JAKE CLELAND

JACK COLWELL & THE OWLS // ‘FAR FROM VIEW’

I never expected this, but the more I think about it, the more clear it seems that this is my favourite song of the year so far. By a significant margin.

New Oz Music: Short Stack, Guy Blackman, Collarbones, more

Short Stack are back for some reason. Members from Go Violets, Major Leagues and The Good Sports teamed up to form an incredible new band. Chapter Music’s Guy Blackman joined Marcus from UV Race to do kiddiepunk. birchwoodlibrary has yet ANOTHER noise band. Collarbones preview their new EP. Lotta stuff happening this week.

SLIMEPUNK: It happened.

Hope I know Mia ‘til I die.

(Source: sobbdeep)

seanfennessey:

Courtney Barnett, “Anonymous Club” 

The Double EP: A Sea Of Split Peas, 2013

I really like this person.

The person who animated this video (or at least did all the illustrations) is in a band of her own called Ouch My Face. I saw them at the Reverence last weekend. Good shit.

The context for this is unimportant.

The context for this is unimportant.

Folks on my dash being (justifiably) rude about the very insufferable-seeming new John Green adaptation need to get this dose of sincerity in ‘em.

On Feeling Weird With How One’s Work Is Edited (And How to Not Be a Big Fucking Baby About It)

Essential.

no-trivia:

So, this morning, I got into an email exchange with a relatively new  writer who wanted my opinion on dealing with edits, accepting them, etc. I thought my response might be useful to other people and kinda gets at some stuff I’ve been telling a lot “young” writers lately. Below is one of my emails to this writer, with some additional thoughts crammed in there, expounded upon, clarified, and all that. Maybe it can help some of y’all out there? - b

I think that edits are both very frustrating and really good for this kind of writing. You’re totally right to be annoyed or even bummed out by them, but you are also totally right to kind of feel like you’re being a bit unprofessional by being bummed out by them, which is ultimately good! Like being of two minds about it is healthy. This is sort of a complex issue, but it’s of my opinion that publications tend to be a little harsher on new writers, whether they realize it or not. I think you get less of the benefit of the doubt early on (in part because writers of note are essentially tiny “brands” and editors understand the language of that “brand” and give it a longer leash) but also it will help you get a thicker skin too. A friend of mine started writing recently and had similar responses that you’re expressing here.

Ultimately, getting edited, even harshly (and sometimes wrongheadedly, for sure), is a good experience. Even if like, it kinda pisses you off or makes you wanna cry. Edits I received early on used to make me feel so fucking bad about myself. I still feel that way sometimes with certain editors I write for, but almost always, I’m the one who didn’t put enough work in or didn’t put the right kind of work in and it also sucks to realize that. It’s like being in an argument with a partner and like slowly realizing halfway in that you’re indeed the dick here who did something wrong and not them and so, you better cop to it like a grown-ass person.

Sucks! It’s good to talk these things out though because edits can fuck you up and make you lose your confidence AND THEN YOU NEVER GET BETTER AT WRITING HOW THEY WANT YOU TO WRITE AND/OR FIND A BALANCE BETWEEN YOUR STYLE AND A PUBLICATION’S VOICE B/C YOU FEEL LIKE SHIT FROM THEIR MEAN EDITS. Oh, brother.

Of course, I have been doing this shit since 2007 so I am maybe a bit brainwashed by clarity and the who, what, where, when etc. of journalism/”professional” criticism, but I also think I’ve gleaned a lot from figuring out the tension between style and delivering information clearly and it has ultimately helped my writing a ton. I think that the trick to writing for publications that still edit and value editing (which is preferable to no editing or lazy editing, in my opinion) is to get good at the structural demands (lede, nut graf, kicker, all that shit) and if that’s in place, then the edits will become lighter.

From an editor’s point of view, they are probably super fucking busy and stressed. And when you’ve written something that isn’t structurally sound or appropriate, well, that’s when the edits get rough or extreme because they’re crunched for time, and have a lot on their plate and have to start rearranging a piece and massaging it into like, the structural demands of proper criticism/journalism, so clarity takes precedence over your turn of phrase and style.

I don’t know what the “problems” with your piece were, but usually it has to do with the information not being presented in an orderly or clear enough fashion. Which is in my opinion, reasonable. The other thing is just turning in really clean and combed over copy. I’m not sure how you write (and I am not saying I hand in super clean or even um, grammatically correct copy) but for me it’s a matter of writing the thing and then editing, editing, editing, editing, and then editing some more. I probably read a piece I submit 30 times before I send it over. I read it a lot and then take a break from it and walk the dog or get in the shower or whatever and return to it a few more times.

But to put a little bit of an onus on the editors here: You gotta do all of this because a lot of editors don’t really edit these days so much as they minimally change your shit after you hand it in. There’s not as much time being spent showing writers how they fucked up (because no one has the time) or where they went wrong (or even, what they did well!) and so it just becomes a stupid loop of decent writing being handed in to overworked editors forever and ever fixing the same problems for the same writers day in and day out. Ultimately though, it’s on you to see a piece you handed in and internalize the changes made to it and figure out why and learn from them.

