Mark Richardson

very sorry to hear this, Maura, thinking of you, I know he was a special guy ♥️

Digging Through Steve Albini’s Closet Byron Coley, the former Forced Exposure journalist and longtime friend of Albini’s, talks about archiving his collection of belongings, unexpected finds he’s listing for sale, and what made the Shella...

I interviewed @byroncoley.bsky.social about archiving Steve Albini's belongings, their lifelong friendship, trying to put a price point on someone's memories, and what our belongings reveal about us for @pitchfork.com

So good! Just loved it.

1983. Bruce runs into Keith in the Poconos on a trip back East, Keith asks “What are you working on, man? I just started a trio to play standards with my friends Jack and Gary.” Bruce says “Working on some sessions in my garage in LA, man.”

how about a movie where the “making of Keith Jarrett’s The Köln Concert” cinematic universe fuses with that of the “making of Bruce Springsteen’s Nebraska?

the greatest work of art by committee since the King James Bible

Trojan horse title - “Why Tubas Matter.” (my copy is waiting for me at the Golden Notebook in Woodstock, btw)

my favorite (“Sweet Talk”) nowhere to be found!

“The Experiment Requires That You Continue” b/w “450 Volts”

It was an awkward title, acted like “breaking training” was an everyday expression

YouTube video by The Olivia Tremor Control - Topic I Can Smell The Leaves

should be a law that says this tune has to appear in every fall mix youtu.be/p0n9YEARMwg?...

I loved it

Johnny Cash: American Recordings Each Sunday, Pitchfork takes an in-depth look at a significant album from the past, and any record not in our archives is eligible. Today, we explore Johnny Cash’s 1994 comeback American Recordings.

Man, I remember hopping on the phone with Kaleb for this piece and thinking, "Oh you write almost exactly how you talk." He was so thoughtful & cared about his truth, his blue and funny vision of the world. Loved this piece, one of his many great accomplishments in life pitchfork.com/reviews/albu...

this is beautiful

I like all kinds of music

I think there’s a bit of a “You can’t win if you don’t play” mindset where if one track breaks through it could mean the diff. b/t owning a house & renting. there’s a Grouper track from one of her most obscure records that went viral and revenue from that alone prob. covers her expenses for 5 years

Revisiting a Half-Decade Ballot I Filed in 2004 Formative electronic dreams from the new millennium

Love this, from @markrichardson.bsky.social :
“Was the revolution in sound I perceived happening entirely in my own mind?” open.substack.com/pub/markrich...

boooo

feeling good about the car armrest bin curation

Reich - Tehillim

yeah that is a good point - which stood in contrast to earlier REM’s output

he put the drums very high in the mix, as was common then, but he did seem to go easier on the gated snare. “Life’s Rich Pageant” def has the loudest drums of any REM album (also sounds great)

one of my favorite music books of the past few years, doesn’t have the snappiest title but lots of interesting history about how jazz and rock were framed when the genres were in earlier stages

great book

Ah sorry yeah I meant Kelefa

I definitely first heard it on ILM, and when K’s piece hit I thought of it as riffing on an ILM idea

and I think the same goes for pop—it’s expected that if you review pop you care about the genre and are informed about it, where once many dismissed it out of hand

all v interesting points. something important tho under-discussed that @stevenhyden.bsky.social mentioned is how this trend fits with the move from generalist to specialist critics. xgau has viciously panned 100+ metal records because he doesn’t like metal. now, you have a metal fan review those

I'm thinking a sandwich where you put lettuce and tomato on hours before you eat it and wrap it in plastic, and the water soaks into the bread