ON AUGUST 7TH, DAVID BERMAN, the poet and songwriter, died at the age of 52. Soon after the initial announcement, The New York Times reported that he had taken his own life, but I had already assumed that—I’d imagine anyone else familiar with his career did, too.
OCTOBER MARKS THE 15-YEAR ANNIVERSARY of No Sir, Nihilism is not Practical, the first release by hardcore band Showbread. There’s a real chance that many readers have never heard of them, which though unsurprising, should be rectified immediately.
I DISCOVERED SUFJAN STEVENS' ILLINOIS during a period in my life when my hometown was too small, an ill-fitting sweater. It was also a period in which I felt compelled to pin down the meaning of everything, so I spent a lot of time on songmeanings.com.
I CAME TO KNOW OF DAVE BAZAN and his music ventures through perhaps the most ironic way: a religious podcast on which Bazan explained his upbringing, his struggle with Christianity, and his eventual—and very public—disavowal of the faith that had defined his career.
I WANT YOU TO TAKE A SECOND and think of your favorite album. If that’s too hard, which I would assume it is for so many of us, I want you to think of one that has impacted you incredibly in some way. It could’ve been the soundtrack for an awful or overwhelmingly happy time, or the album that changed the way you felt about someone or something.
ARCADE FIRE'S NEWEST FULL-LENGTH RECORD, EVERYTHING NOW raises questions about the eerily steady growth of this removed, cellophane quality about the world. This is nothing new—the band has provided commentary on a range of big picture ideas throughout their musical history.
I ENJOY THE FEELING of belonging—an unromantic and pure intimacy with the things with which I choose to spend time. Maybe more than anything, I seek to find on the screen, and on a record, a mirror with which I can see myself more fondly.
WHEN ANTONOFF BEGAN teasing Gone Now, Bleachers’ second full-length album, I began to look for signs of Strange Desire. The first single, “Don’t Take the Money”, had hints of Desire—it was raucous, fun, upbeat music with underpinnings of pain. It was familiar in the best way.