The strange trembling vocals, warm synth sounds, and chamber pop movements of Konkylie, When Saints Go Machine’s full-length debut, appealed to me in unusual fashion: slowly at first, confounding my senses for a time, before finally winning me over. With time and repeated listening, the album became one of my very favorites of 2011.
If Fleet Foxes were to trade their acoustic guitars for synthesizers and drum machines, move from the grassy fields to the dance clubs, and lighten up a bit, they might sound something like When Saints Go Machine. The Danish four-piece’s debut album, Konkylie, is an alluring mix of pure pop, misshapen chamber, and electronic music. It is odd, lovely, infectious, and confoundingand I keep coming back to it.
While putting together yesterday's entry, I stumbled upon this video of Mike Bones performing a version of Grinderman's excellent "No Pussy Blues." This was back in the summer of 2007, during a music festival in New York City's East River Park. I wasn't there.
Okay. We just squeezed a full day's work into four tight and furious hours. The company granted us a half-day, so that we could all get a head-start on the holiday weekend. This, of course, is very nice. However, we started shipping the wonderful June issue just yesterday and had much work to accomplish this morning. In addition, for various reasons, we've had to accomplish that work without the help of an ad coordinator or production manager, and all while employing an entirely new pre-press system. Shipping days, as a rule, are intense. These have gone beyond intense.
It must have been at Herald Square, where I was transferring onto the B, that I realized JA had left a message on my cell. I couldn't listen to the message below the ground no service down there but the display let me know that the call arrived at 7:58am. Why in the world would John be calling me at 7:58 in the morning? It was now almost 8:30. Shit:
I was introduced to Scotch Tapes, “the worst hi-tech music label ever,” on December 9, by a Twitter post from Jagjaguwar. Oneida would be releasing a limited-edition cassette through Scotch Tapes. This was interesting news to me, first because I’ve been fascinated with the idea of a “cassette tape revival,” and second because Oneida is a well-established name in the world of underground rock bands. Why would Oneida release work on a format that had been all but forgotten by the music industry? Why cassettes?