Sammy Beam of Iron and Wine offers up one of the most uninformative and inane interviews I’ve ever read with The Onion’s AV Club. Dude sounds like Alberto Gonzales. In response to the films he’s allowed his music to be featured in, Beam either doesn’t know or hasn’t seen anything the interviewer brings up. Does he live in a fucking cocoon? Excerpts:
AVC: Here’s a movie that hasn’t come out yet, but is reportedly using one of your songs: The Mysteries of Pittsburgh.
SB: I don’t know about that one.
AVC: Next up is Garden State, which featured your cover of The Postal Service’s “Such Great Heights.”
SB: Yeah, that was a total surprise. That was just another in a whole stack of indie movies that wanted to use my music. I still haven’t seen it. I hear it was good, though.
You’d think if a film were licensing your music, you’d at least want to watch the damn thing just to make sure it’s not playing during a tranny reach-around scene or something. Jesus. If I were the AV Club, I think I would have shelved this interview indefinitely.
A Canadian news outlet reports Sony BMG has partnered with music retailer HMV on an unusual promotion to try and secure Bruce Springsteen’s forthcoming Magic a No. 1 spot on the Nielsen SoundScan charts in Canada: “HMV is offering purchasers of the album a free video and ringtone download of Magic’s first single, ‘Radio Nowhere,’ plus a limited-edition lyric booklet.”
But wait! There’s more.
HMV Canada president Humphrey Kadaner is offering a personal money-back guarantee that buyers will love the album. Has elder Springsteen’s stock fallen so far to warrant this kind of stunt? There’s already talk that Sony released Magic early on vinyl just to make the cut-off date for this year’s Grammy Awards.
Why the name Tom Ewing isnâ€™t any bigger than it currently is is beyond me. His ongoing piece for Brit blog Freaky Trigger – in which he has endeavored to review, with a pretty good semblance of success, every Number One Hit in the UK since 1952 – has occupied more of my leisure time than Seinfeld re-runs, Gamecock football and earnestly trying to shave â€œL.K.Y.â€ into my pubis combined. Ewingâ€™s at his best and most provocative though when penning the â€œPoptimistâ€ column for Ryan Schreiberâ€™s hipper-than-thou-willst-ever-hope-to-be online rag. (Even mentioning itâ€™s name, in print or otherwise, requires a level of cool aloofness that I myself have apparently not yet attained â€“ at least thatâ€™s what this chick I tried to hit on last night told me anyways.) Regardless, in this past Tuesdayâ€™s eighth installment, Ewing – with his typical wit and lucidity – opines about this spot for the Cadbury company out of Britian. While itâ€™s more than safe for work I guarantee, it could be hazardous to your monitor if youâ€™re presently drinking anything. So put down that chipped Fugazi mug and check this out:
As a lifelong Phil Collins enthusiast (and concomitant apologist), I was pissed as all get-out when the rumor mill started churning that indeed it was Buster himself in the ape suit. I thought to myself, â€œIâ€™ll never be able to explain this one.â€ Turns out I donâ€™t have to. While the primate family has been good to Lord Collins in recent years (and no, I donâ€™t have a good explanation for Disneyâ€™s Tarzan either), itâ€™s actually simian screen specialist Garon Michael (Congo, Instinct, Tim Burtonâ€™s Planet of the Apes) behind the kit. Whew!
One of the better songs off QOTSA’s uneven but still decent Era Vulgaris features a campy sexploitation video in homage of Tarantino’s unfathomably under-appreciated Death Proof, which just came out on DVD. The QOTSA video stars four bra and panty-clad, knife-wielding, bi-curious sluts, I mean, ‘Hell Kittens on the Run.’ I can’t imagine what video channel would air this, but that’s what YouTube’s for. Who needs MTV?
Bright Eyes performed “Four Winds” on Jay Leno last night. I’d forgotten how painful it was to sit through Jay Leno, awaiting a musical guest. He’s still ripping off Howard Stern in the un-funniest possible ways. It’s also still somewhat surreal for me to watch indie rock bands on The Tonight Show. I know Bright Eyes is no longer the stuff of word of mouth, evidenced by the fact that Conor Oberst and his bandmates are playing the Hollywood Bowl backed by the Los Angeles Philharmonic Orchestra. Longtime Bright Eyes contributor Nate Walcott wrote the 60-piece orchestral score for the band’s 17,300-seat gig, which has to hammer home the whole idea of “making it.” Walcott spent the past eight months composing the score for “40 strings, 11 brass and 12 woodwinds”, while on tour, which is no small feat, telling Billboard, “It was the biggest project I’ve ever worked on as far as arranging is concerned…it’s almost music math.” The band has no orchestral concerts planned beyond this Saturday’s show, but it wouldn’t take too much time to throw one together anywhere in the world, as Walcott points out: “These orchestras don’t rehearse. They just show up and read it.”
This documentary is based on 25 hours of audio-taped interviews conducted by noted Cobain biographer Michael Azerrad, who also wrote the American post-punk, pre-grunge, underground rock history tome, Our Band Could Be Your Life. 25 hours of audio-taped interviews given to one person? Jesus. From the looks of the trailer, it’s likely this film will be far less confusing and esoteric than Gus Van Sant’s loosely based Cobain biopic Last Days, since Cobain’s voice narrates the entire film. My only hesitation is the cinematic aspect- just seeing random images, artfully filmed as they may be, as Cobain speaks might be disconcerting.