The idea is simple, thirteen youtube windows in the same page—including a clip from The Red Balloon and a woman manipulating a modded Nintendo DS—all playing various pieces in the key of b-flat. Think Brian Eno meets Mark Zuckerberg.
Year-end lists are rarely as definitive as they claim, but they’re pretty good at calling winners and losers for the year. And while our post-Talking Heads pals didn’t do as well as we hoped in hipster bible Pitchfork’s Top 50 of the Year, we can’t dispute their #1 pick.
This year, it went to the Bruegel-loving harmonizers Fleet Foxes, a well-timed throwback to David Crosby’s California. Of course, it’s not 1966 anymore and they're representing Seattle, not Southen California, which makes the mood a bit more pastoral and a lot less poppy. And unlike most other songwriters making their way through the blogosphere, the Foxes’ Robin Pecknold has serious music theory chops, so there are a few key changes mixed into the usual folkiness and the harmonies can get downright baroque.
Of course, all that nature means a lot of flannel and a lot of beard. So they should fit right in when they pass through Portland...
Although we love a good Blackberry now and then, our heart belongs to the iPhone for one simple reason: the programs.
We got an extra boost today, when our favorite tech-savvy producer weighed in. The last time we checked in he was putting out an album with his old Talking Heads chum David Byrne, but this time around he’s taking the experimental route. He’s put together a music program called *Bloom* for the iPhone that creates music based on the user’s touch. (Those are the high-tech controls on the left; each bubble plays its own sound.) It’s an example of Eno’s pet project of generative music, but all you really need to know is that it’s a musical toy that could only exist on a touchscreen phone, and it’ll only set you back four dollars.
Just the thing to keep you occupied until Google gets its act together.
After a half-dozen pay-what-you-like internet releases, it hardly qualifies as news anymore. But when the album comes from two 70s vets, each with a long, legendary track record, it gets a little closer to newsworthiness.
More importantly, the album has been put up Radiohead-style as an offering to the internet and the nascent New Record Industry. Unlike the others, this one’s offered as an embedded stream and we’ve posted it below, meaning it won’t be taking up space on your hard drive, but you can click through any time you want to hear it.