Visual Coercion

David Bazan and his band 10/18/09 at Bowery Ballroom The War on Drugs 3/18/11 The Crocodile, Seattle, WA Kurt Vile and the Violators, upright. Destroyer 3/18/11 The Crocodile, Seattle, WA Ted Leo, Henry Art Gallery Seattle, WA The Destroyer, His annoyance.

Nearly-Were Records of 2008

There are three records I thought a lot about including in my best of list this year but didn’t make it…. “We Started Nothing” (The Ting Tings) Bright, optimistic, catchy English electro dance pop. The chanteuse sings with a thick, quite hot British accent.

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Top Records of 2008

I have no further information about this band and I kind of like it that way, but if I had to give them a one-sentence summation, it would probably be something like: Having nothing to do with the army that fought on behalf of the United Kingdom in WWI and WWII, and neither carrying any formal associations with the other famous BEF, Human Leaguers’ Martyn Ware and Ian Craig Marsh’s early ’80s electronic music outfit British Electronic Foundation that later became Heaven 17, Erased Tapes Records’ The British Expeditionary force are softly tearing the world a fantastic new asshole through which to waft the otherdimensional winds bands like Múm and Schneider TM sailed in on in the early part of this decade…. I wrote a long, confused metaphor a few issues back in Heso about how exciting I thought this record was, a metaphor that involved erotic weather patterns on the isle of Lesbos, but I think I will just say that this record stands out by being really different in its staccato bursts of rhythm from the nu-folk and boojie ivy league naptime garbage that people are shitting themselves for these days (I’m talking about vapid garbage like Fleet Foxes and Vampire Weekend, maybe even Bon Iver?- full disclosure).

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Kurt Wagner Gets Tiny

Lambchop’s Kurt Wagner did a tiny desk concert for NPR’s All Songs Considered last month October 8, I was this evening delighted to learn.

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Clearly in this Afternoon

In that emotional space between a good drunk and sobriety, I’m sitting here on this Sunday morning listening to Hum’s monument to perfection, 1997′s Downward is Heavenward , at the infinite and revealing mercy of every moment in that beautiful album that swept off the Illinois prairie and into my permanent regard. I am particularly vulnerable to the band’s sound for reasons of my nativity, perhaps, with the spacey thunder of those guitars that imply infinity so akin to the endless flat expanses of Illinois fields over which the unbearable heat and humidity of summer shiver.

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