here's to opening and upward, to leaf and to sap
and to your(in my arms flowering so new)
self whose eyes smell of the sound of rain
and here's to silent certainly mountains;and to
a disappearing poet of always,snow
and to morning;and to morning's beautiful friend
twilight(and a first dream called ocean)and
let must or if be damned with whomever's afraid
down with ought with because with every brain
which thinks it thinks,nor dares to feel(but up
with joy;and up with laughing and drunkenness)
here's to one undiscoverable guess
of whose mad skill each world of blood is made
(whose fatal songs are moving in the moon
please listen below to The Graveyard Shift's submissions to the International Radio Festival's Search for the Best US College Radio Show. and if you like what you hear, go over to Mixcloud and say so. take all the time you need; you have until December 1st.
listen to this currently lyric-less composition called "Lost Pigs Of The Moon", then write down any feelings which arise as you're listening: any imagery or thoughts, fantasy-scenarios or poetic-sounding sentences, that come to mind. AWwD will write a song using your comments and upload it to their YouTube account once finished.
Glen Pine (see above) has our vote for coolest motherfucker walking. listen to our 2nd attempt at a 'Best Of The Slackers'-mix here: Pabst On Tap. playlist below; comments and criticism welcome.
"Tin Tin Deo" {Redlight (1997)}
"Sermon" {Wasted Days (2001)}
"International War Criminal" {Peculiar (2006)}
"Old Days" {Wasted Days (2001)}
"And I Wonder?" {The Question (1998)}
"Make Me Smile Dub" {An Afternoon In Dub (2005)}
"Sarah" {Better Late Than Never (1996)}
"Body Double" {The Boss Harmony Sessions (2007)}
"86 The Mayo" {Peculiar (2006)}
"Watch This" {Redlight (1997)}
"Cooking With Tommy" {Redlight (1997)}
"I Shall Be Released" {Peculiar (2006)}
"Married Girl" {Slack In Japan (2006)}
"Please Decide" {Wasted Days (2001)}
"Work Song" {Better Late Than Never (1996)}
"I Still Love You" {Redlight (1997)}
"The Nurse" {Wasted Days (2001)}
"Don't Forget The Streets" {Self-Medication (2008)}
to subscribe to our Spotify playlist of 2012's essential tracks (so far), click here: http://tiny.cc/ik27hw. below is the track-list for The Graveyard Shift's Mid-Year Review broadcast.
Here We Go Magic - "Alone But Moving" {A Different Ship}
-- Air - "Sonic Armada" {Le Voyage Dans La Lune}
The Dandy Warhols - "Sad Vacation" {This Machine}
Beach House - "Myth" {Bloom}
Father John Misty - "Fun Times In Babylon" {Fear Fun}
-- Hilary Hahn & Hauschka - "Krakow" {Silfra}
Andrew Bird - "Lazy Projector" {Break It Yourself}
Bumpy Kunckles with DJ Premier - "More Levels" {Kolexxxion}
Lower Dens - "Propagation" {Nootropics}
-- Air - "Parade" {Le Voyage Dans La Lune}
Dirty Projectors - "Gun Has No Trigger" {Swing Lo Magellan}
El-P - "Drones Over Bklyn" {Cancer For Cure}
King Tuff - "Loser's Wall" {King Tuff}
Tennis - "High Road" {Young & Old}
-- Clark - "Black Stone" {Iradelphic}
Patrick Watson - "Quiet Crowd" {Adventures In Your Own Backyard}
Spiritualized - "I Am What I Am" {Sweet Heart Sweet Light}
B.o.B. - "Where Are You (B.o.B. Vs Bobby Ray)" {Strange Clouds}
School of Seven Bells - "Low Times" {Ghostory}
-- Voices From The Lake - "Circe / ST (VFTL Rework" {Voices From The Lake}
Tennis - "My Better Self" {Young & Old}
Damu The Fudgemonk with Raw Poetic - "Hole Up" {Kilawatt V1.5}
Spiritualized - "Headin' For The Top Now" {Sweet Heart Sweet Light}
-- Lambchop - "Gar" {Mr. M}
The Walkmen - "Line By Line" {Heaven}
Santigold - "Disparate Youth" {Master of My Make-Believe}
Jaill - "Perfect Ten" {Traps}
-- Clark - "Tooth Moves" {Iradelphic}
The Shins - "Bait and Switch" {Port of Morrow}
Here We Go Magic - "Make Up Your Mind" {A Different Ship}
Of Montreal - "Dour Percentage" {Paralytic Stalks}
-- Grass Widow - "A Light In The Static" {Internal Logic}
Best Coast - "No One Like YOu" {The Only Place}
Rufus Wainwright - "Sometimes You Need" {Out Of The Game}
Gift of Gab - "Market & 8th" {The Next Logical Progression}
