reckoner

we're complaining about the mastering because it's not very good. or because it's not done yet. or because we need to find something to bitch about because it's how messege boards work.

upon reading the lyrics, i think the "no days fr nights" is wrong, because i remember him writing that somewhere, and it was "no dance floor nights

i didn't say it would help the quality of the porn or anything, but you know people would go searching to see it, and thus hear the song. *edit* (and p.s. who do i have to sleep with to hear this? i didn't care until i read the lyrics.)

which one?

i'm really not that new, i've been around since that site that Taylor guy ran. i just don't go around to messege boards much. and um... i love you?

we were talking?

just put his music behind paris hilton's porno, or some other famous person's porno, then EVERYONE would hear it

who the fuck is the matthew good band? isn't this the dave matthews forum?

didn't he say it was unlikely there'd be a video anyways?

ain't that a bitch, i missed it. i don't know if i should be over it or not.

as for the song, i definitely think it's the best one. i think what i'm finding with this record is that the parts that are supposed to be "big" (i.e. the second part of ASE or the chorus of 99%) don't really sound big at all, they almost sound quieter than the solely acoustic parts. which to me seems out of whack. i don't know, maybe it's just me.

mr jones, i like your style.

hm... interesting. i don't know, the live version seemed more heartwrenching. the strings almost make it a little cheese. i kinda wish he'd have kept it just acoustic. i love it, don't get me wrong! i think this record will just have to grow on me, since first listen to both songs have had me a little skeptical.

the national is probably one of the best bands in recent memory. one of few 'indie' acts that, while managing to fit into that genre, is also impossible to pigeonhole to the genre because of their vastness in styles. the new album 'boxer' is fucking phenominal. as for older stuff, the album 'alligator' is their most eclectic, and probably the best place to look to hear just how different they can perform. if you haven't heard of them, see if you can find songs like 'the geese of beverly road', 'lit up', 'mr november', and 'daughters of the soho riots'. all of which are off 'alligator'. or go to www.myspace.com/thenational

i don't know. i'd have to say this new silverchair record is pretty mediocre. it's got some really good songs, and some really weak songs. kinda how i felt about diorama. i do like straight lines a lot though, and waiting all day - after numerous listens, those two both went from being least favourites to favourites.

yeah, that was pretty fuckin weak. it's like that beef he started with some guy who gave him 3/5 on a record review and said it wasn't hip hop. he still got a decent review. having met him, i thought he was kind of an arrogant prick. so it doesn't surprize me he'd be a sore loser.

it's a pretty damn sad song. the keys are awkward once the vocals start, and the "i've got a headache" at the beginning seems like one of those cheesy "let's make the listener feel like they're in on something" ideas. i think the street noises are effective enough though. i kind of hope the whole record isn't in this vein, because the tracklisting makes me think this could be a pretty boring record. like, the mostly acoustic numbers are good, but are best in moderation. also, "black helicopter" doesn't seem like it will fit, if this is the personal record it's shaping up to be.

jeff, why is it i'm dropping 10 grand a year on school, yet strangely never go and feel the need to not start assignments until 6 am the morning they're due? as for smashing your gear on stage - stupid. did that once, and not in a spectacle kind of way. played a show for about 20 people shortly after some bad news had arrived. the guitar was going out of tune much more than usual, so much that if i had a break in the song, i had to retune it, the input jack was fucked and the guitar kept cutting out, then during the last song (in a 'born to kill' type conclusion), managed to bust two strings. so in a fit of serious frustration, took it off, took one baseball swing to the club's riser, broke the neck half. then proceeded to walk home and leave my gear at club (luckily, my guitarist knew of the "situation", and he picked up what was left for me). i definitely regret that decision though. hence why i no longer drink before going onstage, and turn my cell phone off by noon. so yes, i don't suggest it, chances are you're not making enough money playing these shows to easily afford a new one.

strange, they're arrogant enough to do that. if only as an excuse to tour and make another $50 million.

tension can bring out the best results. thus, i think AoB is the superior. it has higher highs and lower lows, it doesn't seem like it's walking on a thread of commercial success that i hear when i listen to BM. BM to me seems like a radio-friendly album (despite it's dark lyrics), and almost as a response to capitalize on Apparitions success. as opposed to AoB, which doesn't seem like it has song that could've been a huge single (there's a reason Carmelina did mediocre, and Anti-Pop went nowhere). perhaps it's have been a huge success if it had the support of touring and more media interviews. however, despite the sense that it's meant to be the more diverse of the two records, i find also that AoB may come across as more redundant at times. matt once sid of the tragically hip something like, "how many songs can you end with a guitar solo?" then AoB has mostly verse/chorus/verse/chorus/outro, with the outro being a solo or a drawn-out riff or strings or something of the sort, it doesn't seem to have much diversity in structure. BM might not either, but this is something i've just noticed about AoB. none the less, AoB wins by a hair.

miranda that ghost just isn't holy anymore - the mars volta

thank you kind sir.

little one - beck

marching bands of manhattan- death cab for cutie untitled - interpol planting seeds - dredg all the time in the world - the februarys bi-partison lover - doris day