“I respect Grizzly Bear for echoing unlikely moments in the history of sound: little bits and pieces in the arrangements of its songs variously suggest, besides Phil Spector, the Partridge Family, Dr. Dre and the ’70s folk band America.

Here, though disguised as a “murky” complement, Ratliff seems to be inferring “look at me and how clever I am to point out these ‘unlikely’ references.” And really, can one actually say Grizzly Bear references Dr. Dre just because of the intro of Two Weeks?

Seriously, that’s pretty great.

Please…

‘Hastily labeling their disquiet disgust, many of the first-night audience found it pretentious. But what, exactly, are its pretensions ? To state that mankind is waiting for a sign that is late in coming is a platitude which none but an illiterate would interpret as making claims to profundity. What vexed the play’s enemies was, I suspect, the opposite: it was not pretentious enough to enable them to deride it.’

I think this hits some kind of nail on the head.

Also, I’m very much in love with you for that entire last paragraph.
Poor Björk. The woman carries the world of electro-acoustic something something female vocalist acts on her shoulders.
BUT SHARA. Oh God, Shara Worden is amazing. Those Son Lux remixes, I’ve had ’em for a while, and they’re just fantastic. Everytime she coos/accuses? “You must feel… splendid,” I basically die inside.
And also “To Pluto’s Moon”. That “wahwahwahwahwah” electronic bit (electronic onomotopoeia are especially difficult) that comes in halfway through. Oh man.

Oh man.
That’s pretty much all I have to say.

P.S. Best song on Veckatemist? Can I hear a what what for “Ready, Able”? Any takers?

I’m excited about Nadia’s album. Frábært!

And thanks for the Björk mini-game.

To add insult to injury, the Guardian printed your interview with Philip Glass, with the wrong date for the Barbican concert – they implied it was at the weekend. Confusion and much texting to confirm dates and times ensued.