m_thomp

Right, so, if I've got this right. Different people who follow exactly the same path. Baby Miles will grow up get bounced through time, and end up in exactly the same position as 2007 Miles: stuck on the island in 1974 staring at his infant self. And that Baby Miles will do exactly the same thing and so and so. I guess this means this course of events, if you can bounce through time, were to some degree pre-ordained. Things are set in motion, not to be altered. In other words..... destiny?

Finally caught up with the Some Like It Hoth episode last night. One thing I thought about whilst watching: does the fact that Older Miles saw Younger Miles affect anything? As stated before my only reference to time travel that I understand is Back to The Future. I understand that he hasn't fundamentally changed any course of events by crossing his own path, but wouldn't it mess things up, the same person occupying the same time-space? Also, started thinking more about nature versus nurture. I think it's interesting that we've seen older Ben seemingly being an absolute c0ck (I say "seem

Big fan of the previous album, From Here We Go Sublime, which I thought was strikingly simple but devastatingly effective. Not heard anything off the new album (nor have I read the Pitchfork link), was kinda hoping this post was gonna be news of it's leak, but I do know the Stanier drummer dude from Battles is guesting on the new album. Juan Maclean's new album is good too - quite Human League sounding. There are few artists out there you should check out if you like The Field who have similar exploratory mindset, but not the same (Gui Boratto, James Holden, Lindstrom, Lindstrom & Pri

I remember reading in the Kott book a story about Jeff's wife arranging a guitar lesson with Richard Lloyd as a present. My memory not being the greatest I run a quick Google search to check facts and, sure enough, it crops up on Richard Lloyd's website in the Q & A section. He doesn't shed too much light but at least he confirms it took place: As for Wilco, I always think that musically At Least That's What You Said is the perfect hybrid of Neil Young and Television playing Marquee Moon. It's also my favourite Wilco song.

My nephew started out liking Jack Johnson and Amy MacDonald when he was 12 months. At the age of two he progressed onto, and still likes, AC/DC - he could sing the all the words to Back In Black at that age. He's now three, and his latest achievement, of which I champion, is to shout, "Turn that crazy music off, Grandad!!!" when said grandad is playing Battles. My next mission is to get him singing Brothersport before he turns four. I have four months to achieve this.

One from my youth, and from my older brother's record collection. I love the unswerving directness of the imagery - they're enjoying a drive, and he's looking for love (and cleaning products, his handiwork, her chesticles, etc.)...... ta dah, Love Drive.

I'm not going to judge an album I've only heard five tracks of, because two them were really good (Inaugral Trams and the one with the vocoderized vocals), but I get the distinct impression a lot of these tracks were born out of jams? Certainly the opener - the Naked Girls one - sounds ferocious and killer, but, if we're just being honest, it is just one monster riff.... and that's it. You're right, what they're doing is different, for them, but, given their impeccable track record of travelling on the paths less travelled, I was expected a wee bit more from them. It might come... it might com

I'm halfway through the album (the rest I've got for the second half of my journey later this afternoon). I have to admit that I'm slightly let down so far. There are some good moments but there's an awful lot of sludgy and proggy pub rock. I get the impression they're playing up to this as there's some great big drum fill crescendos and all in there. Having said that, I think it might be because the track order on the version I'm listening to is screwed - I've got the Mountain Song coming in as the second track and I think it's supposed to be the Neil Diamond one. And that Mountain Song is

The Stone Roses did this a lot, not just guitar but the whole songs. Probably used to best effect, with guitar being the best element, on 'Don't Stop' which is a backwards version of 'Waterfall', albeit with new lead vocal and added cowbell. Is the guitar solo on The Byrds' 'Change Is Now' in reverse? I always thought that was, what about 'Dolphin's Smile' too.

Okay, I watched most of this episode last night. I say most of it, as I was doing the dishes during some ad breaks and missed a few minutes of it. Can anyone explain to me why the 1970s Sawyer and co. and the more modern incarnation are at all related to each other? If it was explained, then sorry, I missed it. I was thinking all along that these were merely alternate versions of the same people. As Daniel said, in one of the bits I did catch, the record is spinning again and they're just on the wrong track. So what you're seeing is Sawyer and co. experiencing life in two identical eniviro

Nice action. It is Wales though, and given the cold climate, it might not be the most flattering environment for a man in a green lycra catsuit to be in. That's one cocktail sausage safely smuggled.