Not pimping my own work here, but below is something I wrote that was lightly edited. It was published almost exactly as I handed it in. Not saying it’s perfect (no doubt you could find some issues with the prose or clarity still) but I think it really captures my voice well and I don’t think it reads too dry and I think the reason I was able to get away with a fairly conversational, and at times weird ass piece, is because my structure is all there. When those core structural elements are there, editors are less apt to edit you aggressively: "Bmore Club Year Zero" from the Baltimore City Paper

WOLFMOTHER // ‘NEW MOON RISING’

It’s a shame Andrew Stockdale became such a punchline. Wolfmother were SIKKKKKKKKKKKK.

oneweekoneband:

Coheed and Cambria - “A Favor House Atlantic”

The words you scribbled on the wall / The loss of friends you didn’t have

I recently had the pleasure of spending some time with internet friend (and fellow One Band // One Week-er) Jake Cleland when he came to visit Sydney. After hearing us talking about my upcoming week of Coheed, my girlfriend told a story which I’d completely forgotten: that after a particularly harrowing day in 2005, at the height of my adolescent depression, I called her, distraught. I needed her to do me a very particular favour, because I didn’t have my copy of In Keeping Secrets of Silent Earth: 3, and didn’t have any internet access, and I really needed to hear “A Favor House Atlantic”. I asked her to download the song, and then play it down the phone to me. She did, and after it had ended, I was fine. I thanked her and said goodbye.

For many people, this is the Coheed song. Some know it as “Bye Bye Beautiful”, an erroneous title spread through those same P2P clients that led me to the band in the first place (some YouTube videos still use this incorrect title).

It’s not hard to see the appeal, or understand why this has remained the song so many people associate with the band. For one, it’s HOOK after HOOK after HOOK, and by the time the true chorus hits at 1:44 every melody could have been a chorus in its own right. But it’s memorable not just for how catchy it is, but those unfamiliar with prior Coheed material were probably struck with how unusually dark a lot of the lyrics are for such a jubilant piece of music.

Good eye sniper / Here I’ll shoot, you run

Chances are, if someone was to recognise the song without knowing it by it’s true title (or by “Bye Bye Beautiful”, for that matter), they probably know it as “the sniper song”.

This was the first single from IKSSE:3, a dramatically different record from SSTB. A heightened production budget is the most notable change, but the band also focused on the poppier side of their songwriting. “A Favor House Atlantic” exemplifies this, but the fact that it comes between the darkest song on the album (“Al The Killer”) and the most ambitious song on the album (“The Light And The Glass”) is telling of how broad the bands sonic reach still was at this point.

Bonus trivia: the girl who got me into Coheed & Cambria went to UNSW, which is where Alex and I went the night after this conversation.

ARCADE FIRE // ‘AFTERLIFE’

I have never cared about Arcade Fire as much as almost everyone else I know. They were one of the most boring bands when I saw them at Big Day Out a few months ago. There are a few songs of theirs that I really love, though, and two of them are live versions. The first was ‘Intervention’ played on Saturday Night Live in 2007 and the second is this. Maybe it’s just because I’ve watched it so many times that the album version sounds irregular. Pretty good, but.

australian producers who aren’t (and are better than) flume or ta-ku: a local guide to aus electronic music

wind—upbird:

If you know me in real life, you know I love to bitch to people about how Australia has waaaaaay more on offer than the mediocrity that are flume and ta-ku and LRDU and that sort of fuckshit. don’t get me wrong, I don’t hate flume/ta-ku i just think the music is stale and uninspired (#shotsfired), it’s not bad music, it’s just boring to me. i think they and “australian sound” fucking suck. while i’m at it fuck majesticcasual too.

i remember this one time i was in the campus centre at uni and overheard someone ragging on his mate for listening to flume because he’s old and how he should listen to “this new guy ta-ku”. it was fucking mindblowing

anyway this is proof that i’m not just a sour hater of ‘indie music gone mainstream’ via a list of local talent I hold in higher regard than those listed above. There’s a range of hip hop/brazlian samba/deep house/beats and like synth pop stuff there. if you’re in aus these guys do gigs pretty regularly go see them and support your local homies (they’re not all from melbourne)

most of you guys know how much i fux w/ andras fox, silentjay, hazel, but here’s a list of other dudes who are just killing it

don’t sleep

in alphabetical order: the 20 producers**

Able8 - Closed Captions

Alba - Law

Andras Fox - Running Late

Billy Hoyle - Canto De Xangô (Part 2)

Electric Sea Spider - Mustachio

galapagoose - milkwood (w panorama) 

Häzel - Twilight

I’lls - Outright (Tincture Remix)

Jon Michaels II - And You’re Next

Jonti - Flesh of Morning

Kane Ikin - Hold Tight

Kirkis - ANTI-KIRKIS #1

Lapalux - Swallowing Smoke oops lapalux isn’t australian, but check him out anyway

Motez - Hold Tight

Oscar Key Sung - Holograms

Rainbow Chan - Haircut

Seekae - 3

S I L E N T J A Y - Dat Schlump Funk

Thrupence - Winston

**jon michaels II is actually silentjay and edd fisher, off the top of my head. edd fisher is one of my fav dj’s in australia and he hosts a show on pbs.fm called tomorrowland between 1-3pm on fridays

support the local music scene and record labels

http://siloarts.net/

http://www.theoperatives.com.au/

http://www.thisthing.us/

http://www.homeloanrecords.com/

http://www.northsiderecords.com.au/

http://plastic-world.net/

https://www.facebook.com/condensedmilkprod

This is a good list but I’d add:

Collarbones - Die Young

Scissor Lock (Marcus from Collarbones) - 'Awatef'

Guerre - 'Judge/Lock'

Black Vanilla (Scissor Lock x Guerre x Marseilles) - Black On Black On Black

friendships - i’m an impressionist; you’re dumb

Null - '2 Reel' (w/ friendships) (actually a v dope track)

Everyone on this Tim Shiel remix album, especially Lower Spectrum, Aoi, friendships, and Surf Dad. And Tim Shiel, obviously.

Amateur Dance - 'Still Amateur'

Nothinge - Flamingo Magic

Brothers Hand Mirror (even though HTMLFlowers is a bad man) - 'Sunwakes'

Wooshie x Mike Kay (now Harvey Sutherland) - Signs of Age EP

(Source: ripplesoles)