Just saw that Denny’s commercial for a “festival” they’re calling Baconalia. It is a celebration of bacon, and includes a number of specialty dishes with bacon added to them. There’s even a bacon sundae with maple syrup. Don’t get me wrong, I LOVE me some bacon, but there’s a certain point where it can border on obsessive. That’s not even mentioning how healthy all of this is. If you celebrated Baconalia every day with every meal, methinks you’d best be shopping for coffins in your spare time. Sigh, this is probably no worse than KFC’s Double Down sandwich though. One thing that’s sure to not send you to an early grave is Pick Your Poison. Despite having the word Poison in the title, the only harm these mp3s can do is to your ears. Last I checked, that wasn’t enough to kill you. Highlights today include tracks from I Was Totally Destroying It, The Shivers and TV Ghost. The Soundcloud section has a wealth of good stuff too, including songs from Locksley, Manchester Orchestra and Mick Harvey. Delta Maid’s cover of The Strokes’ “Under Cover of Darkness” is solid as well.
It’s Hump Day, and depressing though it may be to think we’re only halfway through this already long week, the positive news is that once we make it over the top it’s all downhill til the weekend. What’s just a little more surprising than that is how quickly we’re approaching the halfway point of April. It seems like just days ago the month was just underway and I was being duped on April Fools Day. Ah well, summer will be here soon enough. Pick Your Poison is pretty large in size and scope today. Thumbs up tracks come from Balkans, Golden Bloom, Miwa Gemini and Yuzima. There’s also a solid Sade track in the Soundcloud section too if you care to listen.
Noah Lennox may be able to see the future. A little record he released back in 2007 under the Panda Bear moniker called “Person Pitch” struck hard amongst those with a love of memorable 60s pop infused with a sharp dose of psychedelia. Think of Brian Wilson’s music with more of a dosed electronica edge. It was a record so dense and complex that many struggled to fully grasp what it was doing, and though the reaction was mostly bewilderment, there was a consensus it was brilliant. Thinking about it in the most practical way possible, one could easily imagine trends in music to eventually head in the exact direction that “Person Pitch” was already showing us, thereby providing us with a glimpse into not what was but what would be. Nobody caught up to that record in 2008 or most of 2009, but somewhere near the middle of that year the rumblings of a new musical subgenre that some called chillwave and others called glo-fi began to seep out into the general populace. Though not exactly the same, the sound bore some of the distinctive fingerprints of music Panda Bear had put out a couple years earlier. Not only that, but upon reconvening with his bandmates in Animal Collective, they subsequently released their miracle of an album “Merriweather Post Pavilion” and it became like anything Lennox touched was turning to gold. That sort of Midas power is either a blessing or a curse, depending on how you look at it. All that praise can be nice, but the pressure can build to the point of madness. Plenty of people were salivating at the mere thought of new Panda Bear material, and as soon as some began to trickle out in the form of sone 7 inch singles previewing a full length without a release date, they were swallowed up immediately and obsessed over. It should come as little surprise then that Lennox waited quite awhile before finally putting the finishing touches on his new long player “Tomboy”, and though he surely hoped some of that anticipation would dissipate, in all likelihood it would have remained just as fevered had he waited another 4 years.
