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Posts from the ‘Music’ Category

Santa Fe

I’d never quite got the Beirut thing until I heard their new album, The Rip Tide, but I’m now officially converted. Of the many lovely tracks on the album ‘Santa Fe’ is one of the best, but it also boasts the fantastic video below, which is both very funny and a very clever exercise in storytelling. The payoff comes late, but I promise it’s worth it …

Pumped Up Kicks

A few people have been offended by the lyrics, but seriously, has mass murder ever sounded so catchy? The album’s pretty fab as well …

Queen of the Minor Key

Ah, Eilen …

William Shatner sings Rocket Man

Is there anything Shats doesn’t make better?

I wish I was the Moon

Neko Case. Blacklisted. What’s more’s there to say?

The Alabama Shakes

This four-track from new act The Alabama Shakes might just be the best US$4.00 you spend today. Listen to them in order or jump to the third if you want to head straight to the heart. Completely. Awesome.

Fitz and Dizzyspells

I love this guy.

The Curse

Much as I love some of the tracks on it I’m not sure Josh Ritter’s most recent album, So Runs The World Away, is my favourite (that honour probably goes to his 2007 album, The Historical Conquests of Josh Ritter) but this video for ‘The Curse’ featuring the work of Royal City Band puppeteer Liam Hurley is a thing of beauty. There’s some info about the making of the video at NPR, otherwise just watch it.

A little music for the weekend …

Three songs from my teenage years, a reminder of just how beautiful Jimmy Barnes was and a link to a post I wrote about Don Watson Walker and his memoir, Shots, back in the days of yore. Try watching the clip for ‘Cheap Wine’ and not knowing that light and palette as Australian.

New Richmond Fontaine!

The new Richmond Fontaine album, The High Country (which interestingly seems to be a single narrative, thus further closing the gap between Willy Vlautin’s songs and his fiction) is due out in September, but in the meantime, live versions of two of the tracks have popped up, together with the news Willy’s first novel, The Motel Life, has just been turned into a motion picture directed by the Polsky Brothers and starring Stephen Dorff, Dakota Fanning and Kris Kristofferson.

Thanks to Jane Palfreyman for the heads-up.

 

The Ship Song Project

I’ll be back online later this week, but in the meantime, this video from the Sydney Opera House is compulsory viewing. Try not to get chills when Kev Carmody comes in.

Night Rider

I’m still deep in the hole of my edits (though I can finally see the light at the end of the tunnel, which is a relief) so I’m not really able to keep things ticking over here, but in lieu of any actual content I thought I’d point you towards American Songwriter’s rather fabulous Country Way Sampler, which is available for free on Bandcamp. There’s an interesting mixture of artists represented, from Joe Pug to Matraca Berg to Caitlin Rose and Justin Townes Earle, but as usual with these things the real treats are the tracks by artists you don’t know, and to my mind the best of those is the improbably named Jonny Corndawg’s ‘Night Rider’.

Enjoy. And I’ll be back in a couple of weeks once my edits are finished.

Disco 2000

Thank God it’s Friday . . .

Metamorphoses

How do you do that? she asks, seated on the stairs to his loft, How do you know which notes to play without sheets?

Memory, he says, I do it by memory.

It is Boxing Day, and Anna has woken to the sound of the piano. Downstairs Seth seated before it, his fingers moving slowly across the keys.

What is it? I’ve never heard anything like it.

Seth smiles, his fingers continuing to pick out the notes in ones and twos, each separated by a gap, the space between them seeming as important as the notes themselves, the way they fade into it, leaving the memory of their resonance hanging. She shivers.

It doesn’t have a name, he says, An artificial intelligence composed it.

In front of her she can see the muscles in his back shift beneath his skin, the articulated cage of his ribs beneath them.

I have a recording of it, but I prefer to play it myself. There’s an alien quality to it, a sense of another way of being I can get closer to.

It sounds . . . sad. No, she corrects herself, listening to the strange, ghostly sound of the piano, the dying notes, not sad, something else I can’t quite describe, Like the sound of wind in grass or moving water, that quietness, that colourless feeling. She hesitates. Maybe I can’t find the words because there are no words.

It’s like trying to describe the sound of geometry, isn’t it? Can you imagine what it must be like to be conscious, aware, but without matter, without form? Without place. A ghost in a machine.

Anna shakes her head. But listening to the slow patterns of this music she can hear the loneliness of this thing of bits and light, this artificial mind shifting like the aurora through the circuits of some optical computer, like the siren call of a whale in the oceanic night, the long, clicking song that goes unanswered.

 From The Deep Field.

“I wish he was my boyfriend . . .”

Because it’s Sydney Writers’ Festival, it’s sunny and Sydney is just ridiculously beautiful . . .

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