JUNE/JULY 2006

FAMOUS SHOVELS IN TWAIN

THE 2006 MUSIC ISSUE COMPILATION CD

compiled by Matthew Derby and Brandon Stosuy

TRACKLISTING
CD enclosed with the June/July 2006 print issue

  1. “The Blue Sun”—Think About Life
  2. “God Knows (You Gotta Give to Get)”—El Perro del Mar
  3. “Cheer”—Neung Phak
  4. “Throws Daggers”—Calexico
  5. “Fruit of the Vine”—Jim White
  6. “Minor Star of Rome”—The National
  7. “Mushaboom”—Feist
  8. “Laya”—Stephen O’Malley
  9. “Junkeee… Julieee…”—Blood on the Wall
  10. “Box of Cedar”—Marissa Nadler
  11. “Alalakay”—Mamadou Diabate
  12. “Ahora”—Juana Molina
  13. “Born in Twain”—Tiny Hawks
  14. “Rubies”—Destroyer
  15. “All Cats”—Six Organs of Admittance

We decided, sometime last fall, that instead of including a compact disc with this year’s music issue compilation, we would develop and include a tool that would allow certain musics to invade and permanently reconfigure our listeners’ headspace. We envisioned a helmet, much like the one worn by Christopher Walken in Brainstorm (1983, Douglas Trumbull). With this helmet, we figured we could permanently erode the listener’s sense of the world, which is what, we are certain, any music worth its mettle wants of its spectators. Halfway through making the prototype, however, we ran out of solder, so instead, we present this disc, which features recordings from an array of contemporary musicians that may achieve a similar displacement of the listener’s sense of self, of his/her temporal coordinates, of whatever he/she might attempt to take for granted, but without the resultant helmet hair. Certain laymen will refer to these recordings as live music, because they were recorded live (often with the use of binaural microphones, which represent, as accurately as possible, sound as it is received by the human ear, often by Brandon Stosuy, often while drinking), or contain elements that were recorded live, so that, whether they represent the plaintive monotone of a long-distance call (as in Six Organs of Admittance’s “All Cats”), the fury of a passing train (Calexico’s “Throws Daggers”), or a chilly spring afternoon on Flannery O’Connor’s porch (Jim White’s “Fruit of the Vine”), each reflects, in real time, the circumstance of its creation. Our hope, then: to breach the high walls of your consciousness as you listen and set fire to the small, thatched command post many doctors refer to as your brain.

We hope you enjoy this excerpt.

To read the full piece, please visit our store to purchase a copy of the magazine.

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