August 23, 2014
Here’s why In On the Kill Taker is Fugazi’s best album

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I wrote this essay while freelancing for Seattle alt-weekly The Stranger between 2005 and 2008; near as I can tell, they never published it. I came across it today while writing about Philly band Cassavetes, who shares its name with a song on the record, and thought I’d post it around these parts. Enjoy.

Historians of 90s rock tend to fawn over Fugazi’s strident independent ethic moreso than its actual music, and it makes sense why.

Even the most committed listener would admit it’s easier to admire a hard-held commitment to anti-corporate, fan-friendly business practices than an inscrutable stylistic mishmash of thrash, arty noise, funk, reggae, Flavor Flav-styled vocal interjections, and a general penchant for being – aw hell, let’s just say it – weird.

Which is what D.C. linchpin Ian McKaye became upon leaving the rigid repression of Minor Threat’s bare-knuckled punk. He and his newfound bandmates’ – in both the short-lived Embrace and the more prolific Fugazi – indulged their assorted musical interests in ways that invited non-descript adjectives like “angular,” or the all-telling “post” prefix (in Fugazi’s case, “post-hardcore”)…both of which are rock writer code for “FREAK.ING.WEIRD.”

Not to say that folks didn’t understand the band. Heads rolled to the slippery dirty groove of “Waiting Room” when it played on 120 Minutes, and hooks like “ONE!TWO!THREE!REPEATER!” had fists flying in the air. Those who heard, knew they were privy to something great. But by the time In On The Killtaker came out in 1993, the media had given up on crystallizing that greatness into much more than “yeah, these are the guys who won’t charge more than $5 a show.” A shame, since that’s the point where Fugazi got really interesting.

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August 22, 2014

Going to see frank-film tonight.

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Filed under: frank 
August 21, 2014
restorations:

Go inside the studio as Restorations makes the most important album of its career

Thanks to Bryne Yancey and John Vettese over at The Key / XPN!

Going deep with Philly’s Restorations. Very psyched about how this piece turned out.

restorations:

Go inside the studio as Restorations makes the most important album of its career

Thanks to Bryne Yancey and John Vettese over at The Key / XPN!

Going deep with Philly’s Restorations. Very psyched about how this piece turned out.

August 20, 2014
Sweet dreams.

Sweet dreams.

August 18, 2014
luzfosca:

Anton Corbijn
Tom Waits, California Dillon Beach 2002
source

The man, man. Both. The men.

luzfosca:

Anton Corbijn

Tom Waits, California Dillon Beach 2002

source

The man, man. Both. The men.

August 18, 2014

Always liked these vibey Texans, and not just because of the comically melodramatic band name. Nice to hear I Love You But I’ve Chosen Darkness back in action.

August 18, 2014
"No matter how much big labels have the formula down to dial a hit in a song, it will never be as interesting as one or two or three or four or five idiots in their bedroom or garage or basement or space making the best music that they know how."

— Literature’s Seth Whaland, interviewed by Quinn Moreland of Wondering Sound, Literature on Punk and Indiepop’s DIY Connection, Aug. 18, 2014

August 17, 2014

djrobertdrake:

My new sounds:

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Filed under: OutBeat Jazz lgbt 
August 16, 2014
Revisiting albums from my youth lately. “Stay (Faraway, So Close)” still slays me.

Revisiting albums from my youth lately. “Stay (Faraway, So Close)” still slays me.

August 15, 2014

I shot photos for work of the very awesome Ryan Adams rocking the eff out in our studio. Great session, great band, great dude.

worldcafe:

We had an unbelievable session and interview with Ryan Adams and his band yesterday! Great performances from his excellent new self-titled record and covers like you wouldn’t believe. Can’t wait to bring it to you on the show.

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Filed under: ryan adams 
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