Instead of feeding the beast with a new Panda Bear record that has loftier ambitions than the one before, “Tomboy” shoots for something closer to normal. All those samples and complicated melodies that made “Person Pitch” such a gripping listen have been stripped back in favor of a closer focus on actual instruments such as guitars and drums. What used to be lush pieces that teemed with the life of a fully formed sonic landscape have now been trimmed significantly to the barest of essentials. For the majority of the record, it’s an exercise in minimalism. Despite some of these more drastic changes, the new album is no less of a psychedelic trip down memory lane than last time. If you’re looking for an extended journey in the form of a longer cut a la “Bros”, you’ll be left just a bit disappointed with the more concise songs that are clearly separated from one another yet fail to offer a whole lot of distinction between them. Just because there are no clear highlights doesn’t mean the majority of the tracks are terrible or that the record as a whole is disappointing. It’s far from either of those points actually, as this album is more like a colorful and beautifully painted mural rather than a whitewashed wall of nothing. As one gigantic piece, it’s rather fascinating but difficult to know exactly how to give it a proper listen in individual chunks. Simply dropping in on a centrally located track like “Drone” can create an odd sensation, particularly with its spacious yet direct melody that thrives on only vocals and synths. Start from the beginning with “You Can Count On Me” and it’s just busy enough to build a bridge between old material and new. The progression from that into the title track and so forth comes across as nuanced and refined, more than most might realize. “Person Pitch” may have had those longer cuts to push you into sticking out the entire record, that if you would stay for 12 minutes you might as well stay for 40, but digesting all of “Tomboy” in one sitting reflects a similar mentality despite the bite-sized track lengths. It seems that Lennox is trying to do more with less on most every aspect of this record.
What many fail to realize is that Panda Bear’s attempt to take a lot of the same complex ideas and genre tropes from the last album and work them into “Tomboy” is in many ways more challenging than ever. To put it another way, he’s like the MacGyver of chillwave, trapped inside a room with limited utensils at his disposal and trying to break out without the assistance of the door key that’s actually in his back pocket. Call it the thrill of the chase or just the inclination to try and do something different from all the other acts these days trying to pull off a similar sound, the results are still remarkably effective. The sun bakes and waves crash all over “Surfer’s Hymn”. There’s a slight doo-wop 50s charm smeared across “Last Night at the Jetty” that also makes it one of the most accessible things Lennox has ever created. Meanwhile “Alsatian Darn” shimmers with some of the most gorgeous psych-pop moments on the entire album. The pairing of the two longest tracks on the record right near the end feels genuinely inspired as well, taking the easier, more accessible stuff out front and the expansive mental zone outs of “Friendship Bracelet” and “Afterburner” in the back. Then “Benfica” slides in at the end to sort of tie everything together, to the point where the last few seconds make a firm period at the end of a 50 minute sentence.
Why “Tomboy” isn’t the mindblowing adventure that “Person Pitch” was can primarily be chalked up to the ever-changing musical landscape. As “Person Pitch” was very much ahead of its time, the start of a revolution that has bred countless imitators, “Tomboy” is pretty firmly rooted in the present. Where could Lennox have realistically gone with this new record? The mind can’t fathom because most of us don’t know an inspired or fresh idea until we actually hear it. At the very least, it was admirable of him to try to differentiate himself from similar-sounding counterparts by scaling back the instrumentation and increasing the overall accessibility through hooks and less obtuse melodies. What this album does more than anything else though is continue to prove that Lennox remains one of the most brilliant minds making music today. Even when falling perfectly in line with where the hype cycle is at these days, he takes all these other punks to school and shows them a thing or two about how to make good music great. It’s that angelic voice, twisted in reverb. It’s the structure and the way every piece of every song feels vital even when it isn’t. Everyone attempting to make music like this should feel lucky to have such a great example of how it’s done right. As for the rest of us, we’re lucky just being given the opportunity to listen to it, and as often as our ears will allow.
Absolutely lovely set of songs in Pick Your Poison today. Right to the point, highlights include tracks from Bare Wires, Exlovers, Iceage, Milagres, The Sea and Cake, Secret Cities, and Title Tracks. In the Soundcloud section you’ll find a new song from Arctic Monkeys and a solid one from The Tambourines.
