Angel Olsen is making the rounds in support of her exquisite 2019 album All Mirrors, and Thursday was Chicago’s turn to experience it live.
The Riv was packed head to toe for the occasion. As always, her voice and arrangements proved show-stopping, her band soaring behind her.
Olsen’s tour continues through the end of the year before heading to Europe to kick off 2020. Treat yourself.
VIA PRESS RELEASE | Light in the Attic Records commemorates the 40th anniversary of Donnie & Joe Emerson’s Dreamin’ Wild, the private press album that hit the mainstream, garnering considerable acclaim and notoriety since its original release in 1979, and subsequent reissue in 2011 by Light In The Attic.
The brothers have recently become cult favorites thanks in large part to the hypnotic allure of “Baby,” a song that has been covered by Ariel Pink & Dâm-Funk (released as part of LITA’s Cover Series) and featured in a number of films and TV shows, including a prominent placement in the most recent season of the critically acclaimed HBO series, Big Little Lies. The unlikely story of the rock’n’roll farmer boys from rural Washington State is set for a big screen adaptation, helmed by Oscar-winning producer Jim Burke (Green Book) and producer/writer/director Bill Pohlad (Love & Mercy, 12 Years a Slave, The Tree of Life).
As part of LITA’s 40th Anniversary celebration, Donnie & Joe’s rare 1977 debut single “Thoughts In My Mind” and its b-side “Take It” will be released digitally for the first time, and Dreamin’ Wild will be made available on “Baby Blue” vinyl and on 8-track—yes, on 8-track—which will be limited to 100 units world-wide. A newly commissioned series of animated shorts by Jeffrey C. Lowe will portray the unique story of Donnie & Joe. Exclusive merchandise will include a “Dreamin’ Wild” eye pillow (included with Donnie & Joe vinyl orders from the LITA online store while supplies last), fleece sweatshirts and, looking towards Valentine’s Day, a pack of Donnie & Joe-themed heart candy and a heart-shaped vinyl single of “Baby” b/w the previously unreleased song “Tonight.”
VIA PRESS RELEASE | PopMotion Pictures’ critically-acclaimed third wave ska documentary Pick It Up! Ska in the ’90s, directed by Taylor Morden, has been a fan favorite on the festival circuit and now the film is coming to DVD & Blu-Ray on November 18! The film will also be available for purchase digitally soon via Vimeo and Amazon.
The feature-length documentary explores the third-wave ska explosion of the 1990s, and tells the story of ’90s ska from a wide variety of points of view, including dozens of the key figures who lived it, such as members of The Mighty Mighty Bosstones, Reel Big Fish, No Doubt, and Sublime. A “love letter” to third-wave ska, the film delves deep into how the genre of ska evolved from its original Jamaican form, through British “two-tone” in the ’80s, into an entirely new global sensation in the ’90s, when it became wildly popular for an all too brief moment in music history, from the early years of bands like No Doubt, Fishbone, The Toasters, Let’s Go Bowling and Skankin’ Pickle, to the massive radio success of The Mighty Mighty Bosstones, Reel Big Fish, and Save Ferris.
Pick It Up is narrated by Rancid’s Tim Armstrong and features commentary from the likes of No Doubt, Reel Big Fish, Less Than Jake, Goldfinger, the Pietasters, Fishbone, Save Ferris, Let’s Go Bowling, Dance Hall Crashers, the Specials, Mustard Plug, the Toasters, Skankin’ Pickle, Hepcat, the Slackers, Kemuri, Blink 182, the Aquabats, the Hippos, The Skatalites, Sublime and many more!
This week’s Artist of the Week comes all the way from Dublin, Ireland and he’s a humdinger, if we do say so ourselves. St. Bishop—aka Stephen Bishop—has just released his shiny new single “Sleep It Off” and its undeniably addictive in all the right ways.
Making his 2019 debut, it seems St. Bishop has been a busy bee this past year, collaborating with a number of exciting new producers in order to hone his sound. For the release of “Sleep It Off’” he has teamed up with the Veta Music (who we are firm favourites of here at TVD).
It seems the latest collaboration has paid off because “Sleep It Off” is all sorts of majestic from the offset. Think Years & Years mixed with Troye Sivan and a bit of Aquilo thrown in for good measure and you’re nearly there. It’s atmospheric, cinematic. and ridiculously infectious.
