'He thought about touching something before he touched it'.. 'the sun that makes your top lip curl'.. 'I didn’t know what people wrote songs about until I met him'.. these are all acute insights, excellently rendered. I know it's the hardest thing in the world at times but keep going with the fiction, you write with the precision of Hemingway and the honesty of Foster Wallace and it would be a shame if you let that gift gather dust. Thank you so much.
That’s an outrageously inaccurate compliment to give but, thank you all the same.
Hey, I found your tumblr through FACT & I really like the stuff you're posting. Especially the latest piece of writing you shared, 'I could hardly breathe at the thought of not being near him..' Incredible stuff. Did you write that?
Hey anon (shame, reveal yourself dude), thanks for reading my music writing! I always appreciate it when a human reaches out about it. Sometimes it feels that it all just gets lumped on The Internet, for everyone and no one, so that’s cool, thanks.
I wrote that last one, yeah. Thank you. It’s a super condensed version of a really long one I wrote last week. I never do that kind of writing but, it was something I had to get off my chest I guess.
Like Chris Rock once said, “I love rap music, but I’m tired of defending it.” Getting serious about the culture invariably involves taking up arms against detractors who assault the legitimacy of hip-hop as a form of expression year after year, arguing with music professors who don’t…
Q. Professional critics tend to get a bad rep. What is the value of music criticism?
A. The biggest mistake is that it’s about opinions. I just want you to think about a record. I’m going to provide some historical context, provide some analysis, you know think differently about it. You can hear any song immediately when I put it on the internet, you don’t need me to tell you whether or not you like it, and odds are you’ve decided whether or not you’ve liked it 30 seconds into the song anyway. So it’s like what’s the point in that? But if you do like it, then maybe you can like it better by having an informed opinion backing it up. I’m not trying to convince anybody of anything, and it’s so hard, it’s exhausting because everybody fights with you like you are. I think a lot of people read music criticism to have their opinion validated, and then their instinct is to kind of lash out if it’s not. But you just read music criticism, or any kind of criticism to have somebody else’s read on it. Like if I watch a movie, I usually just go and read the Times review, but I have my own thoughts about that movie. I just watched it, I processed it… Really it’s just a conversation.
I want to see what the next man thinks. If I’m sitting alone watching a movie, I want to see what the next man thinks about that movie. And I want it from someone who’s smart. I think people are like well who are you? And I’m like I’m the guy that sits 8 hours a day and listens to rap music. I know what I’m talking about. If we don’t agree it’s not because I don’t understand, it’s because we don’t agree, which is perfectly natural. That’s taste, that’s the very definition of taste. The records you like might not be the records I like. That doesn’t mean you hate me, doesn’t mean we can’t have a grown-up conversation about those records. And you can gush about why you love them and I’ll tell you why I think they suck. And we’ll both leave knowing more about the music and thinking differently about it. So that’s my defense of criticism.
So here we are at part two in the series : “Grows Without Bound” on the A-side is a monster; a noisy analogue session ressurected from the burning embers of Industrial and Noise, harnessed into an unstable growl that slowly makes room for a barely-there percussive stumble - think somewhere between Vainio and Nate Young. Over on the flipside “Primitive Equations” takes for inspiration the bare-boned, hyper-tense production of Photek’s still devastating “Ni - Ten - Ichi - Ryu”, slugging out feral, steely noise and ‘ardcore torque forged by calloused hands and burning minds to cruel, propulsive effect.
Living With You is the third track to be aired from John Cale’s Shifty Adventures in Nookie Wood (released October 2012). Its craftsmanship and artfulness belied the unparalleled career experience of John Cale, and many heard it as rock music at its most sublime.
Living With You is built on Cale’s trademark viola drone with some of the most delicate nylon guitar picking he claims to have ever heard. He also says that here he ‘found a way to write a nice feeling and not be terribly sappy about it. I do have an occasional moment of happiness, but they never last too long!’ he laughs.
The single bundle comes with an ‘Organic Mix’ of the track, which is a more stripped down version made by Cale that revels in the stark and nakedly emotional nature of the song and a Laurel Halo Remix. This remix comes after a defining year for Laurel who was awarded Wire’s album of the year in 2012 after the release of her critically lauded debut full length ‘Quarantine’.