Anyone seen the movie “Sucker Punch”? No? Well, you and millions of others have all avoided going, but I sat through it over the weekend out of my admiration for director Zack Snyder among other things. One of the more interesting aspects about the film is that a number of scenes (in particular the first 15 minutes) function basically as long-form music videos, though most of the songs are covers. Emiliana Torrini does Jefferson Airplane, Alison Mosshart of the Kills/Dead Weather and Carla Azar of Autolux do The Beatles’ “Tomorrow Never Knows”, and actors Carla Gugino and Oscar Isaac do Roxy Music’s “Love Is the Drug”. That’s just part of the soundtrack. The movie was more…eeehhh. The original songs would have been better, but still, it’s pretty dope. You can hear “Sucker Punch” star Emily Browning take on the Eurhythmics’ “Sweet Dreams (Are Made of This)” in the Soundcloud section below. Other highlights include songs from ANR, Chad Van Gaalen, Fabian, The Head and the Heart, Jookabox, The Sundelles and The Wombats. Two more covers, one by Benjamin Francis Leftwich and the other by The Submarines are also great selections from the Soundcloud section.
Friday is here once again, and with it comes another fun-filled weekend. Hope you’ve got a lot of great things planned, all of them not involving Rebecca Black. The hype has died down, thankfully, but if that hook still permeates your ear around this time of the week, maybe Pick Your Poison can help erase it from your memory. Recommended tracks today are from Anni Rossi (covering Rihanna), The Glass Canoe, Ryan Driver and Times New Viking. Morgan Kibby of M83 is White Sea, and her remix of The Naked and Famous track “Young Blood” is quite good as well.
It’s amazing to think that The Raveonettes have been around for 10 years now. It seems like just yesterday they were strutting around, clad in all black, dishing out throwback guitar rock songs while purposely challenging themselves in new and interesting ways. Their debut EP “Whip It On” was a study in minimalism and restraint, with every song being recorded using only three chords and only in the key of B-flat minor. As one cannot survive very long by holding onto those restrictions, for their first full length they broke out of that mold and into a vast mixture of darker elements out of the 50s thru 80s. They became oft-compared to The Jesus and Mary Chain, though the earlier their material the less that becomes true. Their most recent two records, 2008’s “Lust Lust Lust” and 2009’s “In and Out of Control”, were supercharged with fuzzed out shoegaze guitars and sheer walls of noise that still tended to breed hooks and plenty of intrinsic darkness. The real question is whether you can actively remember those records. The duo of Sune Rose Wagner and Sharin Foo have been releasing music so often and under a consistently similar style that it’s been drawing ever-closer to auditory wallpaper. The main reason why is because those records weren’t exactly pinnacles of brilliance, nor did they bend to the wills of more popular styles at the time. Like clockwork though, because it’s been a year and a half since we had any new Raveonettes material, they’re back again with their fifth album “Raven in the Grave”.
The first track on “Raven in the Grave” is titled “Recharge & Revolt”, and it does almost exactly that. It’s still plenty dark – nobody was expecting The Raveonettes to lighten up – but it also has an energy and an unconventional way about it that feels just a little more refreshing than usual. Yes, it utilizes their classic shoegaze sound, but shortly after the guitars begin to build, synths enter the picture and form a surprising curveball. The Raveonettes have been known to use a synth or two on occasion, but never as heavily or predominantly as they’re used here. It gives the song a much more 80s vibe that permeates a number of other parts of the record too, diversifying the band’s sound just barely enough to make it more thrilling than it has been in years. For tracks one through four, Wagner and Foo make it seem like they’re crafting themselves a masterpiece. In particular, “Forget That You’re Young” makes for one of the best Raveonettes songs ever, with its ample hook and overall sweetness that sends streams of light through the general blackness surrounding it.
