Blog: Date Archives

April 2007

Park Avenue Music News

We Are All Cotton-Hearted

Ever since I heard the first opening strains of “Cutter” from 2004’s For Your Home Or Office, I’ve been charmed by Park Avenue Music‘s lightly atmospheric brand of electronica.  Sadly, the husband/wife duo haven’t released anything proper since then, with only hints and pieces of new songs appearing on their MySpace page.

However, the duo do have a new song on a brand new compilation from Kuala Lumpur-based label Mü-Nest.  Entitled We Are All Cotton-Hearted, the two-disc release features 25 tracks from the likes of Piana, Lullatone, Melodium, aus, and of course, Park Avenue Music.

Several snippets from the compilation can be heard on Mü-Nest’s MySpace page. If you like what you hear, the good folks at ToneVendor can hook you up.


The Mary Onettes’ Full-Length Is Out

The Mary Onettes

I’ve written a lot about Sweden’s The Mary Onettes as of late (previous articles here and here), and you’re probably sick of reading it.  However, as long as the foursome keeps writing such stellar, winsome tracks as “Pleasure Songs,” “Void,” or “The Laughter,” I have a duty to continue singing their praises.

After releasing several EPs, the band recently released their self-titled full-length on Labrador.  And like the EPs, you can listen to the entire full-length, for free, on Last.FM.

As is the case with Rumskib’s recent full-length, The Mary Onettes has pretty much crowded out all of the other CDs on my playlist.  The album is just chock-full of 80s goodness, but the band dives so deeply and enthusiastically into their influences that what should be cliches are reborn and rejuvenated.  It’s nostalgic and futuristic all at once.

There isn’t a lackluster track on the album, but right now, “Slow” owns my heart and soul.  It’s a pop song that’s so effortless and gorgeous, it makes you want to live forever out of the hope that it might just be blasting on Heaven’s PA system whilst you and your loved ones dance away into the night.


Just A Reminder…

This one’s for the Lincolnites.  The Host—that South Korean movie I’ve been raving incessantly about—opens at The Ross today.

Just so you know how to plan your weekend and all…


The Web Design Survey, 2007

The Web Design Survey, 2007 Icon

From the fine folks at A List Apart:

Designers, developers, project managers. Writers and editors. Information architects and usability specialists. People who make websites have been at it for more than a dozen years, yet almost nothing is known, statistically, about our profession. Who are we? Where do we live? What are our titles, our skills, our educational backgrounds? Where and with whom do we work? What do we earn? What do we value?

It’s time we learned the answers to these and other questions about web design. And nobody is better qualified than the readers of A List Apart to provide the answers.

It just takes a few minutes, so get cracking.  I’m very curious to see what the results might turn up.


Elsewhere, 4/24

  • Panic, the folks behind the wonderful FTP client Transmit, have just released Coda, an all-in-one web development app (Gruber has more, as does Panic’s own Steven Frank).  Haven’t had a chance to play with it myself, but I hope to; it looks lovely.
  • Shiira 2.0—the latest version of the Japanese browser built using Apple’s WebKit—has officially been released.  My earlier reviews of Shiira can be found here and here.
  • I’ve never really made a secret of my affection for jQuery, a lightweight-yet-powerful JavaScript library.  The folks behind jQuery are currently working on a book entitled, appropriately enough, Learning jQuery.  It’s due out in July, and will most certainly be taking its spot on my bookshelf.
  • ExpressionEngine—one of my other geeky loves right now—gets a 4.7 out of 5 review: ExpressionEngine is an incredible web publishing tool surrounded by growing and passionate community of users and developers. Like all software, it’s not going to be right for every project, but it’s flexible enough to be used for many different types of website.
  • “Semantics — Why Bother?” is an excellent overview of the beauties of semantic markup: When marking up new content, your first thought should be ‘What kind of content is this phrase?’ and not ‘What does this say?’ or ‘How should it look?’ Concentrate on describing the content by applying the correct semantic markup first. Examine every piece of text on a page to determine what type of content it is and how best to convey that through markup.
  • Greg Wright on Hot Fuzz: While Hot Fuzz is not intended as a parody—and doesn’t play like one—there’s no question that even the violence is a gentle send-up of horror and cop genre conventions. Yes, there are thousands of rounds fired in those climactic sequences; there are bloody fistfights, car chases, and gory skewerings. But monitor the deathcount as those scenes proceed and you’ll find that all this violence is awfully good natured.
  • Speaking of Hot Fuzz, The A.V. Club interviews Edgar Wright, Simon Pegg, and Nick Frost: In a weird way, riffing on genres is kind of a reaction to formula. When you watch so much of the programmers and the films that you just think you’ve seen before, it’s kind of going back to the well in terms of trying to conjure up the spirit of what made you excited about films in the first place.
  • Silber On Silber is a 29-track compilation of Silber artists covering other Silber artists. Plumerai, Vlor, Remora, Rivulets, Jessica Bailiff—they’re all there.  And best of all, the entire compilation is free for the download.