“Sleep It Off” is out now via Veta Records.
Earlier this year, the label Lovely Music, Ltd. reissued composer and avant-gardist Robert Ashley’s Private Parts on vinyl and compact disc. Getting a new pressing of that ’78 classic was a terrific turn of events, and on November 22 the same imprint is bringing out a fresh wax edition of Ashley’s ’79 album Automatic Writing. It provides a sharp contrast with the October arrival of a contemporary performance (from February of this year at NYC’s The Kitchen) on double CD of the composer’s 1991 opera in two acts Improvement (Don Leaves Linda). If wildly different, both sets illuminate complementary sides of the same wonderful mind, and they help to shape one of the best release programs of 2019.
Even from within an oeuvre known for its qualities of eclecticism (partly detailed in my long review of Private Parts in this space earlier this year), Robert Ashley’s Automatic Writing is something of an outlier. While it postdates Ashley’s transition to text-based compositions, the record’s focus on involuntary speech, and specifically, Ashley’s self-described mild form of Tourette’s Syndrome, lends it stature that’s certainly distinctive but not especially divergent from the releases surrounding it in the man’s discography, in large part due to the focus on the human voice.
It required two attempts to record his involuntary speech, but Ashley succeeded, though the finished record offers more than this component. There are four intertwined parts, in fact: there is Ashley’s speech, a reading in French by Mimi Johnson of a translation of Ashley’s speech by Monsa Norberg, electronics and Polymoog as played by Ashley, and trad organ played by I’m unsure who (Paul DeMarinis designed and built the switching circuit that was crucial to the whole process). Actually, there is a fifth element, but we’ll get to that shortly.
Automatic Writing has been described as an ambient album, and as it’s a really quiet experience (best absorbed on headphones for maximum reward), that designation makes sense. It’s also, to my ear, the Ashley record that best fits the bill of minimal (although I haven’t heard everything he’s done). However, maybe the better categorization, if somewhat vague, is simply Experimental.
Torrington, CT | Vinyl’s the thing at Torrington’s Revolution Records: Revolution Records is a time machine for music lovers — particularly those who still collect and play vinyl albums for their quality sound. The small shop on the corner of Willow and Franklin streets, a former bodega and a bait store, is filled to the brim with albums of every genre, from classic rock, jazz, blues, country, and everything in between. The walls are covered with vintage posters of recording artists including Lita Ford, Rush, Yes, Van Halen, U2, Bruce Springsteen, Sonic Youth and the Psychedelic Furs. “When we were setting up the store, I realized I needed to put something on the walls — they were pretty bare,” John DiBella said. “I’ve had these posters since high school and I saved them. So I got them out and hung them up.” On a counter near the door, a small turntable and receiver pumps music into two big speakers. All the equipment, DiBella said, he’s also had since high school. “It still works great,” he said with a laugh. “I’ve been using the turntable all along.”
Fort Wayne, IN | Neat Neat Neat Records and Music to continue under new ownership: After nearly a decade in business, the owner of a local record store is hanging up his hat, but the shop’s doors are remaining open. Neat Neat Neat Records and Music has been a fixture on Calhoun Street but after nine years in business, owner Morrison Agen announced on Facebook that they were looking to sell the store and all it’s contents with plans to liquidate if they could not sell. Luckily for their customers, it was not long before someone stepped up. “It took six days from the time we were offered the store to the time we took over,” said Chris Roetz, the new manager of Neat Neat Neat. The store was sold to local music franchise Wooden Nickel. Roetz is transitioning into his new role from working as General Manager of the Jefferson Boulevard Wooden Nickel location. He previously owned Entourage Music, which was located in Glenbrook Mall. Roetz wants it to be clear that while Wooden Nickel now owns Neat Neat Neat, they are not the same store. They plan on keeping the same name and branding the shop is known for, as well as keeping it’s focus on vinyl records.