Speaking of blackness, after building up a healthy dose of momentum and positive buzz, the middle of the record is like a huge black hole of suck. “Summer Moon” and “Let Me on Out” are two songs that appear to wonder aimlessly without any real purpose other than to slow things down to a proverbial crawl across the desert without any food or water. It’s not the tempo of the track that’s the real problem, though it doesn’t help, but rather the near total disregard for anything resembling a fascinating melody. The Raveonettes have done slower songs without such a struggle before, and while you can keep your fingers crossed that maybe the lyrics will be a saving grace, words have never been the band’s strong suit. What’s interesting is how after getting dragged through the mud for a couple tracks, “Ignite” relights the fire underneath the duo and does a fairly successful job of wiping away the damage that was just done. Either that, or it just feels like a huge relief after such a morbid punishment. From that point forwards though, the rest of the album isn’t immensely great but not nearly bad either. “Evil Seeds” feels like vintage Raveonettes, a track they could do in their sleep but also equal parts comfort and ferocity. Closing ballad “My Time’s Up” actually does hold the proof that this band can do good stuff even in slower motion. It’s a satisfying end to the record, and leaves you wondering exactly where the plot went wrong for that handful of minutes in the midsection.
As if the album title, cover and past efforts by The Raveonettes hadn’t told you already, “Raven in the Grave” is not upbeat or happy in really any way. It holds a strong fascination with death and loss, but when you envelop the listener with that much noise then happiness and sunshine are really off the table. Despite some strong moments and a couple of sonic innovations, this record isn’t the one to quite put this band back on the right track to critical esteem and an extended fan base. The good news for Wagner and Foo is that those aren’t necessarily the requirements to get noticed at the moment. See, they’re lucky because upbeat pop and rock are on their way out at the moment and darkness is making a big comeback. That means all purveyors of said darkness are ripe for attention once more. By sticking to a same or similar sound for such a long period of time, the trends have swung back in their direction. If they’re going to take hold, now’s as good of a time as any to do so. It just would have been nice had “Raven in the Grave” turned out just a little better. Still, it provides a healthy blueprint the duo can work on fully evolving to that next level, and assuming they keep churning out material at a pace of a new record every 1-2 years, any lofty goals they might be hanging onto will hopefully still be easily obtainable.
No time to waste, it’s Thursday and that means it’s best to get while the gettin’s good. I have no idea what that means. Pick Your Poison is quite exceptional today, in my humble opinion. Lots of good songs, most notably from Atari Teenage Riot, Baby Teardrops, Damon and Naomi, Julian Lynch, Poly Styrene and They Might Be Giants. No lack of good songs. Check them all out.
So before I forget, and because it’s really cool, let me tell all of you Chicago readers about a great FREE show happening tomorrow night. Our good friends over at Vice, in association with VitaminWater, are putting on an UNCAPPED show tomorrow night (Thursday, April 7th) at Viaduct (3111 North Western Avenue). Show starts at 9PM and features a lineup that’s been curated by Black Lips. Mannequin Men, Lover! and Hollows will all be playing sets, all for FREE so long as you RSVP. You need to be 21+ to attend, primarily because there will also be free alcoholic beverages. You won’t find a much better deal in town, and if you’re looking for a way to kick off your weekend early, definitely check this show out. Again, you need to RSVP to get in, so go here and do so. Here’s a couple mp3s to get your interest peaked: Mannequin Men – Boys Mannequin Men – Grapefruit Lover! – No More Reasons
Outside of that, here’s the rundown of today’s Pick Your Poison. Highlights include tracks from Apparat, Chicago’s own Company of Thieves, The Olympic Symphonium, and Telepathique. There’s also an interesting collaboration between Graham Coxon, Paloma Faith and Bill Ryder-Jones that’s part of a Converse series. In the Soundcloud section you’ll find a new solo track from Death Cab for Cutie’s Ben Gibbard, which is pretty good.
