consider, that you are not right. assured..
consider, that you are not right. assured..
Stephen Malkmus and the Jicks. Categories : albums Matador Records albums Stephen Malkmus albums. Hidden categories: Articles with short description Short description is different from Wikidata Articles with hAudio microformats Album articles lacking alt text for covers All articles with unsourced statements Articles with unsourced statements from January Namespaces Article Talk. Views Read Edit View history. Well, part of a Chainsmokers song, at least. We passed the time listening to some of the biggest hits on the Hot because, for one thing, some of his obligations for the day had been canceled due to snow, and two, pop music had been on his mind a lot lately.
The new album—the band's seventh—takes a more direct approach to song craft with "hi-fi Pro Tools recording" and even un-ironically incorporates Auto-Tune. It just takes a little bit of tinder, and it can become a phenomenon. So he listens to everything from Taylor Swift or Katy Perry, usually on the radio when driving his kids to school or hanging around the house.
And he can't help but break down those formulas—and then thinking about them through an extremely Stephen Malkmus filter. You have to break through that wall a little bit. Maybe it's not so much comparable to Migos, but Malkmus's songwriting has always incorporated a sort of wise levity. Fans still regard his old band Pavement as the godfathers of modern indie rock, even now in an era when popular music hardly feature guitars anymore.
And he'd been thinking a lot about the passage of time and his place in modern music. The singer turns 52 in May, so it made sense when he told me that he's thinking about maturity. Maybe that explains why many of the songs on Sparkle Hard tackles hard truths. Malkmus, who has just released a solo LP wittily titled Stephen Malkmus Matador , is the former co-head of Pavement, one of the premiere indie-rock acts of the '90s and the only band in recent memory to come straight outta Stockton.
With the help of his longtime cohort Scott Kannberg and three other newer members, Malkmus and Pavement spent the '90s reshaping college rock, accidentally remaking it into their own image. Even today, when guitar-based indie rock is on the wane, three-quarters of the bands in modern rock--from Blur to Vertical Horizon--sound as if they were slavishly devoted to their Pavement records. Pavement's sound wasn't all that radical--a mix of old-fashioned Velvet Undergroundisms and newfangled lifts from the English band the Fall--but something about their extremely imagistic lyrics and laconic spoken-sung drawl really struck a chord with sensitive young white-band boys the world over.
Probably the most influential thing about Pavement was its attitude--gentle but smart; half lazy, half ironic--which has permeated the indie-rock zeitgeist ever since. In retrospect, it looks like Malkmus was the fount of the attitude, while Kannberg was responsible for the experimental aspects of Pavement's sound. Here in Middle Missouri, Hopslam lasts tens of minutes, not days or hours.
So, if you want some, you better be prepared to stalk the local beer dealer. I used to buy at least two, sometime more. If I had to work that hard and spend that much money on a beer, it better meet my expectations. So, something had to change. The Hopslams plus a bottle from a friend were more than enough. It was a good beer among many. I was satisfied, but my exportations were not lowered as much as they were tempered.
I have a deal with my mom to grab one in Ohio where it sometimes sits on shelfs for weeks or months. Then, coworkers were running out in the middle of the day to see if the grocery nearby had some Hopslam. I joined them and scored a sixer. What I wanted to focus on was the idea of tempering expectations. As I mentioned above, tempering expectations is something I do.
However, the ability to do such with beer has been a recent development. Tempering expectations considers contexts and past experiences. It keeps me in the moment and more mindful of what I am experiencing. Instead, I can enjoy the experience in real time. Malkmus has done enough in Pavement and with Jicks to earn my loyalty. Still, I listened with anticipation.
It took concentrated listens for me to appreciate this record, but I did. Does it have to be? Stay in the moment. I am one of those parents who has made a Spotify playlist for my kid — a mixture of songs I think she should like and songs she actually likes.
I use Spotify all the time. It streams throughout my work day, at home, and sometimes on the road. I used to make a daily playlist with the help of my Facebook network and that has turned into its own co-op. And yes, I pay a monthly fee not to hear commercials and to have the service available anywhere I go.
Spotify really is ideal. I have a service available to me that pretty much will allow me to discover and peruse almost any artist or band on the planet.