Quique Redux

Quique

I just saw the latest e-mail newsletter from the wonderful folks at Tone Vendor—one of the best places on-line for indulging your fixation on all music that’s swirly and dreamy—and saw some news that totally made my day.

A two-disc reissue of Seefeel’s “classic” album Quique is now available from Too Pure (order it from Tone Vendor).  If you haven’t heard Quique yet, you’re missing out on an album that, in a fair world, would be labelled with terms like “landmark” and “groundbreaking” (read my review).

Quique made the perfect bridge between the worlds of shoegazer pop and electronica, and it set the stage for much of the post-rock that the kids are all into these days (though noone has really come close to matching the sounds that Mark Clifford et al. produced).  It’s an album that I still listen to with a fair amount of regularity—those gorgeous beats and atmospherics are the perfect soundtrack for those times when I need to get into the proper mindset for some heavy coding.

The two-disc reissue features the original album in remastered form on the first disc, while the second disc contains some rare mixes and 6 previously unreleased tracks.  One of the new tracks, entitled “Clique,” can be heard on Seefeel’s official MySpace page.  You can also find the complete tracklisting, plus a few more details, here.


Here Comes The Fuzz!

Hot Fuzz

I know that I’ve often ragged on Douglas Theatres, but there are times when they do me right.  And today is one of those days.

Ever since last year, I’ve been quivering—yes, quivering—with anticipation for Hot Fuzz (watch the trailer), the latest from the folks behind Shaun Of The Dead and Spaced.  And I’ve been wondering if and when the movie would ever make it to little ol’ Lincoln.  Movie releases schedules were no help, and neither was Douglas Theatres’ website—and I began to fear that the only way I’d get to see the flick would be on the small screen.

But this morning, I swung by Douglas Theatres’ website on a lark, and lo and behold, there was the wonderful news.  Hot Fuzz opens in Lincoln… today. Suffice to say, I know where I’ll be come this evening: seated in the Lincoln Grand and getting reacquainted with Simon Pegg and Nick Frost.

On a sidenote, any man who has a wife willing to cancel a long-awaited dinner date to her favorite restaurant so that they can go see a violent buddy-cop film is a fortunate man indeed.


Cannes 2007

If you’ve spent any time today on movie sites like Twitch, AICN, indieWire, or GreenCine, then you’re probably aware that the line-up for the 2007 Cannes Film Festival has been announced.  You can read the full list here or download it here.

I’m certainly excited about the new films from Wong Kar-Wai (My Blueberry Nights, his first English language film, starring Norah Jones and Jude Law), the Coen Brothers (No Country For Old Men), Michael Winterbottom (A Mighty Heart), and of course, Steven Soderbergh (Ocean’s Thirteen).

However, the film that I’m most excited about is The Banishment, the latest from Andrey Zvyagintsev.  In 2003, Zvyagintsev directed The Return, an incredibly gorgeous film that had people making comparisons to the likes of the great Andrei Tarkovsky.

Details surrounding Zvyagintsev’s latest are few and far between—apparently, Zvyagintsev was so overwhelmed by The Return‘s success that he became something of a recluse and so The Banishment was made with the utmost secrecy.  The only review I’ve found is in Russian (anyone care to translate?), and this is the closest to a plot summary that I’ve seen.  And so I’m left eagerly awaiting for any news from its Cannes showing.


The Sinner’s Prayer

Conventional wisdom holds that, if you want become a Christian, you need to pray something known as the “sinner’s prayer.”  There’s no one set version of the prayer, but they all follow the same basic pattern: you acknowledge that you’ve sinned against God; you acknowledge that Jesus is the only hope for salvation; you ask Jesus to come into your heart; and you promise to begin living a righteous life with God’s help—which necessarily includes reading the Bible, going to church, praying more often, etc.

It’s a convenient little formula and it, so to speak, gets the job done.  But unless you’ve been a part of the Church for a significant amount of time—or, like me, have been raised in the Church from birth—there’s a lot of language in the prayer that is fairly bizarre.  Indeed, the entire concept might seem rather foreign.

My college pastor was fond of using the term “Christianese” to describe things such as the sinner’s prayer.  “Christianese” refers to words, concepts, habits, etc. that have been around us in the Church for so long that we simply assume everyone else understands them.

But that leads to several problems.