-- Orbital - "Beelzedub" {Wonky}
Daniel Rossen - "Up On High" {Silent Hour/Golden Mile}
Bumpy Kunckles with DJ Premier - "OwNiT" {Kolexxxion}
White Rabbits - "Danny Come Inside" {Milk Famous}
-- Disasterpeace - "Adventure" {FEZ}
Fanfarlo - "Tunguska" {Rooms Filled With Light}
Liars - "A Ring On Every Finger" {WIXIW}
Grimes - "Know The Way (Outro)" {Visions}
Beach House - "Lazuli" {Bloom}
-- Air - "Astronomic Club" {Le Voyage Dans La Lune}
The Cribs - "Come On, Be A No-One" {In The Belly Of The Brazen Bull}
Bowerbirds - "Walk The Furrows" {The Clearing}
Dr. Dog - "These Days" {Be The Void}
-- Blondes - "Lover" {Blondes}
Leonard Cohen - "Anyhow" {Old Ideas}
O.C. with Apollo Brown - "Caught Up" {Trophies}
Metric - "Lost Kitten" {Synthetica}
-- Chet Faker - "Cigarettes And Chocolate" {Thinking In Textures}
Plants and Animals - "Song For Love" {The End Of That}
Regina Spektor - "Firewood" {What We Saw From The Cheap Seats}
Here We Go Magic - "Made To Be Old" {A Different Ship}
-- Yppah - "Film Burn" {Eighty One}
Santigold - "This Isn't Our Parade" {Master of My Make-Believe}
Jack White with Ruby Amanfu - "Love Interruption" {Blunderbuss}
Ab-Soul - "Bohemian Grove" {Control System}
-- Mouse on Mars - "Wienuss" {Parastrophics}
M. Ward - "The First Time I Ran Away" {A Wasteland Companion}
Heartless Bastards - "Only For You" {Arrow}
Raekwon with J.D. Era - "Soldier Story" {Unexpected Victory}
-- Actress - "Holy Water" {R.I.P.}
Beach House - "Wishes" {Bloom}
Daniel Rossen - "Saint Nothing" {Silent Hour/Golden Mile}
Lower Dens - "Brains / Stem" {Nootropics}
O.C. with Apollo Brown - "The Formula" {Trophies}
White Rabbits - "Are You Free" {Milk Famous}
Hot Chip - "Flutes" {In Our Heads}
-- Mount Eerie - "(Synthesizer)" {Clear Moon}
Dirty Projectors - "Dance For You" {Swing Lo Magellan}
Fiona Apple - "Anything We Want" {The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do}
Lee Fields & The Expressions - "Still Hanging On" {Faithful Man}
-- Get The Blessing - "Adagio In Wot Minor" {OC DC}
Islands - "Hallways" {A Sleep & A Forgetting}
Here We Go Magic - "People In The Darkness" {A Different Ship: Bonus Disc}
an NPR intern named Emily White wrote this, then a musician named David Lowery wrote this in reply, so we wrote what's below. comments welcomed.
_
Musicians are not entitled to a certain level of profit - that's somewhat arbitrarily determined by the state of our technology at a given time - any more than buggy-repairers were entitled to their same profits after the invention of the automobile. Time was, it was the sheet music that sold - not the recordings. Should guitar tabulature websites be outlawed too, since they take compensation away from the authors of tab books? Lowery's historical naiveté here is profound, as he spins idyllic yarns: "The accepted norm for hudreds [sic] of years of western civilization is the artist exclusively has the right to exploit and control his/her work for a period of time. ... By allowing the artist to treat his/her work as actual property, the artist can decide how to monetize his or her work. This system has worked very well for fans and artists." Leaving aside the question of whether artists have been fairly compensated throughout all of Western history until this very moment, what of that Pandora's box called RADIO which once promised to forever destroy the lives of working musicians? After all, why on earth would anyone buy the record if they could hear it for free on the radio?... Yet can one imagine the history of Rock 'n Roll or Jazz without this pest? And might how we over-reacted to that change in technology give us a clue about how to approach this new one, the Internet? Because, in point of fact, radio has been shown to have a negative impact on record sales [www.ftc.gov] and "illegal" file-sharing has been shown to have a neutral or slightly positive impact [www.unc.edu]. So perhaps radio DJs like ourselves are the real thieves and Lowery has simply misdirected his indignation.
