New Blog - WGWB.net

After over a year of doing nothing, I went and made a new blog. Check it, bookmark it, RSS it, twitter it, and whatever people do to blogs these days. Word.

http://www.wgwb.net

ELECTRONIC HOOLIGANISM

Really off-topic, but this is the newest video from Justice. It's easily the most violent music video I've ever seen, and it really provides a strong visual to such a menacing song. I had to share. Enjoy

Q&A WITH JONATHAN MEIBURG

So I got the privilege of speaking with Jonathan Meiburg of Shearwater and Okkervil River today via telephone. Shearwater plays the Iron Horse Music Hall on May 7th in support of their new album "Rook" due out June 3rd on Matador Records. It's a gorgeous album, so get excited.

Brian Wood: I've always been fascinated by musicians who have the energy and drive to perform in multiple bands, especially when they offer such different sounds, such as the case with Shearwater and Okkervil River. What does playing and writing music in each band really offer you from a creative standpoint and how do they differ?

Jonathan Meiburg: I think it’s a great exercise for your brain. There is a great pleasure in being in a side band and reinforcing someone else’s songs and trying to figure out what you can do to make the song better, there is a lot of freedom in it. Whereas when you are writing your own songs there is a very different sort of energy or power to it that is also really exciting, but to me it really feels less free once you’ve written the song. You’re path is really laid out for you as to what you are supposed to do. And there is also a great difference between being the person who is standing up front and is sort of being the focus of the show versus being on the side and not necessarily being that person. Both are fun in completely different ways.

BW: Since you have experienced both, do you prefer being the focal point of a performance or being off to the side supplementing it?

JM: Like I said, they are different. I just did a tour with Bill Callahan where I was just playing electric guitar for him. I hadn’t played electric guitar in someone’s band since I was like 16 years old, which was just a blast getting to do that again. With that being said, I feel like Shearwater has been getting better and better and I’m really enjoying the way the band is playing now and I’m really excited about this new record and the shows that go along with it.

BW: I was lucky enough to get an advanced copy of your latest album and personally, I believe it’s your strongest effort to date. In your own words how does "Rook" differ from some of your previous albums in your mind?

JM: Well thank you very much. It’s more focused and strangely more human to me in some ways. It’s a little bit more restrained than the last record in some ways but I also felt like it was pure and deeper and has a wholeness and the sort of consistency and purpose to it that I’m really proud of.

BW: I know only the one single from the album has really been released so far, but what kind of response have you gotten so far from fans and music critics alike?

JM: We’re in that nervous period right now where we’re waiting to hear what people think, ya know? It seems to be really positive so far, a lot of people have told me they really like the record. A violinist who played on the record, I had finally gotten a copy to her the other day, she had just came in and played when we were in the middle of making it, didn’t really have a sense of what it would be like when it was finished, and she was really really happy with how it turned out. And that meant as much as anything to me ya know, someone who was in there while we were making saying it turned out a way that is satisfying

BW: The first thing that really jumped out at me about your newest album is the artwork. Could you talk about what the significance of the image is and maybe how it was taken? It is really a remarkable visual.

JM: The image was created by these artists named Kahn & Selesnick. I saw a piece of their art in a magazine and I was just fascinated by it and got in touch with them and was astonished and delighted that they were interested in working with us. So I sent them the demos from the record and talked about some of the themes from it and pretty much left them on their own to come up with an image they felt reflected it. I was really happy with that one when I saw it, because it’s so striking and beautiful but also kind of menacing and strange too.

BW: Matador Records seems to have a knack for putting out some wonderful releases, how's the partnership with them been so far since signing on?

JM: So far it’s been wonderful, I have no complaints. This album is really the test to see how things go, but they are super intelligent and dynamic and interesting group of people, and I feel honored to be working with them. I feel like they really understand what we are going for with this record. They are almost pathological in not telling their artists what to do, so I didn’t even play them anything from the record until it was finished, they had no idea. I was happy they liked it and they are really supportive.

BW: The Iron Horse is a rather intimate setting for live music. Do you feel this atmosphere lends itself to your music more than say playing a larger venue out here, like Pearl Street or the Calvin, ever would?

