I haven’t been this excited for new music from Spoon in some time. Maybe since Gimme Fiction? I loved Ga Ga Ga Ga Ga, liked a few tracks on Transference and then I’m embarrassed to admit that I slept through They Want My Soul altogether.
The lead single, “Hot Thoughts,” strikes a familiar chord: it is unmistakably a Spoon record, finding a groove and locking it in. I’m looking forward to hearing more in March.
I heard this song at the end of an episode of Chapo Trap House earlier this year and found a link over on the Chapo subreddit. This hits all the right notes for me, blending memories of my favorite 90’s pop acts, notably Teenage Fanclub and Matthew Sweet.
Heard Sub Pop’s LVL UP on All Songs Considered as I drove to Cincinnati last night. Not only are the perfect for the person who’s still obsessed with Neutral Milk Hotel, but this song, “Hidden Driver,” is about a website co-founded by one of my very talented grad school classmates, Astra Taylor! I’m excited to hear LVL UP’s Return to Love at the end of next month.
Have I really not written anything about Dinosaur Jr. since this post? Seems so, apart from a passing reference in 2011 to J Mascis’ excellent Several Shades of Why back in 2011. It’s crazy, because when I really think about it, Dinosaur Jr. may be that band that somehow survives every critical hangup I ought to have about them.
I mean, I found things wrong with my favorites that makes it hard to understand how I ever loved them so much in the first place. R.E.M., neatly summed up in a 2‑part podcast over at Shallow Rewards, is one example. Pavement, Spoon and Sonic Youth? Love them barely ever listen to them these days. Even bands I fell in love with as an adult, like Fiery Furnaces, Liars and TV on the Radio feel dated.
Somehow, I don’t feel the same way about Dinosaur Jr. Maybe it’s the unmistakable crunchy riffing or the timelessness of J Mascis’ voice, but there’s something deeply satisfying about them. I find myself returning to these records and Mascis’ recent solo work more often than I realize.
As summer fades and fall draws near, I know I’ll be spending more time with their latest record, Give a Glimpse of What Yer Not, like a favorite sweater.
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.