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Most know of the late, great Adam through his association with (the highly underrated power-pop band) Fountains of Wayne. Or b/c he was the musical brains behind films like "That Thing You Do" or "Music and Lyrics." But many weren't familiar with Ivy, his project with record producer Andy Chase and (Andy's now-wife) Dominique Durand. These guys could seemingly never catch a break; record label drama, their studio burning to the ground (along with all the instruments and recorded material within it), no real "hits" to speak of despite the use of their music in TV and film. RIYL Go-Betweens, House of Love, Pastels (and the whole C86 movement), Prefab Sprout, the Smiths, Edwyn Collins/Orange Juice, Saint Etienne, Lloyd Cole. Maybe even Air? Everything But the Girl? They also recorded an amazing covers album in 2002 called "Guestroom" that is well worth discovering; if you wanna hear woozy, French-accented covers of Steely Dan, The Cure, The Ronettes and Papas Fritas (among others), this is your jam. I miss Adam on the reg. Such a lovely guy and an amazing talent that COVID took from us very early in the trauma cycle.
Jul 31, 2024

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I am still kind of in shock, just processing this loss. Albini was SO central to the late 80s and 90s underground. Not just the music (that he created, but also "engineered" since he loathed the word "producer") but the ethos. He's irreplaceable. He was irascible, difficult, a crank. But he was our crank and vital to the sound of so many bands and artists: PJ Harvey, Slint, Tar, Helmet, Pixies, Urge Overkill, the list goes on and on and on. I interviewed him once for "Paste." My editor from that time wrote me this morning, saying he remembered that it was a "hard edit" (ha; Albini was a "hard guy" in his way). I remember him being prickly but principled. That's a good summary of who he was. RIP Mr. Albini. This is a left-field musical choice but is pretty much perfectly emblematic of his desire to translate the sound of a band almost perfectly uninterrupted to tape and to listener. A purist in the best sense of the word. PS: Engine Kid became SUNN 0))) for those who dig the heavy stuff.
May 8, 2024
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This might be Damon Albarn’s greatest musical achievement. A song about missing the comforts of home 🇬🇧 while on the road Using the BBC’s nightly Shipping Forecast (itself, the most British thing ever - a specific platform to obsess about the weather) as a metaphor Loaded with obscure place names, English totems of days gone by (like a more jaded Ray Davies) and allusions to a fracturing relationship with Elastica’s Justine Frischmann (due in part to her heroin addiction and his dabbling, something Albarn wouldn’t discuss publicly for years). And some of Graham Coxon’s most inspired guitar soloing. ‘Finding ways to stay solo.’ ☔️ Instant Britpop classic.
Feb 2, 2024
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In 1982, when his debut LP "The Golden Age of Wireless" came out (42 years ago today), Thomas Dolby was something of a British pop curiosity, better known for his catchy one hit wonder "She Blinded Me With Science" -- an early MTV hit -- than as any kind of serious album artist. But this track put his English-eccentric early image to rest -- it encompassed all the paranoia and fear of global armageddon that was making the rounds at the time but also the diminishment of empire/colonialism and even a personal sort of melancholia ("And I can trace my history down a generation to my home/in one of our submarines" is a true story, with Dolby having lost his uncle in a submarine during the Second World War, while his father worked in intelligence overseas). I love multiple meanings/interpretations and this song -- catchy and up-to-the-minute as it was then from a techno-pop standpoint -- is loaded with 'em. I also love songs that can be both poppy/radio-friendly and fraught with mournfulness all at the same time. "Bye-bye empire, empire bye-bye." "Rather than talk generally about World War II, and it was more just a case of, well, in any war situation, how does that affect life, and love? That was something that really appealed to me." Dolby got his A-levels at Abingdon School in Oxford (future home of Radiohead) and was elementary school friends with the late, great Shane MacGowan too. Doesn't get as much attention as he should but still touring/making music today.
May 13, 2024

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Hey tyler hopefully this doesn’t violate some PI.FYI golden rule But after nearly two years of writing, editing and arguing, my book about the EP is coming out in May and can be preordered here: https://hozacrecords.com/product/aifl/ The book is about the origins, history and cultural impact of the EP since these little objects first started coming out in the 50s. Over 50 of my music biz friends then helped me shape the list and review the top 200 ever released, according to us (ha). For those of you who are into this kind of geekery/snobbery, I can’t wait to hear what you think. A labor of love, as all books are! ❤️
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I will fail to explain just how much this band meant to me in the 90s. So I will borrow from AV Club who did a fine job of distilling it: “Unwound is the best band of the ’90s. Not just because of how prolific, consistent, and uncompromising it was, but because of how perfectly Unwound nested in a unique space between some of the most vital forms of music that decade: punk, post-rock, indie rock, post-hardcore, slow-core, and experimental noise. That jumble of subgenres doesn’t say much; in fact, it falls far short of what Unwound truly synthesized and stood for. Unwound stood for Unwound. But in a decade where most bands were either stridently earnest or stridently ironic, Unwound wasn’t stridently anything. It was only itself. In one sense Unwound was the quietest band of the ’90s, skulking around like a nerdy terror cell. In another sense it was the loudest, sculpting raw noise into contorted visions of inner turmoil and frustration.” R.I.P. Vern Rumsey. This is their finest song, from their finest album. I really can’t say enough about the sheer bloody minded genius of this group. 🖤
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