“My argument: doesn’t someone have to act like this? Like film villains, isn’t it best when those people are over there entertaining us, letting us use them as a dartboard for our own anxieties and antipathies in exchange for our attention and money?”

‘At Sea (Honolulu, HI) @ thirtyninehotel, Honolulu, HI. 12th, July 2011.’ ‘Not merely a reunion, but a reinvention, as the band rearranges their instrumentation and song writing style, switching from long-form drone inspired post-rock epics to a more concise semi-pop-structure featuring former cellist (now guitarist/singer), Yvonne Harada on vocals.’

“Documentation for the Ableton Live MIDI Remote Script _Framework classes, based on decompiled Python sources and docstrings.” Someday.

“And if you want to talk about pop music between 1980 and now, that issue—the question of who’s singing and who’s being sung to—is an important one. The study assumes that hit singles in the eighties and hit singles in the new millennium play the same role in our culture. But over the past 30 years, the weekly charts have seen changes a lot more significant than any surge of ego. It’s not just that pop’s audience has changed; it’s that its whole purpose has.”

“Young bands including Animal Collective, Blues Control and others are incorporating sounds from the much disparaged genre.”

“The tracks on Clones’ Gate EP are composed of dark, spacious, myriad textures, but if songs were colors, they would be lavender instead of black.”

Nitsuh Abebe dares to say Justin Vernon is a little boring. Reading this, I think I understand why people aren't as impressed or as moved by stuff like Bon Iver and The National as I am — it has a certain New England, autumn/winter feeling and I think a lot of its appeal is in its power to evoke that snowed-in cabin, that 2am rainy city street, that drunken goodbye that we experienced or imagined. That’s how it is for me, anyway.

Sabrina profiles the weekly music showcase. Ross: “But Kaleidoscope may have some form of a legacy. I think it’s helped organize and increase the quality of music, to a point where I feel like a number of our bands are at a stage where they can crossover. We’ve played some role in that. And a role as well in the transformation of Chinatown. I know for absolute certain that we’ve been at the heart of some indelible moments in peoples lives. And that is a hell of a thing.”

“The people complaining about the loss of these "non-mainstream" categories aren't really asking for a fair distribution of categories; they're asking for patronage. They're asking for the Recording Academy to act as a booster club and preservation society — to recognize and support these traditions as a special interest. Never mind that this is a kind of support new and fragile musical traditions don't get. Never mind that people in each of these genres are more than capable of recognizing their own achievements, and probably more effectively than the Academy does.”

“These are some of the music and little recordings I made for Gregory Whitehead's BBC Radio Play ‘Bring Me the Head of Philip K. Dick’ from 2009. They feature the clavinet (often times feeding back like an electric guitar) and a 'nail violin' which Kelli Rudick let me borrow.”

An unsigned band's success story. Via TopSpin forum.

Photos of all of the artwork for the deluxe Newspaper Album package.

This success story is almost entirely the result of efforts by my friend Mike Pooley, who works at Mountain Apple Company and is about to go free-lance to offer his digital marketing services to the world! “These efforts are a great example of how an artist can capitalize on viral buzz. By linking to their free-download offer from the YouTube video, Mountain Apple Company harnessed the video’s exposure to increase their fan base. Their store is beautiful & well-designed, and their marketing efforts drove direct-to-fan sales around the globe.”

The fast and profane music known as sissy bounce creates an atmosphere of sexual liberation — for women.

Christa covers last week's COTQ/Red Rockets improv music/performance art collab at thirtyninehotel. “Five or six people were crowded around a man sitting with a television over his head, suspended from the ceiling. Just his face was showing, so they were taking that opportunity to cover his face with glow-in-the-dark paint.”

Profile of friend Dominic Amorin's noise music netlabel.

“The highest points and most infuriating moments on ‘Goblin’ come from the fact that it’s a vérité depiction of the worst aspects of American boy culture. You know, hating girls because they don’t like you because you’re a weirdo, hating any and all authority figures because they try to tell you how not to be such a weirdo. But most importantly (and scarily), there’s the part that involves lashing out about being viewed as a weirdo, and being summarily rewarded—i.e. seen as normal—for doing so. (It probably goes without saying that girls don’t have the same luxury.) Nobody cares about Tyler the Creator being someone’s role model in 2011. Which in a way, is the scariest thing about ‘Goblin’—too much of his scary fantasizing, for too many boys, is all too normal.”

