James Rettig
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Last night, Dev Hynes opened for Julian Casablancas + The Voidz at New York’s Hammerstein Ballroom. The two have been working together quite a bit recently: Hynes also did a Blood Orange set at the Tyranny album release show at Shea Stadium and they had a long talk with each other on Hynes’ radio show a few months back. During last night’s concert, Hynes came out on stage during the Voidz set and performed the Strokes’ track “You Only Live Once” with the band. Watch video of that below.

Chris Rock’s new film Top Five — which was produced by Kanye and Jay Z — hits theaters next month. Questlove served as the movie’s music producer, and The New York Times sat down for a talk with both of them behind the scenes of The Tonight Show With Jimmy Fallon. They had a fascinating conversation: Questlove recalls a recent experience when he was hired to DJ a black bar mitzvah and was unprepared (“I had nothing but 5 Seconds of Summer and Taylor Swift, and I had to scrap everything and get clean Nicki, clean Wayne, clean Drake,” he says), they discuss their relationship with their fathers in relation to Joe Jackson, and talk about whether or not black films like Top Five can be made within the current studio system anymore. (Top Five was made independently and picked up by Paramount after a good run at the Toronto Film Festival.) Read the whole talk here — it’s well worth it.

Mudhoney have been around for over two decades and released nine albums, but that doesn’t mean the whole band can (or wants to) quit their day jobs. Bassist Guy Maddison — who has been with the band since 2001 — works as a registered nurse and splits his time between that and playing with the band. In a new interview with University Of Washington’s NewsBeat publication, he sheds some light on how he juggles his two jobs. “For me, music is more of an area of fun and entertainment,” he explains. “Nursing fills a different space; it is a career. My time in Mudhoney is a very extensive and elaborate hobby. I think the other guys would say the same thing.”


 0Posted on Nov 25th | re: Album Of The Week: Primordial Where Greater Men Have Fallen (16 comments)

And a really good one! Fixed :)

 +2Posted on Nov 21st | re: Beyoncé - "7/11" Video (15 comments)

I think (hope?) that’s what it is…

I don’t know … seems like a pretty weird stance for a band that probably makes a large chunk of money from people remembering they haven’t heard “What’s My Age Again?” or “All The Small Things” in a few years and go on Spotify to play them.

 +2Posted on Nov 12th | re: Jawbreaker - "Boxcar" Video (4 comments)

Thanks! That makes sense. Updated to reflect that.

Only Jawbreaker Reunion I follow is this one. ¯\_(ツ)_/¯

We’ve adjusted it. Thanks!

 +3Posted on Nov 1st | re: Shut Up, Dude: This Week's Best And Worst Comments (18 comments)

Sexy Bon Iver, you say?

 +2Posted on Oct 30th | re: Kool A.D. - "Look" / "Jose Canseco" Video (2 comments)

Fixed! Sorry bout that.

 +4Posted on Oct 27th | re: Premature Evaluation: Taylor Swift 1989 (166 comments)

“Blank Space” is one of my favorite songs — what she does with her voice on that “Boys only want love if it’s torture” bridge gets me every time. I also think that “Wildest Dreams” is really special — probably the best slower song on the album, Lana comparisons be damned.

 +8Posted on Oct 27th | re: Premature Evaluation: Taylor Swift 1989 (166 comments)

I get where you’re coming from — none of these songs have that “perfect pop song” sheen that “Teenage Dream” or “We Can’t Stop” have, but I also think that’s why I like and listen to Taylor a lot more than Katy or Miley (the latter of which I like quite a bit). Maybe amend my above statement to read something like, “I think Taylor is an extremely talented singer-songwriter with some of the strongest pop sensibilities out there.” Taylor’s appeal lies in her idiosyncrasies: her slightly cringe-worthy but honest lines, the callbacks to specific personal details, those corny moments that work in spite of themselves. She’ll never get to the heights of something like “Love On Top” precisely because she doesn’t have (or want) a team surrounding her dictating what will appeal to the most people.

I don’t think she’s really setting out to make “pop” music in that sense, even though she says this is her first “pop” album. As someone said before, this is more in the vein of Lorde, Chvrches, and Charli XCX — much more songwriting-based than concerned about coming up with the killer hook. (Which she does most of the time anyway — I don’t agree at all that her lyrics or melodies are bad.) I get that it won’t be everyone’s thing, but her stuff isn’t meant to operate on the same level of a “Teenage Dream,” which is arguably the strongest pop song of the past 10 years. I think the fact that there’s so much messiness surrounding Taylor’s music is what makes it so powerful, and someone worth talking about and dissecting in the comments. There’s something unique about her, where “Teenage Dream” could have easily been a Britney song or a Christina song if it had been written at the height of their popularity. Something like “Out Of The Woods” or hell, even “Shake It Off,” could only belong to Taylor. I think that’s where all of her appeal comes from, but I also understand why that may not be for everyone (who likes & appreciates pop music).

 +12Posted on Oct 27th | re: Premature Evaluation: Taylor Swift 1989 (166 comments)

Ha, I wish I were!

But honestly, I just really feel strongly about this album — I’ve been listening to it non-stop since it leaked over the weekend, and this kind of big-emotion, pop bombast really gets me. I mean, Lorde’s Pure Heroine was my favorite album of 2013, so it makes sense. And I think that kind of stuff gets undeservedly ragged on in the comments a lot because of some vague desire for “indie” credibility and authenticity. At the end of the day, it’s all just music, and if it makes you feel something and connects in some way, who cares where it came from or how it was made?