Banksy in Mexico, 1999

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Nuart posted some great shots of Banksy’s work in Mexico in 1999. Capturing Banksy got the story first, and it should be noted that Banksy went to Chiapas in Mexico in 1999 with the Bristol based anarchist football club The Easton Cowboys to play football against the Zapatista Army of National Liberation. While he was out there he also painted some murals in support of the Zapatista’s and put up some of his trademark stencils.”

Wait, what the fuck? Is that story real?

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Pynchon’s “Gravity’s Rainbow” compared to Radiohead’s “Amnesiac”: A short essay

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Farrar Strous & Giroux, publisher of books, has a blog called “Works in Progress” where our esteemed contributor, Jason Jaworski, found this very interesting essay comparing Gravity’s Rainbow by Thomas Pynchon and Amnesiac by Radiohead. This is equivalent to heaven for The Citrus Report.

Having read Pynchon’s 1973 masterwork once, and having listened to Radiohead’s sometimes forgotten masterpiece about 400,000 times, we have a little more background on the latter. But it got us thinking, not only because Radiohead’s W.A.S.T.E online shop is a borrowed title from Pynchon’s Crying of Lot 49, there is this unsettling yet perfect rhythm to both Rainbow and Amnesiac. Sort of rewrites of history that seems familiar but eerily unfamiliar at the same time, almost making you wonder if you lived in the past that these albums speak and what you must have missed in the process.

Here is a nice excerpt. The whole piece was written by Westin Glass, drummer of The Thermals…

Amnesiac makes a perfect soundtrack, musically and thematically, for the eerie green-lit global theater of Gravity’s Rainbow. With vocals like ghostly radio transmissions, unsettling mechanical rhythms that abruptly start and stop, strange artificial strings and pianos, and a general sense of over-sanitized postmodern disconnection (“nothing to fear, nothing to doubt”), the record invokes a melancholy alienation, a mechanization of humanity—the trademark which Radiohead has come to own.

The essay is a bit longer than this excerpt, so read it here.

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The Walkmen / Lisbon / Review

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There has always been that something with The Walkmen. The vintage instruments and rough mixes that make each album sound like relics from decades past has been a something. The Louisiana by way of the Lower East Side sound is another something. “The Rat,” “Wake Up,” “In The New Year,” and “Louisiana” are the other somethings, the big songs that have trademarked each past album.

What we have been most impressed with The Walkmen over the past decade, post-Jonathan Fire*Eater and Recoys, is that the sound of the band have been tinkered so that any semblance of post-punk has been completely dislodged from their repertoire, and a new sound that is completely original has begun to surface. Sure, Hamilton Leithauser vocals have channeled a bit of Dylan over the past 3 albums, but we may actually be hearing the way he naturally is supposed to sounds as opposed to retreading classic American albums of past. Now tracks on Lisbon, like “Stranded” or “All My Great Designs” (with Beatle-esque backing harmonies) sound like nothing else being done in other contemporary bands. The music is romantic, longing, lush, and warm. “Victory” has the trademark building drum line that has made the band stand out in previous efforts, but Leithauser vocals strain and power to levels that seem not pushing, but engaging. This suits the band quite well.

Lisbon, after a few listens, has become to us one of the most solid albums of the year. As a full body of work, this could be the most impressive album in the bands’ career. Although lacking in the power song like “Rat” or “New Year,” the band makes up for it with 11 cohesive moments.


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