La Dispute kill it on their new split with Touche Amore. :)
I haven’t posted anything concerning what I’ve been listening to since like June-ish. So consider this a music post.
I was inspired to write this post by a band named RVIVR. They’ve got this sound I just want to put in my pocket and carry around with me to show people. I want to say, “Here. This is so fucking good.” They are comprised of the remnants of Latterman and Shorebirds. I never listened to either one very much, but I am going to make sure I do very soon. Anyway, here it is:
I’ve also been listening to Evan Weiss’s (formerly The Progress and Up Up Down Down) solo project Into It. Over It. He just did a split with one of my favorite new bands Castevet. 52 Weeks, supposedly written in 52 weeks, is a wonderful collection that mixes tender love songs and rockin’ broken-heart anthems. Here’s some stuff from the Castevet/Into It. Over It. 7″ split.
In anticipation of FunFunFun Fest, which will feature a reunited Cap’n Jazz, I’ve been familiarizing myself with the far reaches of the Cap’n Jazz tree. I’ve decided Make Believe is probably my favorite descendant of the CJ tree outside of Promise Ring and Joan of Arc. Anyway, personally, I think this is Tim Kinsella at his best. :)
Been listening to a lot of Bill Evans, as well. I finally got my own copy of Waltz for Debby. I was convinced stores were pricing it way too high for an unpopular album from the 70s.
Some notable releases, Tallest Man on Earth released a pretty good LP this summer. A brutal note, Tony Danza Tap Dance Extravaganza’s new album is fucking phenomenal. Darby and I got our hands on the new Pack of Wolves album, and we’re going to go see them this month. I’m so stoked.
It seems like I will only go to a show if it’s metal/brutal/legitasfuck. I ended up going with my friend Allison to see the Toadies. The bands that opened up were great, especially Girl In a Coma and Black Joe Lewis and the Honeybears, but Toadies completely sucked it up. I have decided that I will never see another 90s band live again–with the exception of Cap’n Jazz in Nov. 90s bands are currently in this transitional phase where they’ve convinced themselves that their music is still relevant and want to push their “new” music agenda at their concerts. Eventually, they’ll find that people go to their shows to hear them perform the songs and tracks that made them amazing. It’s not that their new music may be bad, but that’s not why people showed up to Dia de Los Toadies. They wanted to hear stuff from Rubberneck and Hell Below, Stars Above. Popular bands from the 90s, like groups from the 70s and 80s have found out, will have to choose their craft and artistic integrity for dollar figures. I don’t know which one I would pick.