Amidst all the Ayn Rand-like focus on the individual creator, what's most lacking in Lowery's perspective and those who share it might be a basic respect for the music commons and the community of listeners (or "looters") who make artistic creation worthwhile and who mold the shared cultural context which enables individual creation. Yes, the golden era of CD sales has come and gone. This isn't a "social injustice" and 14-year-olds aren't to blame for it. It resulted from amazing innovations, and thanks to them, more people today are better able to listen to more music than ever before. For those of us interested in spreading music foremost and profiting from it second, that's an unqualified societal good. Guilt-tripping listeners into unnecessarily limiting their capacity to appreciate music so you can try (and fail) to preserve some out-dated business-model, to us, puts one squarely on the wrong side of both history and morality.
Look, if someone were to loot a record shop, they'd deprive anyone else of buying those records. That's theft or destruction of private property. However, when someone copies a file, they do not similarly deprive anyone else. It's as big a difference as stealing a sheep and cloning one. The above article ignores this obvious distinction, not to mention sweeping the vast gray areas of copyright law under the proverbial rug, when it labels listeners "criminal" simply because they share.
Tell us, in Lowery's utopia, are we still allowed to hum a tune in our heads, or should we compensate musicians for that duplication of their copyrighted work as well? Can we sing along by ourselves, or will ASCAP and the RIAA come after us for that too, as when they attempted to shut down karaoke bars and prosecute middle school students? Can we lend a record to a friend, or does that abuse the artist by not making our friend buy their own? 'No listening while in the record shop!'. 'No copyrighted music in public libraries!'. 'No taping the radio!'. 'No DJing!'.
Imagining that if someone has however many 'illegally' downloaded songs on their computer they've somehow stolen the equivalent amount of cash out of the musician's pocket is to waste one's time counting fantasy dollars, because there's often little reason to believe that someone would've (or could've) paid for those songs anyway. Given declining sales (for which peer-to-peer file-sharing was NOT the primary cause), the choice isn't between well-compensated musicians and broke musicians but between broke musicians whose music isn't heard and broke musicians whose music is. Listeners are not the bad guys here.
For someone so concerned with rights, Mr. Lowery doesn't seem to value newfound freedom. Had a buddy not linked us to Napster in 1998, we still might be listening to only classical music and Billy Joel. The diversity of music we were exposed to via that site blew our underwater doors open. As broke teenagers, we would've never been able to afford all the life-changing sounds we heard by browsing people's libraries from all over the world. We're now musicians and radio DJs and we're morally certain that we would be neither had it not been for this unregulated 'criminality'. And we certainly haven't stopped. From Napster, we went straight to Soulseek and have never needed another file-sharing program. [Soulseek, incidentally, seems ever on the verge of failing to cover its operating expenses and funds itself through user donations - not exactly the "powerful commercial interests" Lowery waxes conspiratorial about.] We typically purchase our top three or four albums of the year (from San Antonio's lone local record store, Hogwild Records), but only after we've listened to them all year long at no charge. When money is tight, it doesn't do to gamble. The last CDs we bought were St. Vincent's 'Strange Mercy' and Radiohead's 'King Of Limbs', but we've likely listened to a 100 or more albums since then. We do convince others to buy albums due to our DJ-ing gigs, and we also have access to the radio station's library (copying from which isn't illegal, despite Lowery's accusations directed at Ms. White), but we won't hide behind these caveats. We attend at least one concert a month, and most recently saw Here We Go Magic at our favorite Austin venue, The Parish [which was amazing!].