Spotify is a fantastic breakthrough in music and technology. As you may or may not know, I am a big proponent of craft and indie industries, indie-craft , if you will. It irks me to see large corporations like Spotify and record labels profit from the hard work of artists. At the same time, musicians get a tiny cut of what is a billion dollar pot.
There are plenty of reasons not to use Spotify. Lost is the record collecting culture that used to be a huge part of music. Even those brought up on CDs long for the days of owning something again. There are the horror stories of artists getting fleeced by the Swedes via dinky royalty payments. And it can be argued that Spotify is not the friend of new and lesser known bands as compared to the payouts offered to catalogued bands and their corporate overlords.
At least in the life of an unprincipled musician. So, based on this statement, Spotify can be seen as a necessary evil. Of course, the real problem in all of this is the record industry as a whole. Why are we blaming a streaming tool like Spotify and not the greedy corporate leaches known as major record labels. Billy Bragg — champion of the working class — thinks as much and I tend to agree. In his critique of the confluence of Pandora and Spotify, David Marcias takes issue and makes it clear why Spotify actually benefits musicians.
Essentially, he makes my argument in favor of Spotify for me. When Mr. Krukowski complains about the amount that he got paid on his BMI statement for his song, what he should be comparing it to is how much he got paid for an equivalent number of spins at terrestrial radio on that same BMI statement. My guess is that he did not get spins on terrestrial radio; one of the great gifts of Pandora and other tech-based companies like them is that they give an opportunity for music to be heard that terrestrial radio has neither the bandwidth nor interest to play.
Technology has been a boon to independent musicians. I would also like to ask what his compensation from Sound Exchange was, both as an artist and what his label made from those spins.
Whatever it was, it was more than what was paid out by terrestrial radio, who pays no compensation to owners of recordings. Basically, artists are getting paid per play at a better rate than what they get for radio, which is basically nothing.
Then consider the pirating issue. While pirating music does offer a certain amount of exposure, it offers nothing monetarily for artists. Pirating sites and participants are the real enemies of musicians, not Spotify. I make endless playlists. Still, I generally listen to whole albums. Several recent discoveries have been via the service. And even then, I still buy a lot of vinyl or go to shows when I can. If anything, Spotify has improved my financial support of many great artists.
Is Spotify evil? It is a corporation making money off of art. BTW, most of what should be read on the Spotify issue can be found here and a playlist celebrating our corporate overlords is below via Spotify, of course.
Things will get back to normal soon. Malkmus, Malkmus! I won't presume to be able to gauge how much influence Malkmus' new bandmates Portland gadabouts Joanna Bolme and John Moen had on this, his eponymous solo debut; anyway, it's his name and mug plastered on the album's cover, so he's going to get the majority of praise and blame.
There are two immediately apparent differences between Stephen Malkmus and Pavement's catalog: First and least surprisingly, there's less of a group dynamic. It definitely has the sonic hallmarks of a "solo" album-- the songs are less jammy and spontaneous, more rigidly structured.
Second, it's a lot more fun-sounding than Pavement was near the end of its shelf-life. The album features Malkmus on all instruments and production and engineering. By he was performing as frontman of The Jicks. Malkmus has admitted that he was never "really a really big fan of Dylan,"  but noted that his involvement with the film had made him listen "to him again a little closer.
Malkmus is a sports fan, supports Hull City Football Club and is known to play golf and tennis ;   he also plays second base for the Portland-based Disjecta softball team. Malkmus currently plays a Fender Stratocaster and a Guild S For the Pavement reunion tour he used his Stratocaster extensively. During his tour in support of Mirror Traffic he played a Guild S He has also played a Danelectro Silvertone Sears model dating to or for one-off solo shows.
Typically, he uses an Orange Retro 50 head through a s Marshall 4x12 cabinet when playing live, though he has used various other Orange, Marshall and Fender amps, including a vintage Silverface Twin Reverb during the early Pavement years, an Orange OR during later Pavement years, and a single channel Orange AD30 with the Jicks.Stephen Malkmus And The Jicks: Sparkle Hard Vinyl LP Vinyl. Stephen Malkmus & The Jicks Album omogeneo e coerente pur nelle diverse architetture dei brani,Church on white e Trojan curfew i gioielli di un album che nell'insieme mantiene una freschezza invidiabile,un tantino meno ruvido ma buono anche per gli estimatori dei Pavement /5(73).