A Blog About Nothing in Particular

Stereogum’s Tom Breihan on the Pitchfork Music Festival:

I find something quizzical and honorable in this: A whole festival built around music that is not, in any way, designed for partying. In a way, isn’t that the logical endpoint of a decade-plus of internet music consumption? We’ve all spent all this time finding music on our computers and piping that music directly into our ears, rarely if ever having real-life conversations about some of the artists who mean the most to us. Why shouldn’t we be dedicating entire festivals to that same antisocial experience?

Need a #latepass here, but I’m not altogether sure what this is about. I attended the show Saturday with a friend, courtesy of Pitchfork, and found myself chatting with present and former Pitchfork critics, as well as the Super Furry Animals in the VIP.

There was also a massive crowd in Union Park singing “Barbara Ann” as I left. It sounded about the same as when I first experienced the Beach Boys 30 years ago at the Great Allentown Fair.

Hawkeye: My Life as a Weapon

The way MTV Geek’s Alex Zalben described Hawkeye to Jesse Thorn on Bullseyemade it sound like American Splendor with a bow and arrow. He wasn’t wrong. I just finished reading #10 and I’m ready for more.

Beautifully drawn and brilliantly written, Hawkeye’s life outside the Avengers is positively spellbinding. The issue dedicated to Hurricane Sandy may be one of the most moving tributes imagined. The artists comprising Team Hawkguy are doing something truly special.

The Thermals – Desperate Ground

The Thermals have a new album out in April on Saddle Creek. It’s called Desperate Ground. I’m really excited.

Jonathan Franzen’s Freedom

Freedom will be remembered as a story that captures a very strange chapter in American history. It’s hard to put a finger on it, but the mood of the last decade is something Franzen nails. His characters represent the amoral fugue state we drifted off into collectively after 2003. I’m not even sure his hollowed out characters could realistically course correct, yet they do, and for that reason I was somewhat disappointed in the novel.

Equally terrifying, alt-country act Walnut Surprise represented one of the worst musical movements of the decade. We have only ourselves to blame.

Woebot’s 100 Lost Rock Albums From the 1970s

Matthew Ingram’s fantastic Woebot blog was an inspiration to me as a critic. His voracious appetite for and catholic taste in music pushed me to expand my palate and listen to music others may have dismissed as lesser works. In short, Woebot had big ears and it didn’t hurt that he could write.

I’m finally reading his ebook, 100 Lost Rock Albums from the 1970s and it’s bringing back lots of memories. This is the music I fell in love with around the time Stephen Malkmus released Pig Lib and even name checked the Groundhogs on tour. Some of the ground Ingram covers is familiar, but what makes the book so rewarding are the impossible to find albums that rekindle my love for crate digging.

If you’re looking for a place to begin, check out this companion playlist on Spotify.