Matthew Barzun in line to be new US ambassador to London. Washington set to nominate businessman who was head of finance for Barack Obama's presidential campaign. Published: 10 Jun Published: 12 Jun Published: 11 May Published: 8 Apr David Byrne: head collaborator.
Published: 15 Mar Music blog Best of the Black Cab Sessions. Published: 28 Feb Published: 1 Feb Pitchfork may earn a commission from purchases made through affiliate links on our site. Skip to content Search query All Results. Pitchfork is the most trusted voice in music. Share on Facebook Share on Twitter Open share drawer. Buy: Rough Trade Pitchfork may earn a commission from purchases made through affiliate links on our site.
You can only learn so much if you create your own boundaries all the time. But then, other people can really teach you something. Really wild. So it was kind of like doing a record…. I wanted to fully enjoy that record, in the writing, in the recording, and the releasing of it, so that meant not marketing it. And so I wanted to enjoy that record. D: Was that a positive experience, not being on stage, not being on tour? And it is terrible. So it was basically wanting to live a week in advance, a month in advance.
D: Kind of, yeah. I could do them relatively last minute. W: You do a lot of guest appearances, for instance the Current 93 one. Is that almost like a double life? Do you still work with the Boxhead Ensemble? Could you play that one theme you got into? Essentially directing but leaving a lot of things open. And every night was different, you know, the groupings that he put together were different. Quite a lot of trying to capture little moments. Is it still easy to capture that sense of intuitiveness?
Do you think some albums captured it better? Something like "Come In" and "Trudy Dies", Neil and Jennifer from Royal Trux were the producers of that, which was really … great because at that time I was still very much learning about recording. And Neil and Jennifer both are very confident and accomplished people in the recording studio and also on stage.
And on this record I played, at least tracking on every song. D: To me my initial impression is that it seems to be one of your funniest records. There seem to be a lot of good gags. Is that intentional, that finely honed humour?
Living moment to moment, and very quick with their brains, quick with their voices, or in the case of Harpo Marx, quick with their actions. And also using that speed of thought to turn dark situations into light situations. D: Laughing at death? One of the things no animal can do. There are very few songs that are, from beginning to end, intentional comedy. Do either of those examples appeal at all?
W: Yeah, they totally do. W: No….. Titles, just as it was, …. The titles of songs has always been kind of …. D: Does the artifice of Elvis appeal to you? The reinventions, the way he can use the image to embody what he is? D: The Bonnie 'Prince' Billy persona. Where were you at when you were coming up with the idea of Bonnie 'Prince' Billy. What most appealed about the name?
Does the persona outlive its usefulness at some stage? It was difficult to get to the place where I understood why an artist has a name, and what it signifies and what it can potentially signify. My experience of listening to music, how can I reconcile that with the process of making music. Why play shows when I just want to listen to the records, you know, and have people listen to the records?
Why would they want to see a show? And it sort of got to the point where this is not fun, this is not interesting, this sucks. Before that it was always a question, like, are these songs? That as the first time I thought, these are eleven songs, I know these very well now. And making a record with Grubbs, my brother Ned, and Albini, who are three very important people to me musically, and having it be this incredible collaborative piece.
It was all those things together…. And he would approach it like it was an instrument, so that was kind of exciting. It was still confusing and difficult. W: Yeah, kind of.
Retrieved May 9, Foggy Notion. April Archived from the original PDF on July 10, Frost Magazine. Retrieved on May 4, Retrieved September 10, Pitchfork Media. Archived from the original on May 6, Dallas Observer. Retrieved January 16, Wired , July 25, Retrieved on August 23, The New York Times. ISSN Retrieved May 19, Retrieved on November 25, Retrieved August 2, Summer in the Southeast Is It the Sea? Boxhead Ensemble.
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