Indianapolis, IN | Despite streaming, Indiana firm’s vinyl, CD business booms: Chip Viering, president of Optical Media Manufacturing, has intentionally hitched his wagon to a falling star. Or rather, several of them. Over the last decade, streaming sites and compressed file-sharing technologies such as MP3 have chased most “physical” media from the forefront of the audio and video recording industries. To put it simply, pretty much anything you can hold in your hand, from VHS tapes to CDs, has become an endangered species. In this, Viering sees not disaster but opportunity. Though his company does plenty of digital file-sharing work, it also acts as a sort of clearinghouse for customers whose products demand (or work best when presented in) an old-school audio or visual format. Optical Media Manufacturing offers (among a great many other services) in-house design for things like vinyl album cover art, liner notes and DVD formatting and duplication, plus access to a list of still-surviving domestic suppliers of such exotica as cassette tapes, boutique vinyl record pressers—even a guy who can still do VHS.
London, UK | ‘Westfield delays to blame for horrible decline in Croydon town centre’ says record store manager: Duncan Barnes says empty shops were unheard of ten years ago. There has been a ‘horrible decline’ in footfall for Croydon town centre according to one business owner who blames Westfield delays. Duncan Barnes runs 101 Records which moved to North End in 1991, it was previously based near East Croydon station. He said that 10 years ago empty shops in Croydon were unheard of, and you just need to walk through the town centre to see that is not the case today. Duncan said: “Footfall has declined horribly in Croydon for years. It used to be a thriving cosmopolitan place and it was always busy.” And he believes that Westfield delays are partly to blame and does not think the billion pound shopping centre will ever be built. He added: “North End has been declining for years and very little has been done about it.
I’ve seen some unusual shows before, but nothing quite like what I witnessed at the Roundhouse in London last week. Hailing from Denmark, Heilung (translated from German, “heilung” means healing) took to the stage for a ceremonial celebration of all things Celtic and Viking age. With music based on texts from artifacts of the Northern European Iron Age, Heilung call their unique sound “amplified history,” and while it’s an incredibly niche genre, the crowds are getting bigger and bigger.
Founded in 2014 by German tattoo artist Kai Uwe Faust along with Danish vocalist/ producer Christopher Juul and Norwegian singer Maria Franz, the group self-released their debut album, Ofni which quickly garnered an audience. This record would later be reissued on their current label Season of Mist, and become the basis for a stellar live performance, strong critical acclaim, and massive underground buzz that would pave the way for this new genre.
Opening up with a prayer of sorts to a capacity crowd of nearly three thousand, the stage was set to connect the audience back with earth. Nature sounds are played in between sets instead of the sound guy’s random playlist with human bones, reconstructed swords, and frame drums are the instruments of choice. Dark, ominous lyrics pulled from ancient artifacts such as amulets, rune stones, and other iron age artifacts. The level of detail and research that goes into the music is translated very well into a live show. There are moments where you feel as if you were transported back one thousand years into the past and are watching a pagan ritual as it happens. It’s quite an experience.
VIA PRESS RELEASE | Craft Recordings is thrilled to announce The Memphis Masters—a limited video series celebrating various albums from the iconic Stax Records label, showcasing its enduring musical legacy, as well as its influence on Memphis, TN.
Created in partnership with Memphis Record Pressing and Memphis Tourism, and directed by Andrew Trent Fleming of TheFilmJerk Media, the multi-part series was shot in several locations around the city—also known as the home of blues, soul and rock ’n’ roll—including such historic landmarks as Sam Phillips Recording Service, Royal Studios, and the Stax Museum of American Soul Music. With interviews spanning multiple generations of artists, The Memphis Masters offers insight from the likes of Robert Trujillo (Metallica), Grace Potter, Matt Berninger (The National), Walshy Fire (Major Lazer), Steve Selvidge (The Hold Steady) and producer Boo Mitchell—all of whom were inspired by the label’s music and the albums being reissued. The Memphis Masters also includes interviews with Stax legends like Steve Cropper, Big Star’s Jody Stephens, James Alexander (the Bar-Kays), and Booker T. Jones, plus longtime label publicist Deanie Parker and songwriter Bettye Crutcher, who share their memories from the label’s heyday.
With rollout beginning today (11/14), each episode—available on YouTube—will revolve around an album or collection from a singular artist or group on Stax’s roster, starting with Melting Pot from Booker T. & the M.G.’s. Other titles covered include Gotta Groove from The Bar-Kays, Home from husband-and-wife songwriting duo Delaney & Bonnie, Who’s Making Love from Johnnie Taylor and Victim of the Joke?…An Opera from acclaimed producer and songwriter David Porter. The series will take a broader view of The Staple Singers, who will be honored with a deluxe, seven-LP box set, Come Go With Me: The Stax Collection, available in early 2020. All of the standalone titles have been cut from their original analog tapes by Jeff Powell at Memphis’ Take Out Vinyl and pressed on 180-gram vinyl at Memphis Record Pressing. The majority of the single albums will be available November 1st, while LPs from Porter and Taylor will be reissued on December 6th.