JM: Well we’ve never played in Northampton before so I’m happy to play the Iron Horse. I’d say we go over fine in a small room or a big one. I feel like we have kind of a big sound but we’re not tremendously loud or anything. We practice in quite a small room and we sound great in there (laughs). The most important thing at a show is if you really feel a connection with the audience and you can hear yourself well enough that you can hear the sound of your own voice and your instruments. If you got that you’re pretty much off to the races, big or small.

BW: Well I’m sure the Iron Horse will prove to be a positive atmosphere.

JM: We’ll make some noise in there; it’ll be a good time.

BW: I read that you are premiering the album in its entirety at your May 5th show in NYC, and once again in Austin on the 29th. How excited are you for those shows?

JM: It’s the most elaborate thing I’ve ever been part of, I’m really excited about it. We’re going to have a string quartet and the woodwinds and the harpist who played on the record so we’ll really be able to play it as it is on the record, so I’m excited for that. It’s almost more like putting on a play or a musical or something. I’m just thrilled that we get to play the record that way

BW: What kind of performance should people expect in Northampton?

JM: We’re going to play a lot of stuff from the new record I think but also a lot from “Palo Santo” and “Winged Life.”

BW: So a mixture of everything?

JM: Yeah. The New York show, I am trying to get ready for and I’m sort of nervous about it and I just want it to be right. It’s like planning your wedding or something. We can let our hair down after that’s over so you’ll see a pretty happy group of people on stage.

BW: That about wraps up my questions, was there anything you’d care to add?

JM: Nothing really other than we look forward to playing Northampton for the first time and hope to see you at the show.

* Download the first single: "Rooks"
* Shearwater's Official Site
* Pre-Order "Rook" from Matador Records

A THOUSAND THANK YOUS

I know it's not anything groundbreaking, but today the site received its one thousandth hit, and that's pretty awesome. For a little blog I started a little over 3 months ago with very little direction, I'm happy where it has gone and that people are actually checking in despite no advertising or publicity really what so ever. Thank you to anyone who has read or continues to read this page, it means a lot. New things are coming to make the site more organized and streamlined, and from there who knows where this thing will take me. But yeah, a big thank you, a thousand of them.

TPC STIR NOHO INTO A FRENZY

Tokyo Police Club stir NoHo into a frenzy

Daily Collegian | April 29, 2008

With a backdrop of sirens and the unified chanting of their name, Tokyo Police Club emerged onto a tranquil, illuminated stage amidst a hue of blue light and much fanfare. What followed was far from a peaceful Saturday night.

Translating their frenzied material seamlessly in the live setting, the band powered through the lengths of almost their entire discography before a capacity crowd at the Pearl Street Night Club. Four-piece bands generally don't create the kind of energy and depth of sound that the Canadian quartet mustered, and for that the band deserves their due. Whether rattling tambourines, emphatically clapping, or incorporating crowd interaction, the band not only stretched the limitations of what a relatively simple four-piece arrangement can offer in a live environment, they abandoned them altogether.

The frantic pace of their recorded works took on new life on stage, aided by the band's theatrical flair, engaging material, and the elaborate circle of fluorescent punctuations that accompanied every second of their set. Surrounded by synchronized glowing pillars, every break down was met with an elaborate array of colors, and every lull was met with soothing and still light. This added visual provided a unique dimension to their stage performance, accentuating the insatiable highs and melodic lows of their set list.

Bassist and lead vocalist Dave Monks was front and center and proved to be a stabilizing force to the band's eccentric on-stage persona. His bass lines carried the majority of the night's selections and were accented by Graham Wright's over-the-top keyboard arrangements and the spirited drumming of Greg Alsop.

Guitarist Josh Hook served in a variety of roles, playing his guitar positioned well below his midsection and periodically letting it hang from its strap in favor of inspiring clap-alongs and feverishly providing a supplemental layer of tambourine.

Wright was the true showman of the quartet, owning his corner of the stage with an unparallel flair for the dramatic. Onlookers could see the sweat drip from Wright's hair and collect on the lenses of his black-rimmed glasses and the exhausted expression on his face as he screamed into the microphone, lunging over his synthesizer, desperate to reach the audience.

When he wasn't playing or grinding his hips into the casing of his keyboard, he was violently rattling and slamming a tambourine, using his free hand to punctuate the fourth beats so hard your palms felt sore even from the back of the clubroom.

