1. Professional.

    Professional.

  2. Working Titles.

I might not be tangibly productive yet, but the gears are certainly still turning.

    Working Titles.

    I might not be tangibly productive yet, but the gears are certainly still turning.

  3. PRF BBQ BAY AREA 2015

    oh it’s happening, and we are already planning it. I’ll be there. I might be under a different name. April 2015. Oakland, California. make it happen.

  4. lykke li - just like a dream. i’m a bit obsessed with this album.
    featuring my dirty hair and unwashed face and glarey glasses. but my voice is on point i think. i hope

    i recorded and edited this in fifteen minutes and then it took like six hours to upload so please watch and enjoy and listen to the new lykke li album if you haven’t yet!

  5. Oh yeah! I saw the Elliott Smith documentary this past week.

    Heaven Adores You premiered at the San Francisco International Film Festival last Monday, and I had the privilege of seeing its second screening on Wednesday. I suppose I don’t have to repeat for the millionth time that Elliott Smith has been one of if not the most influential artists of my life, but I just did, because it implies how significant it was for me to experience this beautiful film. Director Nick Rossi appeared after the film for a brief Q&A with the audience, and after the inevitable question about Elliott’s death came up, he described his intention for the film as being more of “a love letter” to Elliott and his music, which summed it up perfectly.

    Since this doc was created by fans, for fans, and funded by fans (via Kickstarter!), the final product was really so wonderful. Its main purpose was to showcase the musical life of Elliott—his influences, the musicians and friends he played with, the music scenes of where he lived, how his music developed and changed while always staying true Elliott, and always flooring anyone around who heard him play. Though it was chronological, it was not quite so biographical, at least not as in-depth as some might have hoped; if people head into this film looking for answers to questions about his life or his death, they won’t find them here. What they will find, though, are many laughs and smiles, because really Elliott, despite whatever demons he harbored, was really such a goofy, fun-loving guy. Of course the doc also incites a lot of emotional reactions, especially if you’re as invested as me. I don’t think there were more than a couple minutes of silence in this film, as it was always soundtracked by deep, deep Elliott cuts, unreleased instrumentals and alternate versions, as well as interview clips, all masterfully edited together seamlessly. Definitely one thing that particularly struck me were the scenes of the urban environment coupled with Elliott’s instrumentals—they were visually stunning to match the music and the feeling, and paced very well with the story. Sometimes in my everyday life I forget to revel in those moments of listening to music while taking in the world around me, effectively combining all your senses, and this film did a neat little thing of doing it for me.

    Although I did cry within the first five minutes because it starts by mentioning his death, and then I cried when I heard Elliott’s sweet little voice in the first interview clip, and then I cried again at the end when it got to 2003, by the end I was crying tears of affection and happiness because Elliott Smith was such a lovely soul, and the way that his music affected so many people in similar ways is a truly magnificent thing. I hope this movie gets picked up at more film festivals soon so that more people can see it. It is a perfect tribute to a beautiful man who was taken too soon, whether you’re a fan of his music, or just a fan of music in general, really. If you get the chance, go see it.

  6. band graf

    band graf

  7. hey hey (thanks to shannon corr) PRF ruled. thanks so much to everyone who came out. you all rule more than you know.

    hey hey (thanks to shannon corr) PRF ruled. thanks so much to everyone who came out. you all rule more than you know.

  8. Three days. Tickets here. You rollin’ through?

    Three days. Tickets here. You rollin’ through?

  9. I’ve been chipping away at this piece about the California based singer-songwriter Alf Pogs for many weeks and as a result, I’ve been listening to her music on repeat for months on end. It occurred to me towards the end of last year that the song ‘Afterwards’ might be my favourite song of all time. It seems utterly absurd to me that someone could write a song this assured so early in their songwriting career but here it is.

    Compositionally, this song still baffles me - in particular the weird, droning guitar parts that sound as though they were recorded backwards but played forwards. That beautifully chiming piano part that ascends perfectly at the beginning then and recedes as quickly. The strange skeletal drum-fill at the start and odd-ball percussive back-beat which I’m fairly sure was played on an improvised drum-kit including a trash can. Somewhat characteristically, there’s no chorus but instead, a weird drop in the melody that is borderline impossible to explain with mere words and yet still leaps to mind approximately ten times a day, apropos of nothing.

    Perhaps the most remarkable thing is the entire vocal performance and the lyrics themselves. I don’t know how AP sang this song as it is recorded here and I don’t know if anyone else could do it. Certainly I can’t, though that doesn’t stop me from trying whenever it comes to mind abruptly in the shower. In fact, I don’t even know if AP ever sang it beyond this one time. It sits in the same territory as various classic songs by other incredibly bold, emotional singers like Neil Young, Joel Phelps and Nina Nastasia amongst others.

    There are many songs in the pantheon of popular music about heartbreak but ‘Afterwards’ is rare in the sense that it isn’t so much about whichever girl AP happened to be fixated upon at the time but instead about the death of self that occurs upon realisation that your love is (or perhaps has become) unrequited. I can’t immediately think of two lines that hit me as hard as “I’ll be sad to say goodbye, to the person who’s in love with you right now”. Indeed, the object of the narrator’s affection remains but the narrator themselves essentially self-terminates the part of their psyche hopelessly ensnared by romantic feelings. It’s seldom you hear this sort of difficult but occasionally necessary self-sacrifice in the context of a love song.

    It seems unlikely that the young lady about whom this song was penned knows that she was immortalised in such a remarkable manner but of course, it doesn’t really matter. She exists in the narrative primarily as a catalyst for an important personal upheaval of sorts. It’s probably truer to say that ‘Afterwards’ is commemorating the person who knew when to throw her cards in and walk away from the table. A concise little obituary for one of the many small, private deaths that make up a life and eventually, whatever comes after that.

    If that’s not worth a dollar, I don’t know what is.