By Scott Creney Just so you know, I had CB’s lawyers (lawyer, singular, who are we kidding?) give this a quick readthrough to make sure I wasn’t disclosing too much information, but I figured a very, very small number of people might want an explanation before I started writing about music again—where have I been, […]
Play Life Cycle Of A Massive Star every morning for a week. If it doesn’t change the way you see the world, play it again. If after a month you haven’t gotten any results, accept that you are a corpse that someone forgot to bury.
Movement is an auditory feast. It’s no Bob Dylan but then John Lennon was no Kraftwerk, you know what I mean?
Is it Gem’s frozen nature that makes me feel encased in glass? Or is it my own detachment that keeps me from finding a way in?
Shields is a city album. It functions as a nice urban version of Fleet Foxes — a sound born out of concrete rather than forests, glass instead of rivers, subways instead of trails.
This is what it feels like to be alive in 2012 — connected to everything and more isolated than ever.
Keep your ears tuned to the small towns. The future of music is living in South Dakota.
If this is ambient then it is surly ambient, background music that won’t do as it’s told.
Bon Iver is hazier than you expect. It is lost and narcoticized, simultaneously desperate and asleep.
Thus, dear Rikki, I’ve taken to the laws of propositional calculus. Get your think on.