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• Ryan Adams Destroyer Sessions Download
• Ryan Adams Destroyer Sessions
• Ryan Adams Destroyer Sessions Mp3

SOUNDTRACK: PETER BJORN AND JOHN-Falling Over (2005). This is Peter Bjorn and John’s second album. I enjoyed Writer’s Block and Living Thing and when I read that their earlier discs were just as good, i had to check them out to be sure.

Their first two discs are less polished, less slick. Normally I’d say that automatically makes them better, but PB&J’s sound is pretty great with or without the production values. This disc feels like a transition disc, like something big is going to be coming soon (which it did). The opening song is a pop masterpiece in the tradition of The Beatles (or more accurately, The Monkees–who wrote great pop songs with just a little less panache).

It is catchy right out of the block, with some interesting slower parts to add drama. And Peter’s voice is perfect for this kind of pop convection.

It even opens with a Speak n Spell! “Money” has a harder riff, but the chorus is trippy and fun. “It Beats Me Every Time” is a darker song with a melody (and vocal style) that reminds me of Michael Penn (especially the chorus).

I love Michael Penn and think he is vastly underrated. “Does It matter Now?” is the first song that isn’t awesome. It’s a fine song and there’s some great backing vocals in the middle of the track, but it’s not as good as the first three. But “Big Black Coffin” springs back with a wonderful melody and chorus (and more Michael Penn style). “Start Making Sense” is 2 minutes long and that’s fine, but it would probably drag if it were longer.

But then “Teen Love” is great, with a cool drum section that bridges to the a great chorus. “All Those Expectations” is a slow guitar ballad. It is sweet but a bit too long. “Tailormade” ends the record on a good note, an interesting keyboard-based song with multiple parts and although the verses seems long the pay off in the chorus is worth it. Strangely, the disc actually ends with what sounds like a demo, “Goodbye, Again Or.” If it’s not a demo, then it sounds like he’s in the next room. Maybe with the door shut.

I can’t really grasp the song as I’m so distracted by the recording. My version of the disc has five bonus tracks. I’m not sure that this is the kind of disc you want bonus tracks for, (my first listen I couldn’t believe this album was so long!) but, really, who says no to free music? “(I Just Wanna) See Through” has a rock n roll guitar intro. “The Trap’s My Trip” starts out slowly but adds drums with a wonderful introduction after two minutes and then brings in a great rocking guitar.

It’s a wonderful b side. “Punk’s Jump Up” is a fun little jam/practice. While “Unreleased Backgrounds” is a slow guitar song. These are nice bonus tracks. Not essential but enjoyable.

This is a solid record from PB&J. Even though some of the early songs are really catchy, nothing is as immediate as “Young Folks.” But it’s still really strong. READ: February 15, 2012 “The Silence Here Owns Everything” Continuing with Narrative magazine’s “30 Below” winners for 2011, this story won second place. It was deceptively simple and I enjoyed it quite a lot. The story was broken down into several sections (which I like), although all the action takes place over one weekend. It’s written in the first person from the point of view of a high school sophomore (I gather). She and her best friend Kendra are walking home from school on a Friday afternoon.

Kendra has bruises on her face, which we assume are from her father. It’s obvious that despite Kendra’s difficulties, the narrator looks up to her quite a lot (she may even have a crush on her, but that’s not really an issue). The bulk of the story centers on the girls as they walk home, as they hang out at Kendra’s house, as they smoke some weed and as they fall asleep–you know, a typical high school weekend.

And Clodfelter captures the tone and details of the setting perfectly. It feels completely real. Especially when Kendra reveals that her boyfriend is coming over in the morning and the narrator wishes (but doesn’t say) that it could be just the two of them instead. SOUNDTRACK: PAT JORDACHE-Future Songs CST076 (2011). I love this Constellation release.

It is one of my favorite releases of theirs in a long time. This album sounds like a kind of TV on the Radio demo/tribute.

I don’t mean that in a knock-off way, but there are many elements about TV on the Radio that I recognize here (voice and musical style). But the fact that a) Jordache plays all of the instruments himself and b) he keeps things simple, makes this an impressive release. It opens with “Radio Generation,” which has a really cool bouncy guitar riff and bassline. It doesn’t quite display the signature sound that I think of this album as having but it certainly points to it.

Ryan Adams Destroyer Sessions Download

“Get It (I Know You’re Going To) is where I hear the first signs of TV on the Radio. Jordache sings with two voices at the same time–with his deep voice underpinning his higher voice. It’s a great effect. And the fiddly guitar bits are really interesting.

“Salt on the Fields” opens with some “wee ooh” vocals in a fairly high register but when the main vocals come in, they are processed and sound not unlike an old radio (and a singer who I can hear but whose name I can’t place) and then midway through, the song introduces a great guitar riff. “Phantom Limb” features drums and looping from Merrill Garbus who I didn’t know when I first heard this album but who I now know is tUnEyArDs.

And, heh, a little browsing tells me that they are in a band together called Sister Suvi. “Gold Bound” feels more like a demo than the other tracks, it’s a very simple guitar melody with some echoed vocals. It’s also the shortest song on here and it’s a nice change of pace. It also ends with a strange excerpt from something else, a vulgar, rocking little piece advising you to run mother fucker. “Song for Arthur” returns to that cool high-pitched ooo-ooing. But “The 2-Step” changes things quite a bit. An interesting processed guitar and loud echoey drums, but that voice is recognizably his.