On this night, one of the biggest criticisms of the band's records turned out to be one of their live shows greatest strengths. With a discography that runs under an hour in length, the band provided a taste of everything, both old and new, and delivered their quick hitting songs with all the necessary dynamism.

Despite their newest album "Elephant Shell" being released just this past Tuesday on Saddle Creek Records, the crowd was familiar with the wide range of the new material performed by the band. Slower selections such as "Juno" and "Listen to the Math" resonated through the clubroom and were met with softly mouthed audience renditions to accompany the relatively calm lightshow.

Upbeat songs like the cheekily titled "Your English is Good" and the clap-along single "Tessellate" caused quite a stir in the crowd, as dancing broke out in patches throughout the packed room while those on the outskirts were likewise helpless to stand motionless.

As is almost always the case, the band's older material garnered the most positive response from the crowd. Tearing through tracks from "A Lesson in Crime," the bands 2006 release, the band managed to supplement their newest material with their established works, maintaining a delicate balance throughout the length of the set.

"Nature of the Experiment" elicited the warmest response of the night. The franticly paced number got people moving in unison with the song's aggressive pace and singing out with a complete lack of restraint in unison with Monks' vocals, which arguably sounded superior in the flesh then they did on the songs digital counterpart.

The band fittingly concluded the night with "Cheer it On," a song that served as the introduction to their first album and the band as a whole. As band and crowd yelled in unison along with the song's chorus "When you're standing near/ Tokyo Police Club/ when you're standing next to me/ Tokyo Police Club," the lyrics developed new meaning. With each emphatic declaration of their namesake it became increasingly obvious that the song was no longer an introduction; rather, it was a statement that they had truly arrived.

Photos Courtesy: Brian Tedder / Daily Collegian
Click for an awesome Photo Slideshow

TOKYO POLICE CLUB IN NOHO SATURDAY

Tokyo Police Club embrace internet success
Daily Collegian | April 25, 2008

While some are quick to dismiss the journalistic credibility of blogging, its undeniable influence over pop-culture seems to grow exponentially with each passing day. If there ever was a poster child for this newfound impact the Internet has in shaping the modern musical landscape, it would be Tokyo Police Club.

The youthful Canadian quartet started out in 2005, building a small following while generating buzz in their local Toronto area, catapulting them to play larger venues and local festivals, and ultimately signing a deal with the Canadian-based independent label Paper Bag Records to release their first studio recording.

In 2006, "A Lesson in Crime" was released to the public; a debut collection of frantic and quick-hitting tracks that seemingly defied genre typecasting. The band teased listeners with its potential and brevity by racing through the EP's eight tracks with reckless abandon, the finished product clocking in at fewer than 17 minutes.

While some mainstream music critics lauded this as a glaring flaw, the album was openly embraced for its frenetic pace and audacity by bloggers and online music communities. This freshly-generated publicity catapulted the band from localized obscurity into the mainstream musical climate.

"It was really surprising but awesome," said keyboardist Graham Wright of the online buzz that surrounded the band in a recent phone interview with The Daily Collegian. "But with any kind of hype you have to take it with a grain of salt really."

Modest in both experience and nature, Wright, as well as the rest of the band, is very conscious of the power online communities have on propelling relatively unknown bands into national prominence.

"I think Vampire Weekend is the prime example, their like what, the biggest band in the world now? The people creating the hype today are just regular people, not necessarily professionally-trained writers, just people with blogs," Wright said.

"These are everyday people, so they don't have to deal with the pressures or the politics of more traditional media. They have no loyalties so they can turn on you just as easy as they praised you and that hype can disappear really quickly."

In the wake of "Crime's" success and the bands growing online contingent of supporters the band signed to Omaha-based Saddle Creek Records in 2007, a partnership that left many fans perplexed given the two parties contrasting trademark sounds.

"Initially I was a bit skeptical of signing with Saddle Creek" Wright said of the partnership. "We really don't fit that 'Saddle Creek' sound they are so well known for. But looking back I truly believe it was the best choice, it has worked out better than I dared imagine."

While the band is admittedly overjoyed with how their affiliation with the label has turned out, the jump from a small independent label to Saddle Creek was hardly a rash decision.

"We talked to every record label we could think of both big and small," said Wright. "When it finally came down to it Saddle Creek really just offered the best of both worlds for us by being small enough to get in personal contact with while still being large enough to transcend beyond the indie scene. They're really super great people too."

