3. "Every article about Raury makes it plain that the kid is connected: Signed to Columbia, booked to open OutKast’s Atlanta homecoming shows, already the subject of a New York Times profile from Jon Caramanica. Kanye West reportedly tried to bring him on board with DONDA, but he’d apparently rather build his own LoveRenaissance imprint instead. He’s going to be a thing. But what kind of thing?"

    Mixtape of the Week: Stereogum

    Download at www.indigochildproject.com OR www.audiomack.com/album/lvrn/indigo-child

  5. (Source: NPR)

  6. (Source: youtube.com)

  7. Tweedy “Low Key”

    Pretty good.

    (Source: youtube.com)

  8. (Source: youtube.com)

  9. (Source: youtube.com)


  10. This is by far the best hip-hop record I’ve heard all year.

    Put it on for a party this weekend, and see what I mean.

    All songs mixed & mastered by Michael Kolar @ Soundscape Studios, Chicago, IL

    Track 1 mixed by LboogieTHEM
    Tracks 4 & 5 mixed by Hippie Sabotage

    Booking: AlexWileyManagement@gmail.com
    Press: Alex@ClosedSessions.com


    (c) Closed Sessions 2014. But sounds like 2045

    Download Village Party as a zip: http://bit.ly/villageparty

  11. Great, alright. So, two years ago you put out a song, and it was picked up by Aquarium Drunkard. The writer in a later article said he had only received the fuzzy song and one picture. It all seemed a bit Robert Johnson-y to me. Was it your intention to be so mysterious?

    At the beginning, I mean, I’m not sure if I was purposefully trying to be mysterious, but I was listening to a lot of blues. I had just found out about Jandek, this weird musician from Texas. He’s been putting out records for like 30 years, and he always has just one very candid photo and these weird recordings. So, maybe it was more of an ode to Jandek than Robert Johnson.

    My girlfriend at the time lived in Florida. They had a basement, and she took a picture of me going into it, and then it was used over and over again [after the Aquarium Drunkard used it].”

    via Benjamin Booker: Bloody Punk and Old Folk

  12. "Hearing the unreleased albums offers a wider view of the roads taken and not taken, and testifies to the full breadth of an incredible output over the past 15 years.

    In terms of how he is perceived, Adams’s shadow discography can be a double-edged sword. On the one hand, it confirms his status as the most talented singer-songwriter of his generation. When it comes to putting melody and words together into appealing, melodic, and heart-rending packages, nobody does it with more apparent ease. Give Adams a guitar and five minutes and he’ll find a new way to break your heart. On the other hand, “apparent ease” can also be construed as a negative trait, just as “talented” can be twisted into a backhanded compliment for a person who perhaps hasn’t reached his full potential. Because Adams has made so much music, and so much of it is worth hearing, it’s possible to view it more as an exercise in prolificacy than artistry, a mere parlor trick of insta-composition as opposed to an important expression. I don’t share that view — Adams’s lack of a filter doesn’t diminish his art, it’s what makes that art possible — but it is undoubtedly baked into his image. From the beginning of Adams’s career, he’s been haunted by taunts of “not good enough!” from demanding listeners who believe that if he would just settle down and focus, he might finally make the unassailable masterpiece that’s expected of him, like the smart kid who needs to buckle down and study for his SATs already.”

    via The Ryan Adams Conundrum: How Many Incredible Unreleased Albums Does He Have, and Does That Hurt the Ones That Do Come Out?

  13. "Maroon 5’s music can seem frustratingly opaque if engaged as a series of songs packaged together on an album. Locating the emotional core of V is pointless, akin to searching for enlightenment on a bottle of musk. While a lyric (from “New Love”) like “If I ever let you down / Forgive me / Forgive me, now / Would it kill you to forgive me, now?” might signify pathos in a different setting, coming from Levine, it is a repetitive, hectoring bleat searching mindlessly for a hook, like a shark stalking swimmers’ legs. But on the radio, Maroon 5’s malleability has clearly been beneficial. Pop stars are exalted but ultimately weighed down by personae that set the parameters for their subsequent work. Meanwhile, a relatively anonymous pap act like Maroon 5 is free to move into whichever realm proves most conducive for continued sustenance. As a blandly handsome and properly credentialed Caucasian male personality, Levine has the privilege of fading in and out of every corner of popular consciousness, always seen but never quite remembered. He can guest on a Kanye West track, contribute to a televised Beatles tribute, and pal around with a good ol’ boy like Blake Shelton and elicit the same dispassionate reaction from the audience. Little is expected from Levine beyond the filling of space between icons and the circuses that accompany them. And Levine always delivers the precise amount of what little is expected of him."

    This whole thing is spot-on.

    via Status Bro: The Inauthentic Authenticity of Maroon 5

  14. at Rock N Roll Vintage Guitars


  15. ofswoop:

    "Between the ages of 12 and 22, our brains undergo rapid neurological development—and the music we love during that decade seems to get wired into our lobes for good."

    (Source: )