Our language often becomes confusing, and even intimidating to those around us.  Here’s a little experiment: start throwing out terms like “justification,” “sanctification,” and “atonement” in the break-room and see how many people’s eyes begin glazing over, or who starts looking furtively for the nearest exit.

Also, we begin to take things that fall under the umbrella of “Christianese” for granted.  And so something familiar like the so-called sinner’s prayer, which is a beautiful and powerful thing, begins to lose its meaning for us, the ones for whom it really had any meaning in the first place.

But perhaps worst of all, we begin to assume that the “Christianese” way of doing and saying things is the only way of doing and saying things—that the only way someone can be saved is by reciting some form of the “sinner’s prayer” that toes the standard party line and hits all of the major points.  And so we become stuck in how we live out the Christian life.  The ways in which we think, speak, and interact with others becomes rigid and mechanical, influenced and determined more by tradition than anything else.

I love Anne Lamott‘s conversion story simply because it so thoroughly breaks from convention, from tradition.  It doesn’t contain the usual “Christianese,” the usual ultra-spiritual jargon.  It’s rough, crude, funny, touching, and above all else, intensely human and honest.

I did not mean to be a Christian. I have been very clear about that. My first words upon encountering the presence of Jesus for the first time 12 years ago, were, I swear to God, “I would rather die.” I really would have rather died at that point than to have my wonderful brilliant left-wing non-believer friends know that I had begun to love Jesus. I think they would have been less appalled if I had developed a close personal friendship with Strom Thurmond. At least there is some reason to believe that Strom Thurmond is a real person. You know, more or less.

But I never felt like I had much choice with Jesus; he was relentless. I didn’t experience him so much as the hound of heaven, as the old description has it, as the alley cat of heaven, who seemed to believe that if it just keeps showing up, mewling outside your door, you’d eventually open up and give him a bowl of milk. Of course, as soon as you do, you are fucked, and the next thing you know, he’s sleeping on your bed every night, and stepping on your chest at dawn to play a little push-push.

I resisted as long as I could, like Sam-I-Am in “Green Eggs and Ham”—I would not, could not in a boat! I could not would not with a goat! I do not want to follow Jesus, I just want expensive cheeses. Or something. Anyway, he wore me out. He won.

I was tired and vulnerable and he won. I let him in. This is what I said at the moment of my conversion: I said, “Fuck it. Come in. I quit.” He started sleeping on my bed that night. It was not so bad. It was even pretty nice. He loved me, he didn’t shed or need to have his claws trimmed, and he never needed a flea dip. I mean, what a savior, right? Then, when I was dozing, tiny kitten that I was, he picked me up like a mother cat, by the scruff of my neck, and deposited me in a little church across from the flea market in Marin’s black ghetto. That’s where I was when I came to. And then I came to believe.

You can read Lamott’s beautiful Salon article in its entirety here or pick up Traveling Mercies: Some Thoughts On Faith, which I highly recommend.


Elsewhere, 4/17

  • The A.V. Club interviews Low: I have a hard time calling [Drums And Guns] a political or social statement; I feel like it’s kind of beyond that. It’s more questions like, what is man, and who are we that we kill ourselves and kill each other and wreck everything, and is there any way to get beyond that? Is there any way to answer that, and is there any way to go beyond it if there is no answer?
  • Methinks the Sydney Anglican review of Neon Bible misses the point: As the title Neon Bible might suggest, Arcade Fire have their sights firmly set on Christianity. Or at least, certain expressions of Christianity. The lyricists equate Christianity with organised religion, narrow-minded people and the nationalistic pride that drives the USA establishment.
  • Christianity Today reviews Joy Electric’s The Otherly Opus: ...it seems like Martin would be better off crafting electronic pop more current, polished, and enjoyable. He’s poetic, creative, he understands melodies, and his collaboration with brother Jason Martin (Starflyer 59) on The Brothers Martin proves he’s capable of more.  I don’t know if I could disagree more—here’s my review.
  • Some of these are so on the money, it’s scary: 25 Reasons You Might Be A Hardcore Graphic/Web Designer.  My wife can attest to just how true #6 is.
  • Lately, I’ve been wondering just what it means to be both a Christian and a web designer.  Does my faith impact my work?  Should it impact my work?  And if so, how?  What does that look like?  Naturally, Mr. Andy Whitman jots down a few thoughts that A) raise a few more questions in my mind, and B) make me wonder why I even write in the first place, he’s that good.
  • Speaking of Mr. Whitman, here’s a brilliant and thought-provoking post in light of the recent tragedy that took place at Virginia Tech: I thought about writing many things. I ended up writing none of them. At various points yesterday I wanted to smash my head against the TV set or curl into a ball and cry. Instead I prayed. That is, until I talked to my daughter at Kent State last night.


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