been a few more people in the crowd...
Honestly, I’ve kind of grown attached to seeing those posters plastered everywhere. There’s just something about cruising through downtown and spotting a flyer for a show that hits different—even if I already heard the news on some streaming app or stumbled upon it online. It feels more real, you know? But then again, I’m fully aware that it’s way too easy for someone to just slap a poster up anywhere these days. 😁
I didn't really feel like starting a whole new thread just to ask this, but does anyone know if there's actually going to be anything happening with Terry Lee Hale on December 2nd? That's what the schedule over at Kset is saying, anyway.
I haven't spotted any posters out and about yet, I've only seen the info for the ones happening this Friday. 😢
Yeah, I get that, but honestly, that’s just because it’s a side program—you know, like a special spotlight on Hirokaze Kore-Eda, plus some deep-cut 60s documentaries that basically paved the way for the whole Free Cinema and Cinéma Vérité movements, topped off with a few killer newer flicks. 👍
- We’re the Acid Mothers Temple, and honestly? We’re just here to tear Kset apart. - Well, hey there, glad you could make it. Pull up a chair and make yourself at home 👍 😁
I was just thinking the other day while listening to Software Slump—and man, I really miss Nomad—about how some albums just hit differently because someone from the old guard shifted gears. You know, when they moved away from that mindless, loud-for-the-sake-of-it noise and transitioned into something that actually matched those gritty, late-night diary entries about the lifestyle. That’s when you knew the music had real teeth. Well, I guess I was a bit easily swayed back then too, if we're being honest. 😁 To be fair, I haven't actually read any of the older stuff, including Heroin news. What does any of this have to do with the topic at hand? Absolutely nothing! Just a random thought popping up. 😁
Story from Osaka is definitely one of those movies that hits you in a weird way—it kind of lands and misses at the exact same time. To be honest, it’s a little tough to really latch onto the plot because everything is so driven by pure impressionism, and there are these bits that feel almost painfully naive in a pop-culture sort of way (like when they’re riding bicycles while that cheesy song, kind of like something Jacques Houdek would sing, is playing in the background). But... man, the cinematography is just phenomenal. The camera doesn't invade the characters' space when they're trying to have a moment alone, and there are these gorgeous close-ups—I was totally captivated by the main character's profile while she was talking in that cafe. And that bed scene 🙂? It’s honestly one of the most beautiful depictions of family life I've seen (maybe it's just because it taps into my own childhood memories). Because the whole thing is told through these three-minute snippets stitched together like a newspaper collage, it has this subconscious depth that I actually found quite lovely. So, for me, it’s way better than the lesser stuff, and if it were up to you, you wouldn't even think twice—you'd just mark the date and go see it again. Those Japanese people are just something else 😁
So, look, this might actually be a solid recommendation for music nerds out there—back in 2003, Bright Eyes picked up an award at something like the Shortlist Awards, which acts a bit like a subset of MTV where they actually acknowledge music exists outside of the massive mainstream industry machine. The other nominees on that list were nothing short of heavy hitters: Interpol, Cat Power, Yeah Yeah Yeahs, and The Black Keys. The prize was $5,000 😁 You can read all about it here => here Anyway, just throwing it out there, I won't bug you guys anymore 😎
So, since I didn't stumble upon any juicy threads today, and I was actually just chatting with a friend about how much I regret not discovering them back in high school (and no, this isn't just a thread for high schoolers 🙂), I decided to write a little something about them. Bright Eyes is essentially the project of Conor Oberst, an American guy who kicked off his career at just 14 with the band Commander Venus before eventually teaming up with his bandmates to start the Saddle Creek label. But honestly, you can find all that technical stuff on AllMusic if you care. What’s truly special about Bright Eyes—who sound like a Mexican-inspired version of Neutral Milk Hotel, or like what Bob Dylan might sound like if he were a depressed teenager with every intention of pulling himself together—is their lyrics. They are so powerful and delivered with such raw sincerity that every single song feels like its own standalone painting. I mean, it’s not necessarily about massive musical innovations or fancy production with guitars and backing vocals; it’s about what’s happening in the lines. It's those painful confessions, tiny snapshots of love, midnight regrets mixed with a glimmer of hope, songs about getting wasted with friends, and those little life insecurities... It’s basically pure high school energy 🙂 (not that they don't write about that stuff later, but that's where it all starts in its own little universe). So far they've put out three albums (not counting the Christmas one) and a few EPs, and I think my absolute favorite might be Lifted or The Story is in The Soil... even though it's probably the toughest one to listen to on the first pass. A few of my personal favorites would have to be: Oh, You are the roots..., Messenger Bird's song, WE ara Free Men, Loos Leaves, Bowl of Oranges, fra a Balance beam, Let's not shit Ourselves ( to Love and to be loved, and don't know When but a day is gonna Come.... man, there are way too many to list here right now.
Anyway, they aren't exactly "unknown," so I'm not exactly uncovering some long-lost underground gem for the masses, but it doesn't hurt to mention them every once in a while, does it? 😁 Trivia: Who on this forum actually has Conor Oberst as their avatar? 😁 👋
So, this is just some release from those folks over at www.sinnamonrecords.com who either have zero clue how English works or they just don't give a damn about replying. Honestly, it feels like they’re just some drunk guys running a garage operation, probably banging beer bottles against recording consoles and handing out CDs like they're candy to bands, which then end up being sold to broke college students—which, unfortunately, happens to be my exact situation right now. And as for vinyl... where am I even supposed to spin this stuff when I'm cruising around town?😕
It’s still just crunching away for me, and honestly, I even sent them two separate emails but I haven't heard a single peep back from anyone 😕 and yeah, it's still just crunching...
Just checking in to see if my avatar is actually showing up right, but since I’m here, I might as well add something useful to the mix instead of just lurking: there’s an album nobody’s brought up yet that’s a total personal favorite of mine, *And then nothing turned itself inside out*. After giving it a full spin, I walked away thinking the whole thing feels like a perfect cocktail of that raw, unhinged energy our old-school legends used to bring to the stage.