That's us. So when anyone starts treating listeners as criminals, we get upset. When anyone starts reducing something we consider sacred to a mere commodity, we get upset. A song is not just a sellable good; it's a bit of magic that, when let out into the world, belongs to everyone. Music is not just entertainment; it's an integral part of culture. A 14-year-old in Texas, via a file-sharer in California, listening to Blackalicious for the first time when *they wouldn't have otherwise* ...shouldn't THAT moment be the non-negotiable part of this entire equation? Yet somehow the priceless quality of music gets lost in the numbers, especially when one presumes, by some holy writ we've yet to examine, that 11 tracks deserve no less than $19.99 plus tax from every consumer, from this point forward until eternity (adjusted for inflation). When someone says they have a superior compensation model, first they must demonstrate there won't be a loss in our exposure to as much music as manatee-ly possible. For us, that goal takes primacy. If we all agree that no one ought to have to put a quarter in their car radio to hear something new, then let's please think of the internet as one gigantic car radio.
So, Mr. and Ms. Musician, yesterday you made a good living selling a product that today not as many people want to buy - or, more often than not, can afford to buy. Why did you ever feel you were entitled to that standard of living? Why did you not prepare for the eventuality that it was a fluke or a fad? The vast majority of musicians have never been paid the big bucks, and this obviously didn't start with the mass migration away from cassettes and CDs. Why does every musician at every awards ceremony say, 'It's all about the fans' or 'It's all about the music', if they're so willing to exclude people from hearing their music in order to drive its price up? Since the tone of lecturing the young resonated throughout Lowery's piece, maybe it's the younger generation who will have to lecture the old guard: 'life doesn't owe you anything'; 'nothing was promised to you'; 'get a day job'; 'life isn't fair'.
A crucial confusion in Lowery's argument is his appropriation of anti-corporate rhetoric at the same time as he writes "in the case of corporate record labels, shouldn't they be rewarded for the bets they make that provides you with recordings you enjoy?". To present oneself as struggling for "the artists" against "powerful commercial interests" is laughable because it really masks a conflict between two sets of powerful commercial interests, with us - the musicians and listeners - caught in the crossfire. Of course making a living as a musician remains difficult, and we could use more monies from the Baby Boomers - whether through municipal grants or kickstarter campaigns - and less derision directed at Generation Ys: the very people who actively sustain the culture of music through their appreciation/participation, the very culture that folks like Lowery would rob. And what if someone is even more impoverished than the artists they can't afford to compensate? Should there be no music for the poors? How's THAT an anti-corporate stance?
The truly disheartening feature of this debate is the presumed absence of a people's movement and the concomitant de-politicization of music advocacy. It may seem like arguing for the plight of the starving artist is as a-political as it gets, but it disguises the fact that we're so used to settling for crumbs we've neglected to protest for a guaranteed income for *all* citizens and a robust endowment for *all* of the arts. Why does Lowery not suggest these solutions when faced with under-incomed musicians, instead of asking Ramen-nourished, in-debt-up-to-their-eyeballs college students to foot the bill for the enduring greed and short-sightedness of their elders? He writes that this ordeal is not the fault of corporations, that it's our generation's fault, and while that's factually just wrong, what of musicians' ethical obligation to resist a world ruled by corporations? Isn't protecting that industry a dereliction of our duty? We should use technology together to make the dominant players in the music industry obsolete, not cozy up to them as they try to squeeze the last drops of capital from a decreasing market share.
In sum: *we ought to make the pie bigger instead of pettily fighting over increasingly smaller slices of it*. That means letting as many people as possible into this big concert called the Internet. The old way of marketing music isn't the only option, but, crucially, if music loses its higher aim, it risks becoming just another profit-seeking enterprise. That's why, even for those who don't like to think about it, the tasks of art and politics are inextricably linked. And perhaps that at least is one point of agreement.
Townies here often lament/complain: "No good music acts ever come to San Antonio". Here's a YouTube playlist of lots of wonderful musicians who've played #SATX over the past several years: WATCH HERE. (No locals included.)
For any and all information, send a stamped undressed elephant to: #Shift917.