Remember when the 80s received a much-heralded comeback thanks to The Killers and a host of other synth-heavy pop/rock bands? The first year or two it was a great revival of a genre that many in a younger generation had never had the chance to fully experience before. But just like digging around a box filled with the toys your parents had when they were growing up, you’ll dig around and find some great stuff but after a brief while drop those for something newer and cooler. This is the cycle of music we’re living with these days, where trends come and go with the passing of the wind, and your only real responsibility is to try and keep up. So the 80s revival came and went, and the bands that helped to propogate it either changed their sound or died off like the proverbial dinosaurs they were. Still, the argument stands that good music is always good no matter the genre or time period, meaning that some band could well try and pull off a 50s revival and succeed purely on their own volition. Cold Cave isn’t quite going to do that, but instead they’re crushing hard on the 80s in the best and most respectful way possible. Unlike, say, Chromeo, who exploit every 80s cliche imaginable, Cold Cave are looking to actually rival some fo their synth-pop heroes, from New Order to Tears For Fears and The Cure. Their 2009 debut album “Love Comes Close” had a very lo-fi, minimalist 80s vibe to it, perhaps because that was the best they could do with the materials they had. Flush with some money thanks to lending a couple songs out to TV commercials the last couple years, their new record “Cherish the Light Years” shimmers, sparkles and explodes with all of the sheen that the 80s had to offer.
For those not familiar with Cold Cave, it’s the brainchild of Wes Eisold, former frontman for a couple of hardcore punk bands that includes Some Girls and Give Up the Ghost. Originally starting as a solo project a few years ago, he brought in a few people to help him realize his sonic vision, which was to craft synth-heavy pop with dark industrial undertones, much like many of his musical heroes from the 80s UK music scene. A big boost to the project came when former Xiu Xiu member Caralee McElroy got on board, adding a fascinating female vocal counterpoint to Eisold’s deep but emotionally complex croon. She only stuck around for about a year though, long enough to become a formidable presence in the band with her contributions to “Love Comes Close” and the subsequent tour supporting it. Former Mika Miko frontwoman Jennifer Clavin is her non-technical replacement, in that she handles McElroy’s vocal parts but does not sing on any of “Cherish the Light Years”. Instead, Eisold has fully taken the reins back as frontman, boosted by better production values and increased confidence and strength gained while touring in support of the first album. Looking at their situation from afar, there seemed to be good reason to worry that Cold Cave might not have that same magic once again with the lineup change. The lesson to learn here is to never count Wes Eisold out, because when life gives you oranges instead of lemons, you shut down your lemonade stand and start an orange juice one.
The very instant that “Cherish the Light Years” starts with “The Great Pan Is Dead”, you are completely bombarded with noise. The guitars are already turned up to 11 and raging as if you’re walking in on them mid-stride. It’s an auditory shock to the system not unlike the feeling you get when jumping into an ice cold swimming pool. As hard and harsh as that noise might be initially, once your ears become acclimated to it, the synths come soaring in mixed with a sprinkling of bells that are the sonic equivalent of stars strewn across the night sky. This is Cold Cave the stadium conqueror, a far cry from the meeker, more traditional approach the last record had. Eisold is clearly sold on that pattern of thinking too, as his vocals hit with that same vigor and ferocity needed to compete against all that’s going on around him. It’s an exciting start to an album that doesn’t get much less thrilling as you go, scoring body blow after body blow through sheer bombast and walls of noise. Cold Cave becomes New Order at the height of their popularity. They channel Suede one moment, The Cure the next and The Walker Brothers after that. All at once it preys on your nostalgia while simultaneously wowing you that a contemporary band can pull off that sound with equal parts conviction and perfection. The small tragedy is that for such expansive and addictive synth pop, it’s not going to get the popular support it needs to actually be played in stadiums and other massive venues around the world. Tracks like “Pacing Around the Church”, “Catacombs” and “Icons of Summer” have the gusto and hooks to be radio hits but sadly will never be because they’re not “contemporary”. It functions on a lot of the same principles that M83’s “Saturdays=Youth” exposed with its John Hughes-inspired manifesto, and will likely be treated the same way – respected only by those that can truly appreciate a classic for a classic.