Excellent, excellent, excellent news. My favourite festival of the last three years has just pulled out Jeff and co. as headliner. I'm so excited I haven't had chance to check any of the other names on the bill yet. EDIT: Forgot crucial data of when it is ..... 21st-23rd August for those interested. Here are the details:

Nope, but this does:

Can someone explain to me why the reappearance of the White Stripes is causing so much excitement? I thought Jack White had passed into the same 'still relevant' territory as Billy Corgan.

I think it was deemed an EP, but defintely has an album's worth of material on it. HOP is good, I think you'd like it. Although it bears (ho ho) the Grizzly Bear name the bulk of it was written by Ed Droste. Was only on Yellow House that Daniel Rossen (dude from the excellent Dept. of Eagles) started chipping in on the song-writing front. Like AC, I definitely see them as part of an exciting ongoing evolution, in that their musical choices and output always seem to be progressively better and different.

Pretty sure they're about to release their third album (fourth if you include 'Sorry For The Delay')

I would like to become best friends with giraffo. These two bands are the most important to me. By 'important' I mean important to me only. Sorry folks, I couldn't give a hoot about the cultural, social impact of music, specifically when trying to change a nation's way of life. I think the idea that music these days is powerful enough to affect any of this is pretty redundant. To think that way in terms of music means you have to adopt a one-size-fits-all policy in that the songs have to speak to everyone, by default this makes them bland and ineffectual. The only bands who chase that sort o

Well he, unlike her, and save for parched lips and longer hair, would look exactly the same. And he appeared and disappeared via fairly unorthodox means - shipwrecked and vanishing in front of your very eyes. Despite the traumas, I'm pretty sure I would remember the person who vanished a couple of feet away from me, and then recall them 30 years later. It would kinda stick with you, particularly after it came seconds after blowing away the (possibly not) father of your child.

I caught the episode last night and it was the first time I felt the makers have fallen into the trap that I have feared for a while: that they will contrive awkward narrative/plot devices to get themselves out of a muddle. That episode there was way too many time jumps and it was all to hint at/partially explain bits of detail from earlier episodes. For example, one jump lasting all of about a minute, was used partially explained away "the sickness". And just when you start getting bored of all the time leaps (used for intents and purposes to get people off the island, to get Jin back on th

Regarding the nosebleeds, does anyone else think that they could be related to 'the sickness'? It might just be me and my difficulty to retain information, and the fact that I've never watched an episode more than once, but 'the sickness' has never been explained, has it? I also thought that the nosebleeds were explained in part at the start of this season. Remember the scene where Dharma were contructing something (one of the pods/stations?) and they were instructed not to drill too deeply into that wall (I think the wall had something to do with moving the island) as it might release som

Arthur Russell? Famous for his disco and cello work but developed an whole swathe of home recordings which started off decidedly more conventional (think Cat Stevens, James Taylor and Jackson Browne) and then got a little bit more upbeat. They were unreleased until last year with the compilation Love Is Overtaking Me. Have a listen to the samples over on Amazon here. Also, you don't get much more damaged and shut-in than dead.

There are a number of different reasons. I think the main one is 'time', and allied to that people, and their tastes, change; there are albums that you once loved and still do, and then there are albums that perhaps can't stand nowadays. On a pure instinctive level I think I can always determine whether something warrants more plays almost immediately (ie after one listen). I tend to find that gets a bit clouded though once the environment in which you listen becomes too strong a force. It took me a while to appreciate Vetiver's To Find Me Gone, but then I realized I was trying to listen to

I've got Music for 18 Musicians and also Riley's In C and A Rainbow In Curved Air, all of which I really like. Thanks for the other suggestions though, I will look to check these out. I have also heard of his work on Bowie's Low and "Heroes". Which I'm presuming is his take on those albums' ambient passages as opposed to a Glass intepretation of Always Crashing The Same Car, Breaking Glass, Sound & Vision, etc?

Also, and me not knowing could be a sure sign of my thickness, does anyone know, or have a clue, as to what Ben was pulling out of the vent in the wall. My initial thought was they were his collection of blood samples from the victims he'd been bumping off, but then I realized I'd been watching a bit too much Dexter recently.

We just got the double ep in the UK last night. And following Daniel's analogy about the record becoming stuck and the shift in time, I got caught up with the feeling that Richard and the other inhabitants were stuck in loop. By that I mean they know when everything's going to happen and to who, despite the shifts in time, so they're basically going through Groundhog Day. Time changes and everything around them changes, but they, like the island, are constants and hence the reason Richard doesn't age, and knew that Locke was shot without being told. Just a thought...