How music became ‘un-bundled’ from CDs as consumers downloaded the one or two songs they actually wanted, and how direct-to-fan sales have re-bundled that music into not just CDs but digital releases, vinyl, and every manner of special package imaginable. “As artists get their arms around all their rights and build direct relationships with their fans we’re seeing artists’ output RE-BUNDLED into higher value packages and average revenue per transaction greater than those delivered by the Compact Disc.”

This Tumblr posts PDFs of poetry anthologies and books of cultural writing and other classic texts, bits of important historical music-related interviews, old, rare, or otherwise important or interesting records, etc. Would that I had the time to take in everything listed here.

A video by Jordan Blackmon, bassist for Toro Y Moi.

Photos by Tracy Chan. “The South Carolina-based ‘chillwave’ musician and his band brought their signature brand of funky, groovy, electronic shoegaze jams to a sold-out show at NextDoor Saturday night. Opening were local acts Clones of the Queen and Painted Highways. Although the club was packed and sweaty, people really got into the music, some dancing and some just swaying with eyes closed.”

Photos by Brian Tseng.

Gary Chun again! “Chaz Bundick and his crew manned their spaceship last night at Nextdoor, and took the good ship Toro y Moi and an audience of eager passengers to a nearby galaxy of sound and rhythm, forward thrusters go.”

Profile/promotional piece from Gary Chun.

Friend and ally Gary Chun gives COTQ and the Toro Y Moi show another shoutout in the Honolulu Pulse picks. Too kind. “Arguably the busiest indie rock band in Honolulu, Clones of the Queen had six shows lined up this month, and will be concluding their run this weekend and Thursday. Band member Matthew McVickar (also known as solo act Lapwing) is promoting his first club concert, and he got a great first mainland act in Toro Y Moi, the retro-pop-funk band led by Chaz Bundick. He and the band, along with fellow indie noteworthy band Painted Highways, will open for Bundick and company Saturday night at NextDoor starting at 9. Tickets are $20.”

“The chillwave-cum-funk master gets a job he likes in Honolulu.”

I’m going to write about this post in a few days. “I don’t personally care much about finding ‘great unsigned bands;’ I am not in A&R or publicity. If I was going to spend all of my time focused on listening to the first four or five songs written by a series of unknown acts I would lose my mind, because I am increasingly interested in issues of style and craft that are usually lost on people who are just starting out. I’d rather have people at record labels deal with that and facilitate the process of making finished records. There’s a lot of great labels out there — if I’m going to find something new, I trust them more than anyone else other than my friends and colleagues.”

“20-plus proposed rules for how to give away music creatively and communally.” This is great!

Good oral history. This quote is a good takeaway: "I think the thing I've really learned from James is a) patience, b) only work with people you love, and c) be very, very, very, very stubborn about everything. Because when you're capable and able to say no to stuff, when you're capable of writing your own story and being very adamant about the way that you're portrayed or the way that your records are made, people respond to it."

“Like a lot of music critics, I feel a special kinship with you, because we are you. Or, rather, you are a better, smarter version of us. The relationship music critics have with you is similar to what film critics have with Quentin Tarantino, who, like you, started out as a know-it-all fan who, unlike most critics, took all the trivial, microscopic specificities he absorbed from every corner of his fan experience and found a way to create something new with it. But even if you guys are big-shot artists now, you’re also still critics at heart; you did it like Godard, critiquing art by making better art. Any time you’d take pains to find just the right detail to make a track really snap—a crisp snare, a squiggly synth, a warmly bouncing bassline—you were both nodding to the records you felt did it correctly, while also making an argument against the relatively chilly, slapdash way music is made in the point-and-click ProTools era. They say writing about music is like dancing about architecture, but your records actually were architecture, built from the spare parts of closely observed sounds you deconstructed and recontextualized from countless songs in your impeccably curated collection.”