Find Me On:
I agree. Was all prepared to leave early on that last night to beat traffic, but that set was fantastic.
Darren Weiss of PAPA also plays on another outstanding release this week from LA artist Cillie Barnes (the EP Happy Valley). She also happens to be the model on the cover of PAPA’s A Good Woman Is Hard to Find.
Every winter I get out a magnifying glass and scour the Coachella fine print for Mineral or the Gloria Record. I miss Chris Simpson.
I know the Touché Amoré dudes from around town and agree with Underscore that they belong on a different list, but they’re good guys that have worked hard for the success they’ve found.
The only other band I’ve heard is The World Is a Beautiful Place…, whose record makes me nostalgic for the 90s, which is like nostalgia²—some sort of emo black hole. I hope these other songs make me feel that way, too. Thanks for making this list, I look forward to checking out the rest of the bands.
This is a fun track; it makes me miss that old DPs style (not that I don’t love the current sound), which brings me to this:
“In fact, the track brings to mind some of the most recent DPs material rather than something like The Getty Address, which was released that year.”
Not sure what you’re talking about—this track sounds like it could be a b-side from The Getty Address. Go listen to “Not Having Found” and “Swing Lo Magellan” and get back to me on which is more similar.
Oh yeah, and Dirty Beaches.
It really has been an excellent five months for music.
A few artists, whose new albums I’ve enjoyed, that didn’t make your list: Colin Stetson, Dungeonesse, Phosphorescent, Baths, Matmos, Grouper, James Blake, Local Natives.
The National performance was an art piece in collaboration with Ragnar Kjartansson called “A Lot of Sorrow”. Opinions on art aside, it seems like there was a clear purpose for their set as opposed to “god-knows-what-reason.” Whether their participation coinciding with a new album cycle is suspect or not is up for debate, I suppose.
Concerning Boards of Canada, it seemed like a lot of their fans had fun putting the clues together, which only builds excitement for a highly anticipated album. I didn’t follow any of it closely, but neither the artists nor fans came off as clowns to me.
Even without giving the National the benefit of the doubt, these marketing efforts don’t have board appeal and are targeted to their core audiences. Individuals like the editor’s choice commenter above or the code-breaking BoC fans were already going to buy the albums.
This album’s intimacy combined with how unknown it is amongst my friends makes each listen feel like a private performance just for me. The songs are striking; each track moves and breathes in the almost hypnotic interplay between the drums, guitar, and vocals, left free to drift by Steve Albini’s hands-off production. So good. Hopefully your write-up will turn a few new folks on to this brief, yet deliberate, collaboration.