The Conversationalist: Is Jack White’s Lazaretto An Evolution Or An Endpoint?

Jack_White_-_LazarettoBy Spencer, Antony, and Mark. Jack White’s second solo album, Lazaretto, dropped this week. Following a tradition started on our previous site, After The Radio, three of our S&N contributors engaged in a bi-coastal email conversation on the album and its place in the broader Jack White pantheon of musical experiences:

Spencer: After my first listen to Lazaretto, I think we can safely say that Jack White has fully walked away now from the minimalism that was so characteristic of his work with the White Stripes (and, to a lesser extent, The Raconteurs and The Dead Weather). It’s a continuation of what he did on his last solo album, Blunderbuss, which saw him experimenting with a much broader range of instrumentation and genres, from pianos and pedal steels to honky-tonk and bluegrass. Here, the use of the fiddle stands out in the transition between “Lazaretto” and “Temporary Ground,” along with more piano, more steel guitar, and a fatter bass sound than we’ve come to expect (especially for a guy whose first band didn’t even have one!). Continue reading

The Historian: Smashing Pumpkins Discography, Vol. 1 (1991-1994)

Smashing Pumpkins 90sBy Spencer. I’ve often wondered what it would be like to meet Billy Corgan, the man who almost single-handedly provided the soundtrack to my teenage years. The songs that bury themselves inside you at that age – the ones you listened to in your bedroom, over and over and over, until you didn’t even need to hear them anymore because you could play them note-for-note in your mind; the ones you blasted from the stereo of your first car; the ones that made you play air guitar when nobody was looking; the ones that still recall the faces of once-perfect girls and broken hearts and the first desperate fumblings of love – those are the songs that never leave you. Even now, in my early thirties, I can still listen to Smashing Pumpkins (and yes, in my mind, they will always be Smashing Pumpkins; forget the extraneous “the” they added to their name in later years) and instantly feel that sublime twinge of pain and comfort called nostalgia, and know that nothing in my life from here on out will ever mean as much to me as the music of those years.  Continue reading

The Mixologist: Songs About Girls, Vol. 1

heart_blue_wood copyBy Spencer. For our inaugural mix on S&N, we start in the same place as all those mixtapes we used to make back in high school: with a bunch of songs about girls.

Those were the days when a snippet of a lyric so perfectly described the way you felt about someone that you were just sure it was speaking directly to you. And those are the songs that stay with you a lifetime – long after that person you thought you’d never stop loving is just a pleasant memory.

Each of these songs is about someone. And while I include them each with someone particular in mind, the beauty of it is that a couple of them might just spark a memory of your own particular someone?  Continue reading

The Critic: Coldplay’s Ghost Stories and The Black Keys’ Turn Blue

Coldplay_-_Ghost_StoriesBlack_Keys_Turn_Blue_album_coverBy Spencer. Neither band was supposed to get this big. When Coldplay started out, they were Radiohead Lite, with maybe a dash of U2’s soaring theatrics. When the Black Keys started out, they were just another in a long line of garage bands; even their name suggested a White Stripes ripoff. Since then, they’ve each taken their turn as the biggest band on the planet, and (some would say) they’ve both lost their edge.

Now they’re both back with new albums: Coldplay’s Ghost Stories and the Black Keys’ Turn Blue. Do the titles suggest a certain defensiveness – an acknowledgment of sorts that their reputations are in decay? Or are they flipping a sarcastic middle finger at the critics who may have prematurely written them off?  Continue reading

The Editor: Welcome To Shadows & Noise

cropped-img_1212.jpgThe picture you see above you was taken on the isle of Lunga, about an hour off the western coast of Scotland; it’s the closest I’ve ever come to the feeling of standing at the edge of the world. What this has to do with music and movies – the two subject matters of this site – may not be obvious. But just as a map is defined by its boundaries, so too is art. It’s only at the edges where we can get a sense of the whole; where we can stand at the horizon, turn back and look inward, and appreciate just how far we’ve come. And at the edges of film and music, there are shadows and noise.

I’ve been a consumer of pop culture my whole life, and yet it is only now in my thirties that I think I’m beginning to understand it. For most of our history, our work was what defined us, but in the past couple of generations a shift occurred – now it’s our entertainments that do. The line separating mere diversion from art is so blurry that it’s no longer worth recognizing.

And so it is that an album like Radiohead’s Kid A or a movie like There Will Be Blood, for all of their overbearing ambition to mean something, are still a form of fun to us. Better yet, it’s also true (and I will fight to the death anyone who insists otherwise) that there’s a deeper merit hiding under much of what is dismissed as disposable pop fluff – from the music of Foo Fighters and Lana Del Rey and Jay-Z to movies as diverse as Swingers, The Avengers, Silver Linings Playbook, The Empire Strikes Back, or even the Fast & Furious series.

So if this blog has a mission statement, it is this: to serve as a conversation space about music and film that takes seriously both the fringe and the mainstream of our two greatest art forms. To engage equally both the experimental and the lowbrow. To be pretentious at times, and also to flip the finger at that sort of thing. To start at the edges, but to never stay there so long that we lose sight of the whole.

This site is a passing of the torch of sorts, jumping off where my good friend Antony’s earlier site, After The Radio, left off. I hope that some of the contributors to that site will stop by S&N from time to time to offer their voices, for I have truly enjoyed the conversation we have had over the past three years. And by expanding the scope beyond music and into film, too, I hope that we can have an even broader conversation about how our pop culture consumption shapes us, entertains us, makes us feel and gives us purpose – in short, how it connects us. Both to each other and to ourselves.

So read. Comment. Contribute. Consume. Engage. Because by doing so, you help it all mean just a little bit more.