Dusty Chalk
09-26-2004, 01:57 PM
...gets the seal of approval from ol' Dusty Chalk. But first up, let's talk about Borders.
Several of the stores in my area have been revamped. Terrible: shelves you have to flip through for everything, some kind of high up. It makes it much harder to browse, but on the bright side, it allows them to hold a lot more (maybe? I'm guessing). Sort of like the way I have my CD's (dis)organized. Also, at the same time as the remodeling, they introduced that system that allows you to hear any CD in the store. Ha! 90% of the CD's that I brought up to the system, I still have no idea (I'm sorry, but the selection you have entered is not in our database/library/whatever, please select another selection). But it is cool, every once in a while, you get a hit. So a couple I got a hit with were some electronica that I ended up rejecting (I'm glad I got to hear them first, I can cross 'em off my wish list), but two that I got hits with were the new Wilco album, and Jim White's Drill a Hole in the Substrate and Tell Me What You See. I definitely liked the latter a lot more than the former. That Wilco is B0-RING! But Jim White has a real feel for the patience and atmosphere that I really like. Also, I don't think it really qualifies as "No Depression", because it actually has a mild undercurrent of depression here and there. Not as depressing as, say, The Devics, but in a similar sort of vein. I also got to hear a little bit of that Rachel Goswell CD (ex Mojave 3, Slowdive), and that was kind of boring, too. I really don't know what y'all see in that crap, but you probably can't understand why I like the occasional exception such as The Devics or Jim White. Meh, neither do I, but I do.
His voice is a little odd -- higher pitched than I would have guessed (no relation to Barry, I'm thinking), but not Wayne-Coyne-of-the-Flaming-Lips high, but it ends up really working to his advantage -- really cuts through the mix.
Sounds really good on a revealing system like my Stax setup -- lots of little noisy goings-on contribute to the overall organicity. Ends on a pretty weird song, though; it could probably benefit from some judicious re-sequencing.
Several of the stores in my area have been revamped. Terrible: shelves you have to flip through for everything, some kind of high up. It makes it much harder to browse, but on the bright side, it allows them to hold a lot more (maybe? I'm guessing). Sort of like the way I have my CD's (dis)organized. Also, at the same time as the remodeling, they introduced that system that allows you to hear any CD in the store. Ha! 90% of the CD's that I brought up to the system, I still have no idea (I'm sorry, but the selection you have entered is not in our database/library/whatever, please select another selection). But it is cool, every once in a while, you get a hit. So a couple I got a hit with were some electronica that I ended up rejecting (I'm glad I got to hear them first, I can cross 'em off my wish list), but two that I got hits with were the new Wilco album, and Jim White's Drill a Hole in the Substrate and Tell Me What You See. I definitely liked the latter a lot more than the former. That Wilco is B0-RING! But Jim White has a real feel for the patience and atmosphere that I really like. Also, I don't think it really qualifies as "No Depression", because it actually has a mild undercurrent of depression here and there. Not as depressing as, say, The Devics, but in a similar sort of vein. I also got to hear a little bit of that Rachel Goswell CD (ex Mojave 3, Slowdive), and that was kind of boring, too. I really don't know what y'all see in that crap, but you probably can't understand why I like the occasional exception such as The Devics or Jim White. Meh, neither do I, but I do.
His voice is a little odd -- higher pitched than I would have guessed (no relation to Barry, I'm thinking), but not Wayne-Coyne-of-the-Flaming-Lips high, but it ends up really working to his advantage -- really cuts through the mix.
Sounds really good on a revealing system like my Stax setup -- lots of little noisy goings-on contribute to the overall organicity. Ends on a pretty weird song, though; it could probably benefit from some judicious re-sequencing.