2019 marked the 50th anniversary of Stax beating the odds and thriving as an independent entity, following its split with Atlantic Records in a period called the Stax “Soul Explosion.” Throughout the past months, Craft has paid tribute to the label and its artists with special reissues, box sets, playlists and more. Fittingly, The Memphis Masters will wind down the year-long celebration, as it pays homage to the timeless music and persevering spirit of Stax.
VIA PRESS RELEASE | The Band’s influential, pioneering self-titled album is being celebrated with a suite of newly remixed and expanded 50th Anniversary Edition packages.
Available now via Capitol/UMe, the album is available as a Super Deluxe 2CD/Blu-ray/2LP/7-inch vinyl boxed set with a hardbound book; 2CD, digital, 180-gram 2LP black vinyl, and limited edition 180-gram 2LP “tiger’s eye” color vinyl packages. All the Anniversary Edition releases were overseen by The Band’s Robbie Robertson and feature a new stereo mix by Bob Clearmountain from the original multi-track masters, similar to the acclaimed 50th anniversary collections of last year’s Music From Big Pink releases. The 50th Anniversary Edition’s CD, digital, and box set configurations also include 13 outtakes, featuring six previously unreleased outtakes and alternate recordings from The Band sessions, as well as The Band’s legendary Woodstock performance, which has never been officially released. Order/stream The Band (50th Anniversary Edition) here.
Clearmountain and Robertson’s approach to remixing the beloved album was done with the utmost care and respect for the music and what The Band represents. “The idea was to take you deeper inside the music, but this album is homemade,” Robertson says in the liner notes. “You can’t touch up a painting. It has nothing to do with what you get when you go into a recording studio.” When he expressed his concerns to Clearmountain, the renowned engineer and producer reassured him: “We’re just trying to overcome the original technological limitations in order to bring you closer into the room,” he explained. “I’m going to do everything in my power not to get in the way of this music at all.” The result is a new mix that allows listeners to hear these classic songs in stunning, and often times startling, clarity, packing more of a sonic and emotional punch than ever before. The included early and alternate versions offer fans the ability to hear the evolution of these tracks or as Robertson says, “That’s us trying to teach ourselves how to play these songs.”
“In late 1964 my dad was building his Beatles collection literally as the albums came out, so his latest purchase was Beatles For Sale which I believe came out in December of that year. At that time my mother was pregnant with me and suffering from morning sickness. So as my dad played the record over and over again, it was the soundtrack for my poor mother’s, well, vomiting. My mother tells me that as soon as I was able, around four years old, I put Beatles For Sale on the turntable and played it incessantly, dancing around in bliss while she, in a flashback, relived her nausea.”
“She thinks the song I particularly loved was “I’m a Loser” but she’s not sure. She helpfully offered to do some research by listening to the record to see which song makes her most nauseated. Not a typical response to that record I’m sure. I told her not to bother.
And so, I am, like many people, an avid Beatles fan. My dad collected all the records. I grew up with them. A friend once said “It’s like the Beatles are in my DNA.” That’s exactly how I feel.
However I’m trying to think back to my first date. I think I must have been around 15 or 16, (1980 or ’81) and the fellow I had a crush on was a punk rocker. My friends and I loved punk. We were totally into it, particularly Siousxie and the Banshees. (I would back comb my hair, spray about a can of hairspray into it, and copy her makeup to try to look like her. I thought I looked cool. Looking back I think I looked scary.)
So on my first date I’m sure I did not talk about The Beatles, or anything much at all actually. I think I just kind of tried to smoke without becoming ill, and snogged. If we had talked about records it may have been something by the Sex Pistols. This boy looked like Sid Vicious on purpose. But as I say, we didn’t talk much. He wasn’t a big talker. I think our affair lasted for one day at least.
