the last exit

We had a cappuccino at [David Lynch’s] house and he smokes cigarettes and they don’t smell. At all. The smoke just goes up and I was like… I was trying to sniff and there was like, no smell. I’m not joking. I didn’t even want to ask what was happening, I just left it like that. I just touched his face to check that he was actually there.

the wilhelm scream (james blake cover) by the bamboos ft. megan washington

woah… It’s kind of an awesome idea to take a song like “The Wilhelm Scream” and pretend that it’s a James Blake remix of a song that doesn’t exist yet, and then make that song. 

CORRECTION: a little light Wiki’ing tells me that “The Wilhelm Scream” is actually James Blake covering his dad. Wild. Why did no one tell me this??

(via copycats: suburbanmike)

elena by market east

check out the latest issue of The Miscreant for an exclusive interview with Market East, then head over to their Bandcamp for a free download of their EP. Actually, you can do it in whatever order you want to. It doesn’t matter to me, just so long as you do it. 

This song just feels like a classic. It’s one of those you can’t believe isn’t a cover. 

20th century boy by t.rex

this riff gives me sexy butterflies in my stomach and makes me want to dance in really strange and embarrassing ways. 

hornets! hornets! by the hold steady

she mouthed the words along to “running up that hill” 
that song got scratched into her soul
he’s never heard that song before
but he still gets the metaphor
he knows some people that switched places before
she said i really like the crowds at the really big shows
people touching people that they don’t even know 

Hell, you can find elements of this background, this bundle of stylistic ideas, creeping into almost any space you like. Indie rock has always seemed strangely immune from its influence, as if young rock fans were all forced to make firm and final choices about whether they were going to side with commercial rock and emo bands or hip Brooklynites— but even here, you get acts like Best Coast and Wavves, with their nostalgia for certain kinds of pop-punk and emo juvenelia, the ones that came just before the haircuts got elaborate.

Birth rates in America were sagging low in the mid-70s… in raw numbers, they sunk down near three million newborns a year. They were cresting relatively high around 1990, with raw numbers topping four million a year. You don’t exactly have to be a sociologist to notice that the sheer size of this age cohort makes its members’ lives, and their relationship with pop culture, a little different from others’. People born during a dip in the birth rate grow up consuming a lot of culture that’s aimed at someone older than them. People born during a boom do not do cultural apprenticeship, because everything is quickly aimed at them; they watch the things that appeal to their age group bloom and succeed, whether anyone else is interested in it or not. This is why some Americans have spent decades clutching their heads as the Baby Boom generation makes big chunks of our world revolve around itself: Large cohorts have a large gravitational pull.