“Cherish the Light Years” is not quite a perfect record, but by that same token it’s nice to know there’s some real humanity in Cold Cave. The pepper spray of horns on “Alchemy Around You” makes it stand out from the rest of the record just a little bit, and while the dash of variety is appreciated, it pulls you out of the singular track everything else is on. You wanted to take a straight shot down the highway, but construction has shut down part of it, so there’s a brief detour that adds 5 minutes to your trip. Despite the track being a small distraction though, it’s no less fascinating than anything else on the album and is yet another cut with “potential single” written all over it. One of the other issues this record has is the sheer force of it all. Nine tracks and 40 minutes really takes it out of you when there’s barely any slowing down. The race to the finish line leaves you exhausted before quite reaching the excellent closer “Villains of the Moon”, something that becomes all the more noticeable if you listen to these songs separately away from the contextual whole of the record. The mixing, too, has some issues because everything is thrust at such a high level competing for your attention. Sometimes it comes across like staring at a wall of TVs set to different channels but at the same volume. There’s only so much you can absorb and while one part of a particular song might appeal to you more than another, everything is whitewashed so any subtleties or nuances fail to exist. Those little bits are often what make the best songs continually rewarding, with the discovery of new elements that have been quietly buried beneath the main melody. So yes, “Cherish the Light Years” is a gothic new wave sledgehammer, forcibly spraying the guts of the 80s all over you whether you like it or not. The great news is there’s a whole lot to like, and even love. If this were 1984, Cold Cave would have just made a name for themselves. In our current musical landscape, they just earned themselves a load of stock as the question looms large as to if anyone else will buy it and drive that price upwards.
Anybody an avid baseball fan? The regular season is just getting started, and I don’t know about you, but I’m exceptionally happy about it. I’m not quite ready to give up on the NBA and NHL just yet, but baseball is always a comfort. Keeps the mind off the thought that there probably won’t be any NFL this season. Ah, sports talk in an mp3 post. The pairing does not go well together. Tops of the Pick Your Poison heap today include tracks from The Disappearing Act, James Irwin and Rosebuds. There’s also a pretty great new jam from Sonny and the Sunsets available to stream in the Soundcloud section.
What a weekend that was. If you’ve been reading the site the last couple days, hopefully you have some gravity as to what I’m talking about. April Fools Day spun out of control into a mess that I’m somehow caught up in without actually being caught up in. These things happen from time to time, it seems. Ah well, I’m just as pleased to forget about it and keep on keeping on like we’re operating on a fully normal day. Pick Your Poison highlights today include tracks from Breathe Owl Breathe, Chain Gang of 1974, Dirty Gold, Heidecker & Wood, and Mercury Rev. The Dale Earnhardt Jr. Jr. remix of a Junip track is good too, and you’ll want to keep an eye out for that song from Woods in the Soundcloud section.
UPDATE: THIS MP3 IS FAKE. THIS IS NOT JOANNA NEWSOM.
It is, instead, a rather brilliant April Fools Day prank. Unfortunately, not one perpetrated by me. Allow me to take a half moment to explain. An email shows up in my inbox, with the sender being a very reputable PR person I’ve worked with before and who also coincidentally works with Joanna Newsom. There was nothing in the email to suggest anything was fishy, and technically speaking it made it to my inbox after midnight on April 2nd anyways. If you listen to the mp3, it too sounds pretty legit, though the vocals are just a tad too cutesy, even for Joanna Newsom. It sounds like a professionally recorded harp version of the song, which I assume it is by someone other than Joanna Newsom. Are Starlight Girls behind this, hoping to generate some press? Wouldn’t surprise me if they were (see statement from Starlight Girls below). Keep in mind it could also be somebody else, I’ve not yet identified the culprit (and probably never will unless the culprit openly admits to it). There you have it, after playing a poorly received April Fools Day prank of my own and thinking I got away scot free, turns out I got hit on April 2. I have removed the impostor mp3 along with everything else in this post to avoid confusion with the real thing. You may still be able to find it online (at least streaming) if you do some searching.