Last Tuesday, the bands first full-length offering from Saddle Creek, "Elephant Shell," was released in stores. While still possessing the band's unmistakable style of relatively brief and quick-paced songs, "Elephant Shell's" sound is decidedly less scattered than its predecessor and can be best described as a more centralized, cohesive effort than "A Lesson in Crime."

As with any shift in sound, there is always the chance of a backlash from fans, but according to Wright, this was a risk the band was willing to take as they strongly believe in the quality of their latest album.

"The reaction from fans has been mixed, which is honestly what I expected," Wright said in regards to fan feedback, "Some of our diehard fans, if I can really use the term die-hard, seemed a bit puzzled at first, but we have gotten some really positive responses as well. The album is defiantly different in some very key ways [from 'A Lesson in Crime,'] so it takes a little while to warm up to. I'm sure it'll grow on them though, it did for me."

One thing fans and critics universally can agree on is that even with the lengthier confines of a full-length album, the band still has a flair for creating songs that barely break the two-minute barrier. "My first thought was 'Oh great, we made another batch of two minute songs,' but we honestly never put any thought into how long a song is going to be" Wright said with a slight chuckle, adding, "We don't go back and add things in after the fact, we just write them the way we do. I guess you could say we have musical ADD."

With their current tour, the band hopes to win over more fans that may be on the fence about the new album and, according to Wright, this has been going exactly as planned.

"The tour has been going great and we've been playing some fantastic shows to some really responsive fans," Wright said. "We're all excited to come back to Northampton; Pearl Street is a really awesome venue."

Tokyo Police Club plays Saturday, April 26 with opening acts Smoosh and Who Shot Hollywood at the Pearl Street Night Club in Northampton. Doors open for the event at 8:30 p.m. and tickets are $12.50 in advance, $15 at the door.

THE CANADIAN ONSLAUGHT CONTINUES

Well, I'm still recovering from the insanity that was Grand Buffet last night, and still feel a bit awestruck to be honest. Expect a full review in the coming days that tries to document how ridiculously good of a time it was. That is sure to be a difficult task.

The next show I'm covering in depth will be Tokyo Police Club @ Pearl Street on the 26th. I was lucky enough to speak with Graham via cellular telephone the other day and I am pretty excited to see them with a fresh accompaniment of tracks at their disposal. Their new album "Elephant Shell" took a few listens, but has really started to grow on me. Here's the video for the albums first single (and perhaps strongest offering) "Your English Is Good." Expect a full preview within the week. Enjoy!

RIDING 'THE LIGHTING' WITH GRAND BUFFET

Riding 'the lightning' with Grand Buffet

Daily Collegian | April 16, 2008

This Thursday, to use Grand Buffet's own words, the city of Northampton will ideally resemble "Tel Aviv, but with more iced cinnamon bun franchises."

Whatever the band thinks of the city upon their arrival, the atmosphere within the Iron Horse Music Hall will be entirely under their collective control, echoing the raw energy and humor of the exuberant showmen.

To claim that Grand Buffet have a flair for the dramatic would be a gross understatement. The lively Pittsburgh hip-hop duo possesses enough enthusiasm and stage monikers to span an orchestra worth of musicians. Lord Grunge (also known as Jarrod Weeks and at times Viceroy) and Jackson O'Connell-Barlow (also known as Grape-A-Don and Plaps) combine their talents to create an impressive array of beats, energy and outlandish lyrics. With a musical career now spanning a decade, the duo have found themselves of late touring with critically-acclaimed bands such as the similarly theatrical Of Montreal, inspiring listeners along their travels with their two-pronged free-flowing attack. Now, in the midst of a headlining tour, the spotlight is directly placed on the duo.

"We don't have any instruments to hide behind or channel through," O'Connell-Barlow told the Daily Collegian via an online interview earlier in the week of their live performances. "We got to pour ourselves out into that empty space."

"It's a rush," added Weeks. "It's like being in a cage fight naked."

While on tour, the band has been unveiling songs from their newest album "King Vision," a release the band admits is a sure sign of their musical progression. When asked about this shift, Weeks said, "I think the evolution of our sound is essential. I've got enough reasons to want to kill myself. Making a record that sounded just like one we made eight years ago isn't a reason I want to add to that list."