________________________________________________________________
"It was the end of sorrow lies. The rail stations were dead, flowing like bees stung from honeysuckle. The people hung back and watched the ocean, animals flew in and out of focus. The time had come. Yet king dogs never grow old – they stay young and fit, and someday they might come to the beach and have a few drinks, a few laughs, and get on with it. But not now. The time had come; we all knew it. But who would go first?"
it's SXSW time again, DMs, and that means another year of scouring Austin looking for an angry fix of song. below is where we'll be. click on venue names for more info about the event. all shows are free, sometimes including free refreshments and food.
ideally, we'd like to get there before midnight on Tuesday to catch Thee Oh Sees at The Scoot Inn, but if we're unlucky, Thee Oh Sees are the most ubiquitous act of the unofficial SXSW parties and we'll be sure to stumble across them somewhere.
on Wednesday, we're committed to the Lemurs, What Made Milwaukee Famous, and Shearwater at The Parish - our favorite venue in town, and we intend to get there early to take full advantage of the free coffee/breakfast pockets. as a solid backup plan, Apparat, Tennis, and Caveman are at The Stage on 6th. we'll probably spend the evening savoring local flavors, and there's a SXSW-edition of the Local Music Calendar for Austin here http://www.facebook.com/shift917 should you want to do likewise. if we're still up around midnight, there's always Thee Oh Sees at Trailer Space.
Thursday, El-P, Youth Lagoon, The War on Drugs, and Lower Dens all play Mohawk and right next door Dan Deacon plays Club Deville long about 5PM. plan B is Tycho, Girls, and Cults at the 1100 E. 5th St. Warehouse. in the evening, Of Montreal, Deerhoof, Japandroids perform at Emo's East, but depending on our mood we may sneak over to The Hype Hotel to hear Korallreven. after that, we're having trouble choosing between Hudson Mohawke, Raekwon, and Mobb Depp closing down Kung Fu Saloon or Diplo and ?uestlove closing down the 1100.
Friday starts early, as James Mercer of The Shins is doing two radio gigs for charity - the first at the Four Seasons Hotel around 8AM (for the Make-A-Wish Foundation) and the second at the W Austin around 10 (for the Shivers Cancer Center) [for suggested donations of $5 or $10]. after that, we'll head over to Music For Listeners party at Flat Top Burger Shop to hear San Antonio's own, Education, at noon. then Talib Kweli performs at Waterloo Records at 1PM, followed by Of Montreal at 3. if we missed Dan Deacon, he plays Cheer Up Charlie's at 6PM. the late evening features one of the lineups about which we're most psyched: White Rabbits, Lower Dens, Neon Indian and Caveman at The Hype Hotel starting around 10PM.
10AM Saturday, Givers play the W Austin. Eleanor Friedberger plays Urban Outfitters around 2PM. The Roots will close the day show at Mohawk, which The War On Drugs, Cloud Nothings, and Blitzen Trapper will also play. and if we have yet to see Tennis, we'll have to see them at either The Hype Hotel at 6PM or Baby Blue Studio at 8:45.
should we land safely at Sunday, Megafauna plays Side Bar during the day and Les RAV plays The Parish in the early evening. should you want to compose your own itinerary, there's no finer resource than this one: http://showlistaustin.com.
so there you have it - more than enough entertainment to forget about losing Fiona Apple and Andrew Bird to the wristband bourgeoisie. :P
a lot of new music came our way since the last mid-year review, but one constant has been an inescapable lingering of nostalgia. we're not just talking about your typical Band of Bees album here. from the neo-R&B of James Blake and the Weeknd to the neo-folk of Okkervil River and My Morning Jacket, from the throw-back sounds of Raphael Saadiq and Ty Segall to the triumphant return of hiphop legends the Wu-Tang Clan and Beastie Boys, from the 80s synths and sexy saxes of the Horrors and Destroyer to the 90s indie-ness of former Pavement frontman Stephen Malkmus to the new Paul Simon to the new Tom Waits to the release of the definitive version of the Beach Boys' unfinished magnum opus circa 1966, 'The Smile Sessions', it appeared as if our only way of ringing in the new had to involve yearning for the past. if you'd have asked us manatees way back in our Napster days whether Amon Tobin, DJ Shadow, and Radiohead would still be dominating our playlist with new material, we'd have risen to the surface and laughed. yet here they are, still doing it and well. and what is this recently invented sub-genre called 'chillwave' (Washed Out, Toro y Moi, Neon Indian) if not the dreamy subconsciousness of nostalgia distilled down to its essence? what do bands like Black Lips, the Beets, Girls, Handsome Furs, Thee Oh Sees, Wild Flag, M83, and Real Estate share in common, if not a fidelity to past sounds, from surf rock to shoegaze and everything in between? what's the appeal of Lana Del Rey's raspy voice in "Video Games", if not how drenched it is with the impossible desire to re-live young love? or the Vaccines' "Wet Suit", reminiscent of Buddy Holly's vocal phrasings? or the old-school "Larry Routine" of the Beastie Boys? 'saudade' defies translation, so we're told, but by our analysis that word about sums up 2011 in pop: "a deep emotional state of nostalgic longing for an absent something or someone that one loves [which] often carries a repressed knowledge that the object of longing might never return". the questions loom, even when we do not ask them explicitly: what's missing? what've we forgotten? and what can we re-enact and re-invent? ...of course, we'd prefer concrete sociological theories to mysterious-sounding seaweed, but we all agree that there's been a gigantic work of cultural memory going on, and it's not at all all bad.