There’s also more guitars than on other songs which brings a new texture to this album. The final song “ukUUU” is a slow meandering piece. There’s some interesting sounds going on (reverse vocals and such) and a lengthy spoken piece about love, but it lacks the punch of the rest of the disc. Nevertheless, this album is interesting, intriguing and a lot of fun. I’m looking forward to more from him.

READ: February 12, 2012 “Liability” I recently saw that Narrative magazine picked three “30 Below” winners for 2011. So I thought I’d see just what kind of short stories win their prizes. This is the third place finisher. I admit I was a little less than excited when I started reading the story. It was written in second person, which I liked, but it seemed like a pedestrian story about “you ” and your wife.

How she is so beautiful and you feel you have let her down. But my misgivings soon gave way. And I think it was with this little section that won me over: You crave energy and excitement, and to this end you have bought a beautiful condo downtown in the “bohemian quarter,” as the realtor pitched it, which means that it’s cheap enough for artists and poor black people. You love art and hate racism.” By the middle of the next page, after the explanation of your wife’s job (guidance counselor in a poor school) we get to what turns out to really propel the story: “Although, to be honest, she has a small drinking problem.” He diffuses this bold statement with a qualifier in the next paragraph: “But the drinking problem is only a problem sometimes, and the drinking problem is not a problem tonight.”. TO READ: Through May 7, 2012 Gravity’s Rainbow Starting next week, I’m doing weekly posts about Gravity’s Rainbow.

Ryan Adams Destroyer Sessions

27 1.12 March 5 1.18 March 12 2.3 March 19 2.8 March 26 3.5 April 2 3.10 April 9 3.15 April 16 3.24 April 23 3.32 April 30 4.6 May 7 4.12 I’ve been meaning to read more Thomas Pynchon for years, and Gravity’s Rainbow always seemed like the place to start. I’ve always felt daunted by the task (which is funny since I loved Infinite Jest (which is a lot bigger), but I have this idea that Pynchon is a lot harder to digest. I will soon find out because the great folks over at are running a Gravity’s rainbow read. Unlike with some other books where I contributed to the main page, I won’t have much to say over at the IZ site.

Ryan Adams Destroyer Sessions Mp3

I don’t even really have a sense for how much I’ll be able to integrate with IZ. This is primarily because my work schedule doesn’t permit as much free blog time. It’s also because I don’t really know what I’m in for. But I will be posting weekly updates here. ATTENDED: February 11, 2012 Aga-Boom This past weekend, my family attended Aga-Boom, a “theatre of physical comedy and circus arts.” It was incredible, and it was hard to believe that this was performed at the Raritan Valley Community College theater, which is nice and all, but seems small potatoes for a troupe that was part of Cirque de Soleil and which has been in Vegas and on Broadway. ‘s show is perfect for all ages–my kids loved it, but I may have laughed more than they did. There are three clowns, an older woman, a goofy “large” clown and a kind of morose alien-looking clown.

None of these are you typical “clown make-up” type of clowns. In fact, I found the lady clown’s make up to be amazing–astonishingly emotive and expressive. And the morose clown was all white face with a completely fake nose and a simple red frown line for a mouth and yet wow, they could convey everything. There are several set pieces. The first is a joke about paper getting stuck to the lady clown. It’s a good introduction to the paper conceit that runs through the show (the stage “curtain” is a large sheet of paper!

It morphs into this amusing/intimidating section where the morose clown (dressed like an astronaut with (a wonderful detail) a water cooler bottle on his head as a space helmet–is mad because the woman clown accidentally launched his ship into space. Then comes the goofy clown who does some amazing juggling with a suitcase. I’ve never seen anything like it. SOUNDTRACK: ALEC BALDWIN reading “Lost and Found” (Selected Shorts September 10, 2011) (2011).

Alec Baldwin’s reading of Whitehead’s “Lost and Found” is really great. His delivery is perfect and he strikes the ideal balance of humor and pathos, even if his inner-Boston peeks through this New York tale once in a while. You can hear it for free. READ: February 12, 2012 “The Way We Live Now: 11-11-01; Lost and Found” I didn’t know who Colson Whitehead was in 2001 (at the time of this piece, he had written two novels, neither of which have I read even now). I read a lot of things about 9/11 after the attacks; however, I didn’t read everything (and really I didn’t want to try). Strangely, the only way I found out about this is because my brother-in-law’s wife linked to the soundcloud page on Facebook the other day.

(I’m not sure what made her link to it now, either). The amazing thing about this essay is that it was written less than a month after the attacks and yet it is it is humorous and wise (but not silly or light-hearted).

It strikes a perfect balance. And in fact, doesn’t even mention the attacks by name. The piece is more of an ode to New York City and how “No matter how long you have been here, you are a New Yorker the first time you say, ”That used to be Munsey’s’ or ‘That used to be the Tic Toc Lounge.' ” Your first memory of the City is how you will always think of the City. Whether you were dragged there at Christmas time as child or to help a friend move.