
Next week we’ll have more music from The Flying Spider’s new EP called The Doppelganger. See them live at Zola next Friday. It’s solid.

Next week we’ll have more music from The Flying Spider’s new EP called The Doppelganger. See them live at Zola next Friday. It’s solid.

You know how I spent months playing Peter Gabriel? That’s going to happen. Again. Most people say “Oooh, some older gentlmen straps on an orchestra… No, thank you.” Gabriel says, “This is not the way we’re approaching things.”

Tune into this artist during the second hour of Save the Moon.

Moby and Kelli Scarr collaborate to one song, three different versions in two days. We’ll listen to Kelli Scarr tomorrow morning.

(Via @WorldCafe) I keep wondering why “High School Bands Gone Wild” never became a hit. - “Frontman Kyle Morton, the driving force behind Typhoon’s sound, has said that his songwriting channels both his deep fascination with philosophy and his prolonged experience with illness during his adolescence. His fellow instrumentalists combine violins, horns, percussion and more into a melodious panoply of sound that is as awe-inspiring as it is heartbreaking.”

(Via @NPRMusic, Tiny Desk Concert) - “When Colin Meloy’s beard is cornered in a dark alley, it summons the assistance of Sean Rowe’s beard.”

(Via @NPRATC, All Things Considered) - “I can’t compete with Herbie Hancock. I can’t compete with Wayne Shorter,” says Mark Levine, a pianist, composer and educator who has twice been nominated in the Best Latin Jazz Album category, now folded into Best Jazz Album. “Go down the list. It is very unlikely that a Latin jazz artist will be more popular.”

(Via @NYTimes, Opinionator): “…some readers were aggrieved by the idea that children should learn popular music in schools, others suggested that classical composers would love rock ‘n roll. Some feared that teaching pop would “dumb down” music education, others felt it was vital to make music education more relevant to children.”

“A Creature I Don’t Know is a collection of songs that form a narrative. Marling hesitates to tell the story other than through the songs, but the contour of a relationship is clear, as is a theme of anger that turns both parties into “beasts.” Marling’s singing is more graceful and edgy than ever, and she sounds impressively at ease and in command when she performs.”