-- ONE-HUNDRED AND SEVENTY-FIVE TRACKS --
#1. St. Vincent - "Strange Mercy" {Strange Mercy}
Radiohead - "The Daily Mail" {The Daily Mail/Staircase}
Wu-Tang with Tre Williams - "Never Feel This Pain" {Legendary Weapons}
Destroyer - "Kaputt" {Kaputt}
Fleet Foxes - "Sim Sala Bim" {Helplessness Blues}
My Brightest Diamond - "She Does Not Brave The War" {All Things Unwind}
Beastie Boys - "Make Some Noise" {Hot Sauce Committee Part Two}
Thee Oh Sees - "I Need Seed" {Castlemania}
M83 - "Midnight City" {Hurry Up, We're Dreaming}
James Blake - "Give Me My Mouth" {James Blake}
Little Dragon - "Ritual Union" {Ritual Union}
Beirut - "Vagabond" {The Rip Tide}
Bon Iver - "Wash." {Bon Iver}
Evidence with Raekwon and Rass Kass - "The Red Carpet" {Cats & Dogs}
Lana Del Rey - "Video Games" {Video Games/Blue Jeans}
Das Racist - "Relax" {Relax}
Coma Cinema - "Her Sinking Sun" {Blue Suicide}
Arctic Monkeys - "Love Is A Laserquest" {Suck It And See}
Hassaan Mackey & Apollo Brown - "Something" {Daily Bread}
#20. Keren Ann - "My Name Is Trouble" {101}
Blu - "Hours" {NoYork!}
Girls - "Love Like A River" {Father, Son, Holy Ghost}
Man Man - "Life Fantastic" {Life Fantastic}
The Roots with Bilal and Greg Porn - "The OtherSide" {Undun}
Wilco - "Dawned On Me" {The Whole Love}
Radiohead - "Little By Little" {King Of Limbs}
Smith Westerns - "Only One" {Dye It Blonde}
The Antlers - "Rolled Together" {Burst Apart}
Real Estate - "It's Real" {Days}
Cavemen - "December 28th" {CoCo Beware}
Black Lips - "New Direction" {Arabia Mountain}
The Dodos - "Companions" {No Color}
Clap Your Hands Say Yeah! - "Ketamine and Ecstasy" {Hysterical}
Here We Go Magic - "Hands In The Sky" {January}
Atlas Sound - "Doldrums" {Parallax}
Toro Y Moi - "New Beat" {Underneath The Pine}
Asobi Seksu - "Perfectly Crystal" {Fluorescence}
Jeffrey Lewis - "Krongu Green Slime" {A Turn In The Dream-Songs}
Royce Da 5'9" - "Security" {Success Is Certain}
#50. Cults - "Never Saw The Point" {Cults}
The Horrors - "Still Life" {Skying}
Amor De Dias - "House of Flint" {Street Of The Love Of Days}
Neon Indian - "Halogen (I Could Be A Shadow)" {Era Extraña}
Fennesz + Sakamoto - "0330" {Flumina}
DJ Shadow - "Sad And Lonely" {The Less You Know, The Better}
The Beets - "Without You" {Let the Poison Out}
Panda Bear - "Last Night At The Jetty" {Tomboy}
Royal Bangs - "Faint Obelisk Two" {Flux Outside}
Florence + The Machine - "Leave My Body" {Ceremonials}
Walls - "Sunporch" {Coracle}
The Vaccines - "Wetsuit" {What Did You Expect From The Vaccines?}
Explosions In The Sky - "Postcard From 1952" {Take Care, Take Care, Take Care}
The Rapture - "In The Grace Of Your Love" {In The Grace Of Your Love}
Deerhoof - "Secret Mobilization" {Deerhoof vs. Evil}
Crystal Stilts - "Frost Inside The Aslyums" {Radiant Door}
Jay-Z and Kanye West - "New Day" {Watch The Throne}
Tennis - "Marathon" {Cape Dory}
Okkervil River - "Hanging From A Hit" {I Am Very Far}