Described by O'Connell-Barlow as a concept album with a more prog-pop sound, the album features rhymes that delve into more prominent social and political issues than some of the duo's past works.

"[The album] is over the top in its sincerity and sound in defiance of all the safe, 'subversive' hipster-magazine soundtrack bands out there snorting coke at art gallery parties whilst America is dying," said O'Connell-Barlow. "We put our balls on the chopping block with this 'heart on our sleeve' type of record. The sound of this album tends to soar more than sneak, so it runs the risk of getting shot down."

Still present throughout the length of the disc, however, is the band's unmistakable lyrical flow and ability to craft rhymes that are as identifiable with as they are, at times, outrageous. When asked about the inspiration behind their music and the creative process that fuels it, O'Connell-Barlow stated plainly, "I like using words that feel good in my mouth," while Weeks attributed, "dog sh*t-cheap wine," to being his muse in crafting the band's backing beats.

"I sit and listen to the beat for hours waiting for the wisdom of the collective unconscious/gods to add substance to whatever rhythmic pattern I've worked out," said O'Connell-Barlow, further elaborating on the creative process. With lyrics that revolve around such topics as brown bears with masonry skills on "Bears and Bricks" and meteorites crashing into fish tanks on the newly released "Cheesecake Money," O'Connell-Barlow's subconscious is truly something to behold.

On one of the band's most popular and established songs, "Benjamin Franklin Music," the duo urge their listeners to "feel the lightning inside," a sentiment that has not been lost over the past decade of creating music. "The power and resolve of the self-loving, self-respecting, self-aware individual is the closest thing to magic I've yet to witness," said Weeks.

With their performance Thursday, both members hope the audience can, as they put it, "shake off the frozen bumblebees and generate the lightning," and transform the Iron Horse into a venue of limitless possibilities.

Grand Buffet plays Thursday, April 17 with opening acts B. Dolan and Party Wolf at The Iron Horse Music Hall in Northampton. Doors open for the event at 10 p.m. and tickets are $8 in advance, $10 at the door.

Q & A WITH GRAND BUFFET

I was lucky enough to get in touch with Lord Grunge and Jackson of Grand Buffet before their upcoming performance this Thursday at the Iron Horse. Here is the hilarity that ensued:


Q- Most bands have an entourage of instruments at their disposal, what is it like being on stage with nothing but backing beats and a pair of microphones?

Lord Grunge: It's a rush. It's like fucking without a rubber, or being in a cage fight naked.

Jackson: I don't like a cluttered stage. We don't have any instruments to hide behind or channel through, we gotta pour ourselves out into that empty space, as long as the sound man doesn't castrate us with quiet volume, it is a fine set-up for our music indeed.

Q - I noticed a bit of a shift in style in your sound as of late, so could you talk a bit about how your latest album "King Vision" is a departure from your previous releases? What kind of influences (musically, socially, politically, etc.) played a role in its creation and the evolution of your sound?

LG: Well, we've been a band for so god damned long that we've both grown and self-educated ourselves significantly. I don't want to come off sounding smug, but when we cut our first record we were basically just kids. we're now full-on grown up assholes, and we've seen an awful lot of intense, funky shit on the road. musically, we've both always been huge fans of music and are perpetually devouring all the music we can get our damp little hands on, so i think evolution of our sound is essential. I've got enough reasons to want to kill myself. making a record that sounded just like one we made 8 years ago isn't a reason i want to add to that list. as for the politics, well, it wasn't nearly as clear to me when i was 20 that we are indeed living under a fascist, iron heel in this country, and have been for quite some time. i think that comes down to just not reading enough. it only takes a few books on economics and the history of government for a thinking person to realize that about the only system of government that doesn't lead to a command society is one of a staunchly libertarian ilk.

Jackson: KING VISION is our prog-pop concept album, over the top in it's sincerity and sound in defiance of all the safe "subversive" hipster magazine soundtrack bands out there snorting coke at art gallery parties whilst America is dying. We put our balls on the chopping block with this "heart on our sleeve" type of record, in the spirit of easy target bands such as Rush/U2/Springsteen.. artists that we admire greatly. The sound of this album tends to soar more than sneak, so it runs the risk of getting shot down. As far as politics, it's very difficult to avoid thinking in political terms currently. Politics are avoidable if you've the income to buffer the rate at which you are effected by their repercussions, I suppose.