UPDATE #2: AN OFFICIAL STATEMENT FROM STARLIGHT GIRLS This is regarding the supposed cover of our song “Gossip” by the folk musician Joanna Newsom. While we are flattered that anyone would put so much effort into covering our song, we assure you that we were not involved and had no foreknowledge of its creation and we would like to clear the air to avoid additional headache and heartache as a result of the dissemination of this video onto the internet.
To clear up any “conspiracy theories” regarding why our music video seems to have “premiered” at the same time we want it to be known that the director uploaded this video publicly without our consent and our lawyer is currently inquiring as to why. The music video for Gossip is neither finished or approved for release and it contains an earlier demo of the song than the one currently available on our FaceBook, which is also a demo. The final version of the video was not planned for release until next month, when our EP gets mastered and the final version of the song is finished.
Any e-mail you receive about this did not come from us, nor was it approved by us. The jokes on us as much as it was on you.
Funny how life works sometimes. One day after I get all excited and tell everyone about the one year anniversary of Faronheit making the move to “dot com” status, I get slapped with a legal document that basically orders the shutdown of the site. This is not good. We’re not shut down just yet, which is a good thing (and leaving me with enough time to save my archives), and I have every intention of fighting this, but for the time being it might be (okay, IS DEFINITELY) a good idea to put Pick Your Poison on an indefinite hiatus until this whole mess can get sorted out. That’s really what caused all this trouble in the first place anyways. Also, I have no real idea as to how long the site is going to remain active, so please don’t be discouraged if you come by one day and everything is gone. At the very least I’ll be re-starting someplace new under the same name (though the web address would change), so do a Google search if this site goes offline. There’s too much great music out there to sit idly by and not try and generate an active discussion about it, so that’s what I intend to keep doing, mp3s or no mp3s. Content is gonna keep coming until I’m unable to post it here anymore, so don’t consider this a shutdown but instead a scaling back. Please bear with me during this time, and hopefully the site can return to running normally again soon.
For all of you that have been visiting this site for the last year but did not know it existed prior to that time, let me share with you the brief story of how faronheit.com came into existence. The original version of Faronheit was started in June 2006 and went for a strong 3.5 years on Blogger/Blogspot before Google (which owns Blogger/Blogspot) made the call to shut it down for reasons of multiple copyright infringements. The long and short of it is that aside from a few missteps in the earliest of early days, the site was operating 100% copyright infringement free for the final two years it was alive. That doesn’t mean the left hand always knew what the right hand was doing in terms of who was giving permission for what mp3s to use where and how Google wouldn’t even check to see if a post actually infringed on copyrights but instead just took the word of the party making the complaint. Anyways, after a fight to get all that writing and the extensive archives of the old Faronheit restored, I got no response nor access to said archives. So they’re gone, outside of the large and disorganized Word documents where I write and save all my entries before posting them online. But in the wake of the destruction of the old site came this new one, and we’re quickly approaching the 1 year anniversary of faronheit.com. If you’ve followed me over from the old site, thank you for being a long-time reader. If you’re new here, welcome, and I hope you enjoy the daily content. Why I’m talking about this today is that though my first post took a week or two to get going, I officially took over this dot com address on April 1, 2010. In other words, faronheit.com was officially established one year ago tomorrow. Happy pre-anniversary in that regard, and I’m equally pleased to announce that after deciding to take this site on a one year trial run, I’ve just re-upped it for two more. I am very much looking forward to what the future will bring for faronheit.com, and I hope you are too.
Now then. Pick Your Poison today. Highlights include tracks from Chicago’s own Cameron McGill & What Army, Pechenga, S.C.U.M., Son Lux, Tindersticks and Vanity Theft. And hey, in the Soundcloud section there’s a pretty great b-side from Yuck for your streaming pleasure.
