Some #longreads as you awaken from the Thanksgiving food coma…
We’re going to put the spotlight on Seattle this weekend, since we have multiple articles discussing the city’s place in music history. First, Seattle Weekly talks to Bruce Pavitt, co-founder of the now-legendary independent label Sub Pop. Next, the Seattle Post-Intelligencer has a profile of Dave Grohl as the Emerald City episode of his Sonic Highways is set to air. And finally, Kim Thayil of Soundgarden talks to Loudwire about the band’s new rarities release Echo of Miles.
We’ve been enjoying the latest album from TV on the Radio these past couple of weeks, and before we unveil our official review on Tuesday, read up on the making of the new album with profiles in both the New York Times and Consequence of Sound.
The Atlantic has an article about how the internet helped spark a revival of interest in Nick Drake, far more than he had enjoyed in his brief life and career. While we mentioned the seminal Volkswagen ad in our “Pink Moon” Covered feature, this piece helps fill in some additional interesting details.
In the past we’ve looked at different aspects of the streaming debate, mainly focusing our attention on Spotify and their payout model. East Bay Ray of the Dead Kennedys sheds some insight on another service we’ve neglected, YouTube, showing how the company pays even less to artists than its competitors.
Though he’s mainly known for the off-center comedic empire he’s built with partner Tim Heidecker, Eric Wareheim has had a successful side-gig as a director of music videos. The AV Club interviews Eric for its Random Reels feature, and he sheds insights on such videos as the frightening “We Are Water” video he did for HEALTH (and cited in our Scariest Videos list) as well as the weirdly gorgeous “Wishes” video from Beach House.
And finally, Pitchfork has multiple articles worth checking out this weekend. Be sure to read this pleasant interview with Pulp’s Jarvis Cocker, then check out this analysis of the importance of Top 40 radio and the significance of different genre stations. And finally, proving that the publication actually has a sense of humor, here’s “The Most Crucial And Yet Totally Overlooked Releases of 2014 and a Pre-Emptive Guide to 2015.”