This month, I’ve been listening a lot to a band (or solo project; it’s not entirely clear) called Purling Hiss. It’s been fun but, at times, quite a challenge, even for those of us who can deal with lo-fidelity music that’s disseminated through several thick coats of distortion.
When I reviewed Bon Iver’s “For Emma, Forever Ago” last year, I ended the piece by saying, “Whether [Justin Vernon] is heading out of his father’s cabin towards a long, significant career is hard to predict, and the perverse romantic in me almost wants him not to bother trying. “For Emma, Forever Ago” is such a hermetically sealed, complete and satisfying album, the prospect of a follow-up – of a life for Vernon beyond the wilderness, even - seems merely extraneous.
So it's official, then. The song of choice for nocturnal dancing shenanigans is Queen's "Don't Stop Me Now", which I've heard something like six times at various locations over the last two nights. Last night, it was at the Lake Stage, courtesy of My Ex Boyfriends' Records, and then in the Sunrise Arena, being played by the chaps at Feeling Gloomy. I assume Sean Rowley also played it, over at Guilty Pleasures, but to be honest I didn't make it that far out into the site last night. And anyway, there was a Bugsy Malone theme at Guilty Pleasures, and I clean forgot to bring my spats with me.
I guess it’s still fairly early in the morning, but I’m struggling right now to think of many players around at the moment who are as slippery and compelling as Will Oldham. He’s had, by his standards, a relatively quiet year. But the other day, a new mini-album turned up unexpectedly, a few days after it had actually arrived in the shops. Like a big American urban star or Radiohead, clearly Oldham has abandoned the niceties of advance releases for hacks. Which is fair enough, if a bit frustrating.
