5hake1t0ff

I'm stuck wondering what you cook in such a diminutive oven, but I'll recover.

Wow, what a great read. I connected with a whole lot of what that author was trying to express about being a fan of the band. Also had a number of revealing, extended quotes from Jeff about the band’s creative process. Something I’ve been thinking about lately, which this article helped to reinforce, is how the last few Wilco records kinda keep returning to two distinct, but oddly related, themes: 1) feeling like we’re all living through an increasingly dystopian version of the America we thought we knew; and 2) taking personal responsibility for our own mental health and the role

Totally not wrong! I agree with you there. And since I appreciate our back-and-forths... I interpreted the writer's point a little differently than you. He's saying it's reductive to look for one style of Wilco and, having not received it, decide that amounts to everyone besides Jeff being "underutilized." I've seen a dozen different versions of the "underutilized" critique, and I do find it quite tiresome. Ever since Wilco became a sextet, it's probably invited this critique, which I don't even think is what you're saying exactly. I think you're just saying you prefer the guitar-l

How Wilco Became the Most Misunderstood Band on Earth - InsideHook Honestly the best thing I've read on Wilco in a long, long while.

You’re not wrong, Walter ….

Ten Dead has really captured me. It sounds like if you added 15 years of 21st century American history to the mood of the Sky Blue Sky sessions. I'm okay with it not being played live. I agree with Jeff's point about it being meant for one-on-one song-listener encounters. I'm still a relative newcomer to Molina's catalogue. I loving most of it. Looking forward to checking out "Song for Willie" per Marijn's comment.

For me, Evicted is the low point, as it sounds too much like his pop-y solo songs but for a few Cate Le Bon-infused sonic flourishes. And I get how Soldier Child can sound of-a-kind with Across the World and White Wooden Cross, but I don't really mind it because I find it to be the most interesting, both melodically and interesting, of the three. These are but quibbles for me, and I'm still stuck into listening to this album all the way through, at least for now.

One early thought I have after two listens is this is the first album the sextet has managed to both play a wide range of styles and maintain the overall feel of it being one studio session, one artistic album. That has always been my issue with TWL, which is full of great songs and variety, but felt to me like a compilation of different studio sessions and lacked a certain cohesion. Also, after reading a couple of reviews that were kind of 'meh' on the lyrics/sentiment of this album, I was super surprised to find myself very emotionally taken by several of these songs. There's a m

I get the sense that a number of reviewers approach each new Wilco album with very high expectations, like they expect to stumble on the next classic Wilco album. That says a lot about how successful Wilco has been keeping people's attention all these years. I think Wilco approaches it differently. I would guess the mindset of Tweedy and (wil)Co. is not to create what is considered their next masterpiece, rather to create the stuff that keeps themselves interested as artists/musicians. Anyway, I'm hearing lots of tidbits in these reviews that make me think I'll enjoy this next one plenty.

To be more specific, I'm talking mid-to-late-70s Bowie. Station to Station thru the Berlin Trilogy. And more the style/instrumentation than the vocals mix. But to the vocals mix comments, I immediately noticed the same thing with the latest track. It caught me a little off guard, but on repeated listens, I do also enjoy the effect it has of highlighting the ensemble, as jff already pointed out.

Anyone else getting big Bowie vibes from what we’re hearing so far?

A lot great ones already mentioned, but here's a more recent one that I love: A country song, like a trout Dying sky and water Rainbow flickering out

Well, that review was ... damn man! I don't know how to contain my hype for this album. Pray for me.

In an effort to reinforce the topic of this thread, I wonder if Cousin might be able to thread the needle of our diverse aural preferences. Experimental sonic flourishes + pristine production + coherent idea/sound. I mean, you can’t please everyone, but I’m hopeful this new one will pump some air into the barely smoldering fire that is the Wilco fan community of recent years.

I’m always fascinated about the difference between people who like a band’s music and fans who feel like it’s an actual relationship. I’ve had the experience of the latter with only a handful of bands over my approximately three decades of attentive music listening. (I’m one elder millennial who makes as much time for music these days as I ever did. Some life, but it’s mine.) Anyway, Wilco has done the best of sustaining the relationship, which started right about two decades ago for me. Bands like U2 and Pearl Jam, on the other hand, I still feel strong attachment to, still get my hopes up wi

Isn't there some vocal effect going on with the background vocals on The Universe? Edit: Specifically the "Everything is listening for what it means" part

I got around to listening to this following your tip. Interesting album, to say the least. Loved the juxtaposition of the deep and warm synth washes with the saxophone. Can’t wait to hear how those sounds mix with Wilco’s sonic range.

The "Not saying anything" demo was gorgeous. Haven't listened to it in months, but I remember loving it.

Amazing how hyped I still get, after all these years. Don't know if that says more about what a great band Wilco is, or me being an obsessive type.

Is that Cate singing the “heartache … always fades” echoes during the bridge?

It’s funny how the new tune sounds like Tweedy + Wilco + a sprinkling of Cate Le Bon. I’m here for it, and I’m sure, based on the promo verbiage, we’re in for some fun sonic twists and turns across Cousin.

I must say, this is not the description I was hoping for of the first single off the supposed "art pop" record, but I will strive to retain my tabula rasa and trust my dudes.

I'm going with first or second week in November, piggybacking on Jeff's book release pub.

Well, since it might save you time, let me add I was mostly blown away by the songwriting of a very specific period: American Beauty (1970), Workingman's Dead (1970), and Garcia's solo self-titled (1972).

I've never been close to a deadhead, but the Day of the Dead tribute album that came out a few years ago and included Wilco's live performance of St Stephen is full of excellence and got me listening to a whole lot of GD over the past year. I have come to think Garcia is underrated as a songwriter and overrated as a live musician/cultural icon.