Talk about your impeccable resumes. Not only was Gene Clark a founding member of jangle rock pioneers The Byrds, he was also half of alt-country band Dillard & Clark and a great solo artist to boot. But not even this list of accomplishments could win Clark’s 1974 album No Other—which he considered his masterpiece—an audience. To be blunt, No Other was a flop, mainly because Asylum Records declined to promote the LP, both because they didn’t see any hits on it and because they were appalled by the time and cost it took to produce the record, which featured such notables as Chris Hillman, Jesse Ed Davis, Danny Kortchmar, Russ Kunkel, and Butch Trucks. Indeed, by 1976 Asylum had deleted No Other from its catalogue altogether.
It even took the critics a long while to realize that No Other—a lush, lovely, and even visionary work—was worth every dime and hour spent to make it. Clark—a psychedelic kinda guy who hung out with the likes of Dennis Hopper and David Carradine—was said to have ceased feeding his head when he composed the songs on No Other, but they’re spiritually deep nonetheless. They’re also disparate in terms of influence: this was no pure country rock LP, but an agglomeration of folk, country, rock, gospel, even R&B and funk. And to think it was initially intended to be a double LP, until Asylum head honcho David Geffen blanched at the $100,000 the project had already cost.
As I noted above, No Other has a deeply spiritual feel to it—it possesses the gravity of a work only possible by an artist who has opened his head and journeyed to the 5th Dimension, ultimately emerging wiser as he returned to our far more prosaic world. Which may sound like hippie bullshit, and may even be hippie bullshit, but I buy it, Clark’s fascination with Carlos Castaneda, Theosophy, and all. Far more ornate than his three previous solo records, due in part to his pairing with “spare no cost” producer Thomas Jefferson Kaye, No Other features lush and unusual arrangements; backup vocals from the likes of Clydie King, Claudia Lennear, Shirley Matthew, and Vanetta Fields, amongst others; and lots of overdubs.
Chicago, IL | ‘We’re going to make a great run at it’: Oak Park’s Val’s Halla Records to stay open, for now. After believing its days were numbered, Oak Park’s iconic Val’s Halla Records store has a new lease on life into 2020, with hopes the store can become financially viable by then. Store manager Shayne Blakeley confirmed the shop has been temporarily saved by River Forest resident and customer Trevor Toppen, who plans to lend his financial expertise to the business. “It’s pretty amazing,” Blakeley said. “I’m going to have a lot to be thankful for before I cut into any turkey. Things have been moving very fast.” Earlier this month, Blakeley announced the store had intended to close by the end of November after 47 years in business. At the time, he said Val’s Halla had its worst first quarter financially in 20 years, which appeared to be the final nail in its coffin. Toppen, who has lived in the area since 2003, got to know Val’s Halla and Blakeley when his son Jackson started volunteering at the store, and said he couldn’t pass up the opportunity to give the store a second chance.
Cork, IE | Cork’s famous vinyl record store back after Douglas village fire: The shop had been closed for 10 weeks following fire in Douglas Shopping centre. One of Cork’s best-known vinyl record stores – MusicZone – has reopened following a ten week absence due to the fire in Douglas Shopping Centre. The shop was forced to close its doors following the blaze in the Douglas Mall but it is now open for business again in its new location at Unit 4, Deanrock Business Park, Togher. MusicZone is one of Ireland’s largest stockists of vinyl records and they offer free delivery throughout the country on any order of three or more records. The business was set up by Ray O’Brien in 2001 and in a statement, he spoke of his delight at finally being able to welcome customers back to his store where he works alongside his son, Cormac. “So look here we are, 10 weeks since the night of the fire and it’s on, moving to the new location,” said O’Brien.
Wichita, KS | Vinyl is about to top CD sales, and Spin It Again Records has reopened to help: Only days after the Recording Industry Association of America announced that for the first time in more than three decades vinyl record sales likely will top CD sales this year, Spin It Again Records has reopened. The store has been closed since late August, but this week owner Ed Swarts reopened it in its new location at 3715 W. Douglas, which is two blocks east of West Street…The store sells new and used vinyl records, turntables, cleaning supplies and other related items and does minor related repairs. It also buys used records. Spin It Again Records will be open from 10 a.m. to 6 p.m. Tuesday through Saturday. Swarts says he’s not surprised vinyl sales are about to surpass CD sales. “The CD is just a thing of the past,” he says.
