If I can get up there and nearly have a heart attack every night, if a human being can push themselves to the absolute limit of their physical existence and people can still go ‘What’s the point?’, then that’s the point! To point out how we can’t take our existence for granted.
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We played Glastonbury last night, and we did well, but the rain was bitingly cold and the audience were soaked and covered in wet mud and it was dark and dismal and every time I opened my mouth I swallowed rain. Under such conditions you can’t really expect much from an audience. I think they were there for U2 anyway– understandably. U2 have an enormous Star Wars set with drumsticks that light up northern Africa, and a sound system that would drown out an earthquake. I can’t compete with that. Not with my post office savings account. All I have to offer the world are songs.
A recent interview of ours for a certain “big” zine which shall remain nameless (think sped-up polka beats and power chords played through Marshall amps) was rejected for publication on the grounds that our music was “too experimental”. #blandgenreexercise
My name is Owen Pallett.
Owen Pallett has announced that he will no longer play shows and release records under the name Final Fantasy.
[via twitter.com/owenpallett]
[via brooklynvegan]
Diese Drohkulisse existiert nicht mehr.
Max Dax, Chefredakteur der Spex, im Rahmen der Audio Poverty-Konferenz, im Bezug auf das Verhältnis Musikkristik bzw. -journalismus und der Musikindustrie, mit der anschließenden Argumentation, dass infolge der ökonomischen Situation keine solcher Deals in Form von Anzeigenschaltun-wirkt-sich-positiv-auf-die-Besprechung-einer-Platte bzw. auf-die-Arbeit-der-Kritik-aus, mehr stattfinden. Ohne Worte.