Q- What is the typical song writing process for you both? Lyrically you manage to create an undeniably free-flowing sound while using some rather abstract/unconventional rhymes, what comes into play when you are penning a new track?

LG: It used to be that I made the beats, and the other guy rapped. Over the years it's gotten much more fragmented. We write and record separately, then meet up and play ideas and shit with each other. I don't personally have a strict method for writing, but a couple bottles of dogshit-cheap red wine comes to mind as a real humdinger.

Jackson: Most of my writing stems from what the sonic template informs it with, what type of mood the sound elicits. I sit and listen to the beat for hours waiting for the wisdom of the collective unconscious/gods to add substance to whatever rhythmic pattern I've worked out. I like using words that feel good in my mouth .

Q- How was it touring with Of Montreal last year? I sadly missed the show, but heard wonderful reviews from friends across the country who got to attend. Do you like touring with bands like that who posses a similar flair for the dramatic?

LG: Of Montreal is inspirational, both as a band and as individuals. Their work ethic is amazing, their music is amazing, their stage show is awesome, and they're some of the god damned coolest people I've ever had the pleasure of knowing. Any band that can put up with my manic-depressive, hard-drinking, broken-hearted antics is some true good people. And yes I do think that the two groups share a passion for the performance element, which is why I think it worked well as a tour package.

Jackson: Of Montreal & MGMT are absolutely fantastic people and musicians, it was a wonderful tour. I'm happy to tour with any band that takes the stage to represent themselves with their own unique aesthetic.

Q- I have to know since it's certainly my favorite album title of the past few years, but how did you land on "The Haunted Fucking Gazebo" and what significance does it's name and artwork hold?

LG: That's all Jackson. He brought it to the table and it blew my mind. My only stipulation was that somewhere in the artwork he include a basketball.

Jackson: My higher self put that ace in the deck, it's just a title that a Grand Buffet record should have.. the album artwork is simply '' the Haunted Fucking Gazebo."

Q- Any thoughts on Northampton or the surrounding area if you've been out this way before? Any expectations if you haven't?

LG: I'm actually a big fan of Northampton. and no, I'm not saying that to be diplomatic. It's surprising, too, because normally I don't dig college towns, and I sure as shit don't dig the state of MA. I'm expecting a fun, fun time. because it always is, even when it's been an intimate event.

Jackson: I've had good Thai food in Northampton in the past. Last time we played there I bought a Brian Eno pin at a local record shop... but some asshole stole it during the Of Montreal tour. I get a little uncomfortable being around colleges.. so I hope those won't be around this time. I'm hoping that this time around, Northampton will resemble Tel Aviv, but with more iced cinnamon bun franchises.

Q- With a decade of creating music under your belt, and this latest album just released, what's next for Grand Buffet?

LG: That's a tough call. I know we're both working on solo records and some other side projects. personally, I'm trying to lose 50 pounds and then start getting paid for selling the dick on camera, if you know what I mean. The day job's been looming all this time, and I'm thinking porn might be the one for me. No, i don't have a giant cock, but my sincere, eager respect for the female form compensates. or maybe drive a big rig. Or, if we keep finding awesome, more famous bands to take us on tour as support, we'll do that until we're 40.

Jackson: The fires of Hell, the feathers of Heaven, a leather Arby's jacket and a sword named "Kevin."

Q- Now that you are a bit older, wiser... does everyone still really "got the lightening inside?"

LG: Absolutely, sir. The power and resolve of the self-loving, self-respecting, self-aware individual is the closest thing to magic I've yet to witness.

Jackson: If they choose to shake off the frozen bumblebees and generate the lightening, yes indeed.

Q- Any other thoughts you'd care to add?

LG: I think you nailed it all smashingly!

Jackson: People that use that antibacterial hand gel all the time, are fucking idiots.


Grand Buffet plays this Thursday, April 17 @ The Iron Horse in Northampton. Tickets are $10 at the door, show starts at 10 p.m.


* Grand Buffet's Official Site
* Grand Buffet on Myspace

I WAS BORN WITH AN AMERICAN HEART

Saturday night was my first encounter with AA Bondy, and I left with a strong yearning to experience more work by the raspy-voiced singer-songwriter. If you have never heard him before, here's a video of my favorite selection from the night ("American Hearts"), do enjoy:



* AA Bondy on Myspace