Turns out, he got old, then found a new direction. “It’s so cool to see leading men become great character actors later in their career,” says a producer quoted here; indeed it is, and Fraser comes across as such an intelligent, sensitive and likeable guy in this GQ profile, that I’m quite looking forward to watching him in Trust now. #link
A repost for my interview with Grant from late 2012; as linked from NPR’s obit on Thursday. He wasn’t one for nostalgia, as his comments attest, but like the best musicians he could take his old material and bring it to life on stage, as new. As sad as it is that he's gone, and can no longer make his music live, the heart sings to see so many share their love for what he did, or for the man himself; ILX's tribute thread is particularly heartfelt. See also: Bob Mould’s remembrance/tribute, and Ken Shipley of the Numero Group label, which is putting out the new Hüsker Dü box, shares his memories of the man. #link
Too many good nuggets in here to pick just one. Read it for yourself, it’s well worth the half hour or so. #link
Justin Pearson (The Locust, Retox, Three One G, etc) talks about his musical journey, as well as the gear that comprises his signature sound. He’s refreshingly candid about his lack of traditional technique, which gives me hope for cracking the secret of the bass. #video
“I recognize that we're recognized as a metal label. By percentage, we have probably put out more metal than anything else, but there's probably a lot of stuff that people don't realize we've done. Even though I was a teenager at the time, part of the reason I chose the name Relapse was that there are some names that could have sounded more metal. I wanted something that was vague and wouldn't necessarily pigeonhole us.” A noble philosophy, to be sure. But Relapse is undoubtedly a big-time label in the metal ‘underground’, with little patience these days for the more experimental stuff (they dropped Pyrrhon after one record, for shame). #link
He seems jaded by the music business, or rather the business of doing music. It’s understandable, to an extent. At least he’s still enjoying the making of music. Here’s a better one with Hank Shteamer where he’s talking just that. #link
Converge played a stormer here in Dublin last night. You should’ve been there. Ahead of the gig I interviewed guitarist Kurt Ballou for Thumped; it was my first interview in quite a while (even if it was done by e-mail) so I’m glad it turned out OK.
It is their 14th to date, and the latest instalment in what appears to be a concerted effort to cover the length and breadth of America with Coen brothers movies. Maybe because their preoccupations seem so resolutely antiheroic, or because their ambitions fit so snugly within their love of genre, the scale of this project was hard to spot at first. While everyone else was lost in hyperspace, the Coens have been quietly wallpapering their homeland. They’ve covered New York in the 1950s (The Hudsucker Proxy), Los Angeles in the 1940s (Barton Fink), Mississippi in the 1930s (Oh Brother, Where Art Thou?) and 1990s (The Ladykillers), Texas in the 1980s twice (Blood Simple and No Country for Old Men), Minnesota in the 1960s (A Serious Man) and 1990s (Fargo), not to mention Arizona, Washington, North Dakota, Santa Rosa and now, for good measure, Arkansas in the 1880s. A few more like this – covering Ohio in the 1970s, say, or Wyoming in the 1900s – and their work will be complete: nothing less than a patchwork quilt of America.