Liam Gallagher declares “ignorance is bliss” as he favours vinyl over Spotify: “I don’t think I’ve ever used Spotify once in my life. I don’t even know how to use it. I don’t have a clue” Liam Gallagher has admitted that he “doesn’t have a clue” when it comes to music streaming services and that he has no intention of ever using them. The former Oasis frontman says he much prefers to listen to vinyl than digital services such as Spotify. He told the Huffington Post: ”I stay away from that. I don’t think I’ve ever used Spotify once in my life and I don’t think I intend to either. I don’t even know how to use it. I don’t have a clue. ”Part of it is, ignorance is bliss. All these new ways to listen to music have gone way over my head, and I’m quite happy with it. Call it that I’m stuck in the ’90s. I listen to tunes on the record player.”
Greetings from Laurel Canyon!
(In good faith) Rocks are buried beneath tons of earth / To become diamond / (In good faith) With the gift of the sunlight / The kudzu vine goes climbing / (In good faith) Instruments play songs / Brought forth from the minds of their makers / (In good faith) These vibrations resound / Bringing union and joy to all takers
(In good faith) We open our eyes / To a parade of first morning’s breaking / (In good faith) We pray what we see and we hear / Might be ours for the taking / (In good faith) We rise every day / And we will ’till our golden star bursts / (In good faith) We open our hearts / And say, “Lord, do your best, do your worst”
Shortly after last week’s Idelic Hour posted, I started thinking about my year-end list. After all, this is the end of the second decade of the second millennium! Not only do we need a year-end list for this end of the decade, but we need an end of the decade list. Wow!
I guess I have a little time to gather my thoughts about 2019. This last decade…wow…IT’S A LOT TO CHEW ON! I better start now.
First thought: So much has changed since the dawn of this decade when I started posting and doing this online radio show. I guess the greatest gift of the whole experience has been to share music. Sometimes I do give a fuck who is paying attention, and THANK YOU because so many of you have. The act of sharing music is part of who I am, and this is the week I’m on my annual journey, flipping through my music files (the record crates in my mind), compiling and organizing my favorite songs released this year. I’ve noticed in past years I’ve seemed to average about 60-80 artists and/or songs that have made the year…
VIA PRESS RELEASE | Falling in the middle of their 2019 fall tour, this September marked the 20th Anniversary of award-winning Colorado bluegrass band, Yonder Mountain String Band’s critically acclaimed debut album, Elevation.
Out of print for years and considered by decades-long fans to be the band’s career-defining album, it only seemed natural for YMSB to celebrate this milestone with a 20th-anniversary 180g double vinyl re-release. Originally released on the band’s own independent Frog Pad Records, Elevation features founding members Dave Johnston, Ben Kaufmann, Adam Aijala, and Jeff Austin, along with guest musicians Mike Marshall, Darol Anger, Sally Van Meter, and Celeste Krenz. The 20th Anniversary release of Elevation is available now in limited quantities at the merch table and online.
Elevation producer Sally Van Meter shared some of her heartfelt thoughts on the creation and legacy of Elevation and what it meant to the greater acoustic music community: “Twenty years ago, over a good meal and margaritas, a pivotal moment in acoustic music transpired and forever changed the face of acoustic and bluegrass music. That moment was the agreement to produce Yonder Mountain String Band’s first studio recording, Elevation.
YMSB’s Elevation broke past traditional bluegrass music boundaries, opening the door for acceptance of the next generation’s take on a new style that audiences would fully embrace. YMSB had something special about what they played, and how they played it. Their songs showed that it was not just jamgrass party time. No matter what they played, they did it with a full musical heart—both familiar and new concert attendees fell in love with them. Young and old listeners together could feel that this first recording was a wind-direction change in acoustic music that had not been felt possibly since the ’70s with Tony Rice and David Grisman.
The Independent Minded podcast features conversations with indie artists in the music and entertainment business.
Pop culture legends “Weird Al” Yankovic and Henry Rollins, indie icons CAKE, Gogol Bordello and Mike Doughty, and up-and-coming indie artists The Districts and Vagabon talk about their experiences in the business, their inspirations and passions, and their recent projects.
The podcast is hosted by Ron Scalzo, an indie musician and radio producer with 9 self-released albums and an independent record label of his own, Bald Freak Music.
Episode 107 features Scotland indie rock band the Trashcan Sinatras. Paul and John talk about revisiting old songs, shredding, working within limitations, overlooking Radiohead.