The Weeknd - "Wicked Games" {House Of Balloons}
Iron & Wine - "Your Fake Name Is Good Enough" {Kiss Each Other Clean}
Still Corners - "Velveteen" {Creatures Of An Hour}
Lupe Fiasco - "Till I Get There" {Lasers}
Stephen Malkmus - "No One Is (As I Are Be)" {Mirror Traffic}
Tapes 'N Tapes - "Outro" {Outside}
My Morning Jacket - "Circuital" {Circuital}
Coldplay - "Us Against The World" {Mylo Xyloto}
Timber Timbre - "Black Water" {Creep On Creepin' On}
Vetiver - "Worse For Wear" {The Errant Charm}
Battles - "Dominican Fade" {Glass Drop}
Eleanor Friedberger - "My Mistakes" {Last Summer}
Akron/Family - "Canopy" {The Cosmic Birth And Journey Of Shinju TNT}
Mister Heavenly - "Bronx Sniper" {Out Of Love}
Mogwai - "Rano Pano" {Hardcore Will Never Die, But You Will}
White Denim - "No Real Reason" {Takes Place In Your Work Space}
Tycho - "Coastal Brake" {Dive}
Kashmir - "Ruby Over Diamonds" {Zitilites}
Jacuzzi Boys - "Vizcaya" {Glazin'}
Amon Tobin - "Journeyman" {ISAM}
Fruit Bats - "So Long" {Tripper}
Spectrals - "Doing Time" {Bad Penny}
Bibio - "Anything New" {Mind Bokeh}
Metronomy - "Trouble" {English Riviera}
Crystal Stilts - "Shake The Shackles" {In Love With Oblivion}
The Field - "Burned Out" {Looping State Of Mind}
Wavves with Best Coast - "Nodding Off" {Life Sux}
Bjork - "Dark Matter" {Biophilia}
Boris - "Tokyo Wonder Land" {Attention Please}
Balam Acab - "Expect" {Wander/Wonder}
Fujiya And Miyagi - "OK" {Ventriloquizzing}
#100.The Black Keys - "Stop Stop" {El Camino}
James Farm - "Star Crossed" {James Farm}
The Decemberists - "January Hymn" {The King Is Dead}
The Strange Boys - "Me And You" {Live Music}
Givers - "Ripe" {In Light}
Papercuts - "Marie Says You've Changed" {Fading Parade}
Oneohtrix Point Never - "Explain" {Replica}
Cut Copy - "Where I'm Going" {Zonoscope}
Apparat - "Ash Black Veil" {The Devil's Walk}
Sepalcure - "See Me Feel Me" {Sepalcure}
Modeselektor - "Grillwalker" {Monkeytown}
Feist - "How Come You Never Go There" {Metals}
Peter Evans Quintet - "323" {Ghosts}
TV On The Radio - "Will Do" {Nine Types Of Light}
The High Llamas - "Fly Baby, Fly" {Talahomi Way}
Korallreven - "The Truest Faith" {An Album By Korallreven}
Phantogram - "Don't Move" {Nightlife}
Mojib remixing Radiohead - "Codex" {http://soundcloud.com/mojib}
Yuck - "Suck" {Yuck}
Drake - "Lord Knows" {Take Care}
Gui Boratto - "Flying Practice" {III}
Marissa Nadler - "In Your Lair, Bear" {Marissa Nadler}
The War On Drugs - "The Animator" {Slave Ambient}
Blueprint - "The Clouds" {Adventures In Counter-Culture}
The Weeknd - "Echoes Of Silence" {Echoes Of Silence}
Loney Dear - "Calm Down" {Hall Music}
Fucked Up - "Let Her Rest" {David Comes To Life}
Youth Lagoon - "Seventeen" {The Year Of Hibernation}
Animal Farm with Talib Kweli - "Test Of Time" {Culture Shock}
Times New Viking - "No Room To Live" {Dancer Equired!}
The Antlers - "I Don't Want Love (Peter's Version)" {(together)}
Jens Lekman - "A Promise" {An Argument With Myself}
