Sunday Morning Coming Down #Seven


• "Em 2009 o quarteto liderado por Kip Berman, com Kurt Feldman na bateria, Alex Naidus no baixo e a chinesinha Peggy Wang nos teclados e vocais, encheram os olhos e corações com seu primeiro LP homônimo depois de fundar o The Pains of Being Pure at Heart em Nova Iorque, com um som receptivo e letras compactuantes que fizeram do indie/pop um gênero mais amoroso naquele ano." Raul Roque gets all into the craw of the Pains of Being Pure at Heart at Railway Journey.

• "To paraphrase an old vaudeville act, who is the real sick man? Is it GG Allin, singing Bite It You Scum in dirty knickers, beating himself over the head with the microphone until his skull bleeds, masturbating furiously, and kicking audience members in the teeth? Or is it Gary Barlow of Take That, in his suit and tie, conscientiously following his accountant's advice to invest in a tax avoidance scheme, while soliciting other people's money for charity and denying the most vulnerable members of society the benefit of his personal financial contribution? It is Gary Barlow. Obviously." Stewart Lee recoils in The Guardian from Take That's Gary Barlow and his £63m tax dodge. 

• “We were powerless here for more than a week. In the evenings you’d have candles lit and there wasn’t really much else to do, so I strummed around on my guitars and this song came out.” Lee Ranaldo and the Dust pay tribute the the Velvets and Jonas Mekas in their video short "Blackt Out".

• "For a man for whom outer space was a guiding metaphor, he was a lot of different things on Earth." A quick and easy guide to Sun Ra's discography, on what would be his 100th birthday, from NPR's Patrick Jarenwattanon. Meanwhile, David Stubbs digs a little deeper into Herman Blount's continuing relevance for The Quietus

• "Part of what’s appealing about Sun Ra to artists is the fact that he was not constrained to a single medium,” says John Corbett, co-owner of Corbett vs. Dempsey, a gallery in Wicker Park that collects Blount’s early work. “It's a sensibility that’s very current.” In other Sun Ra news, his Afrofuturism lives on in artistic Chicago [via ChicagoMag] and Cairo [AhramOnline].

• "But the Shangri-Las did play a one-off 1977 show at CBGB that allowed Weiss to see how much her music had influenced the next generation. “The jukebox at CBGB had a lot of Shangri-La cuts on it,” says Weiss. “I was amazed. And I was deeply touched when Joey Ramone told me what a big influence we were on them.” An argument for the Shangri-La's as proto-punks in the New York Post.

•  "[Hank] Williams scholars were surprised to learn of the very existence of the transcriptions, let alone the fact that they had survived for nearly six-and-a-half decades. Williams is believed to have recorded the spots during the second week of January 1950 at Castle Recording Laboratories in Nashville’s Tulane Hotel, then the only studio in town. His sponsor, Naughton Farms, was one of the nation’s largest plant nurseries, and bought airtime on hundreds of small-town radio stations such as KSIB in Creston, Iowa." The Lost Garden Spot Programs of Hank Williams are unearthed by John Morthland for Wondering Sound.

• "We write what we feel is beautiful and important," Rennie says. "We listen for emotional resonance. We don't listen for money in our melodies." The Handsome Family talk about the True Detective theme song at Forbes.

• "What I’ve been describing here is a band looking for ways to connect its own existence to the music they love; and then the details of that life to the details of the audience’s experience. Which is why it may be weird to say that for those of us in their audience who hear in Wussy’s music some echo of the lives we ourselves are living, they represent the kind of kinship that makes you realize your own alienation from the larger culture." Charles Taylor gets deep into Wussy at the LA Review of Books.