Tag Archives: Pitchfork

Music more, write less

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Some people begin blogging to write exclusively about a passion they have. Music is that kind of topic.

A blog like When You Motor Away is a great example of blogging about the thing you are gaga about—which in their case is music—specifically, the kind of off-the-radar indie pop and rock that I’ve been following for more than 30 years.

Since Mark died, this kind of music has been one of a very few sources of joy for me. When they say that music speaks universally across our differences, I’d concur.

Radio stations like WMBR have served as stand-ins for friendships I’m lacking. I’ve memorized the program schedules of numerous stations and particular DJs. Like I know that Friday morning at 8:00, Jon Bernhardt will be playing bands, like Monnone Alone (who get written-up nicely via WYMA). Bernhardt opened his show today with another Australian gem, Possible Humans, playing a 12-minute “screamer” from their latest record. Pitchfork likes them, so there you have it. For someone who cut his musical teeth reading rock criticism, writing like this review about Possible Humans’ prior record (see the first paragraph) carries forward the torch left by prior rock journalism luminaries like Lester Bangs, Griel Marcus and others who once wrote for Rolling Stone, Creem, and even, SPIN. Continue reading →

Ambition

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Sufjan Stevens once set out to record 50 albums about all 50 U.S. states, at least he made an announcement about his intent. According to an interview, this was all a “promotional gimmick,” a joke of sorts, and one he didn’t have any inclination of completing. He did finish two of them.

The first time I heard about Stevens’ ambitious proposal was from Mark. Stevens may have been the genesis of his own ambitious plan to publish “50 books in 50 weeks” project. He actually completed his.

Project success, or not, I still like Stevens as an artist. I think Illinois (2005) is one of my favorite discs in my collection. “Casimir Pulaski Day” is one of the saddest songs I’ve ever heard. It’s even sadder, now.

From the Bible of the music world I live in, Pitchfork, Stevens’ music is described this way, from a review of his latest records, “Carrie & Lowell” (the names of his mother and stepdad),

Stevens has always written personally, weaving his life story into larger narratives, but here his autobiography, front and center, is itself the grand history. The songs explore childhood, family, grief, depression, loneliness, faith, rebirth in direct and unflinching language that matches the scaled-back instrumentation. There are Biblical references, and references to mythology, but most it is squarely Stevens and his family.

Maybe the reason I like his music is because it’s about life.

Oh, and Pitchfork gave it a 9.3 (on a scale of 10). Others like narratives drawn from life, too.