Tim Hecker - "Hatred Of Music I" {Ravedeath, 1972}
Motopony - "I Am My Body" {Motopony}
Robin Pecknold with Ed Droste - "I'm Losing Myself" {Three Songs}
Toro Y Moi - "Sweet" {Freaking Out}
Ty Segall - "You Make The Sun Fry" {Goodbye Bread}
Washed Out - "Far Away" {Within And Without}
The Weeknd - "Rolling Stone" {Thursday}
White Denim - "At The Farm {D}
Jeff the Brotherhood - "Endless Fire" {We Are Champions}
Ane Brun - "Words" {It All Starts With One}
DJ Shadow - "I've Been Trying" {I Gotta Rokk}
John Wiese - "Scorpion Immobilization Sleeve" {Seven Of Wands}
Luke Temple - "More Than Muscle" {Don't Act Like You Don't Care}
Paul Simon - "Amulet" {So Beautiful Or So What}
Death Cab For Cutie - "Portable Television" {Codes & Keys}
Pontiak - "Part I" {Comecrudos}
tUnE-YarDs - "Bizness" {W H O K I L L}
Colin Stetson - "From No Part Of Me Could I Summon A Voice" {New History Of Warfare, Vol. 2}
Junior Boys - "You'll Improve Me" {It's All True}
Raphael Saadiq - "Go To Hell" {Stone Rollin'}
Thee Oh Sees - "The Dream" {Carrion Crawler/The Dream}
The Head And The Heart - "Rivers and Roads" {The Head And The Heart}
Lykke Li - "Sadness Is A Blessing" {Wounded Rhymes}
Wooden Shjips - "Lazy Bones" {West}
Son Lux - "Let Go" {We Are Rising}
Wild Flag - "Endless Talk" {Wild Flag}
Future Islands - "Where I Found You" {On The Water}
Elbow - "Jesus Is A Rochdale Girl" {Build A Rocket, Boys!}
Malajube - "Mon Oeil" {La Caverne}
The Joy Formidable - "A Heavy Abacus" {The Big Roar}
Boom Bip - "Tumtum" {Zig Zaj}
Wu Lyf - "Crowns For Me & Your Friend" {Go Tell Fire To The Mountain}
Nicolas Jaar - "Colomb" {Space Is Only Noise}
Thao + Mirah - "Rubies And Rocks" {Thao + Mirah}
Fennesz - "Shift" {Seven Stars}
Handsome Furs - "Serve The People" {Sound Kapital}
Eddy Current Suppression Ring - "Colour Television" {Primary Colours}
Pete & The Pirates - "Come To The Bar" {One Thousand Pictures}
James Ferraro - "Dream On" {Far Side Virtual}
Prerodactyl - "School Glue" {Spills Out}
Tom Waits - "Talking At The Same Time" {Bad As Me}
Gonjasufi with Blu - "Eatfish" {The Ninth Inning}
Ladytron - "Altitude Blues" {Gravity The Seducer}
The Mountain Goats - "Age Of Kings" {All Eternals Deck}
-- TWENTY-THREE ALBUMS --
#1. Radiohead - 'King Of Limbs'
Fleet Foxes - 'Helplessness Blues'
St. Vincent - 'Strange Mercy'
Beirut - 'The Rip Tide'
Wu-Tang - 'Legendary Weapons'
Neon Indian - 'Era Extraña'
Fennesz + Sakamoto - 'Flumina'
The Weeknd - 'House Of Balloons'
Here We Go Magic - 'The January EP'
Das Racist - 'Relax'
Wavves - 'Life Sux EP'
Hassaan Mackey & Apollo Brown – 'Daily Bread'
DJ Shadow - 'The Less You Know, The Better'
Amor De Dias - 'Street Of The Love Of Days'
Balam Acab - 'Wander/Wonder'
Tapes 'n Tapes - 'Outside'
My Morning Jacket - 'Circuital'
Oneohtrix Point Never - 'Replica'
Caveman - 'CoCo Beware'
#20. Dodos - 'No Color'
Real Estate - 'Days'
Nicolas Jaar - 'Space Is Only Noise'
Robin Pecknold - 'Three Songs'
