For awhile, musician Jonie lived in Nashville. He contributed a lot to the burgeoning pop scene here, ran a cool studio, had a podcast and was generally pleasant to hang out with. I am sure that last one continues to be true but Jonie moved away to Los Angeles in pursuit of other endeavors. Nashville misses his contributions but he's still putting out great work. For example... His latest EP is called Infinite Desire and it's a love letter to 1980's classic horror movies fused with Jonie's own flavor of upbeat, danceable, fun. It's a rare combination of spooky and euphoric. Helluva combo.

The EP is on Bandcamp or Soundcloud or Spotify orApple Music, etc. etc.

Graham Wright of Tokyo Police Club, along with producers John Paul Bullock and Josh Hook, have launched Major Label Debut - a podcast talking with artists that took the leap from indie label to major label. The first episode is with Rob Schnapf on Elliott Smith and XO. I've been fortunate enough to see the guest list of future episodes and it's going to be a great season of chats and insights. I highly recommend adding to your podcast app.

When you rediscover a gem you posted about in 2018 and it still holds up perfectly six years later.. that's a good bloggin'! If you don't feel compelled by "Metroid music as analog synth" just reframe it this way - Do you like John Carpenter soundtracks? If so, hit play.

via donstaylong... again.

It's Halloween. That means it's time for you to get your dose of the KXVO Pumpkin Dance. Yea, you've seen it a thousand times and you think you're over it.. but you're not. Even this unnecessary extended cut is delightful for the entire 4 and a half minutes!

If you think that's too much, you can always find the original on Dailymotion. Or maybe allow yourself to enjoy the Shaboi Mash-Up version! Or maybe you wanna read how it exists in the first place. Do it all. Treat yourself.

For me, this music video for Ejmi Rhiel supercedes just being a plain ole music video. The entire vibe of it feels like a nod to horror movies, latent spaces, back rooms and the days of VHS - all swirled into one. If you told me this was plucked from a thrift store and these kids were never heard from again, I'd believe it. The artist name, the song title, everything about it is just the right amount of bizarre. It really takes off in the 4minute range. I'm posting this on Halloween and it couldn't be more appropriate.

The immersion is even more effective when you dig into the rest of the AmyReal channel, which has a completely opposite, maximal, aesthetic.

I've been a fan of Autolux since the very beginning. The trio of Carla Azar, Greg Edwards and Eugene Goreshter that formed from the ashes of Edwards leaving Failure (and, presumably, getting clean) has been a staple in my musical diet for over 20 years. Way back in the early aughts, friends of mine living in LA were kind enough to procure early demos. You can hear both online. I recommend it.

The band announced today that those collection of early demos - plus two unreleased tracks - are being pressed to vinyl as AUTOLUX / DEMOS (2001-2002). The cover art even mimics the original spray painted jewel case. Suffice to say, I'm excited for the release and to revisit the songs.

I must admit, I've tried out Arc and wasn't able to make the switch from Chrome as my primary browser. I am sure the sidebar-as-tabs is a superior alternative but it just never stuck. Same with Arc Search, the AI-powered Google alternative for fetching search results.. it never stuck.Despite all that, I continue to be intrigued by The Browser Company.

Their latest announcement raised quite a few eyebrows - understandably so. The company says it is not going to continue with developing Arc as a browser - no redesign, no reinvention. They're just going to keep it stable and move on to an entirely new product.

On the one hand, I find it odd that they show so much adoption and growth with Arc but deem it not enough. This seems indicative of a bigger problem with startups and their desire for ultra growth. On the other hand, I respect moving on to another idea if you feel what you've been working on isn't ever going to meet the mark you want to meet.

At the very least, it will be interesting to see how it all develops.

Many illuminating moments in this Inc. piece on Steve Albini's legacy and the struggling business he left behind. Obviously when Albini died it was shocking and one of the earliest questions for many was - what is the future of his studio Electrical Audio? The piece does a great job at answering that question specifically. The TLDR is that there isn't a clear answer, as there probably never was even when Albini was alive.

Being a Nashville resident, you often hear about "legendary" spaces like RCA Studio A, where Chet Atkins, Loretta Lynn, George Strait and countless others recorded. I have affinity for all those artists but they don't really have a place in my personal history in the same way as say, In Utero or Surfer Rosa do. But it's striking how much they are the same thing. A hallowed space run by a memorable personality that created some undeniably incredible works (see also, Richard Swift and National Freedom).

I hope Electrical Audio has a long term future. It would be a damn shame for it not to flourish into something beyond Albini himself. I don't consider myself a superfan of the guy but his pragmatism certainly hints that he'd likely agree. Maybe we should all buy some merch to help elongate that wave of support just a little bit longer.

Really great long read from Drowned in Sound on Lily Allen's Feet. More specifically, a comment that she made expressing that she makes more from selling photos of her feet on OnlyFans than she does from streaming. The Allen post is clearly not meant to be a nuanced examination of the music industry or tech's role in it. She's making a point that artists with millions of listeners are not financially benefiting from it, just like everyone else. This is a problem. However, if you do want a nuanced examination of the music industry, advances, contracts, copyright owners, marketing expenses and so much more - you will enjoy the Drowned in Sound deep dive, as I did.

I recently became aware of the "Halloween Extravaganza and Procession of the Ghouls" at The Cathedral of St. John the Divine in NYC. The event is a large scale puppetry exhibition that has been going on for decades! The Mettawee River Theater Company is responsible for all the creatures and they are incredible.

Founder Ralph Lee was also responsible for starting the East Village Halloween parade in 1974; which is an incredible spectacle to this day. Oh, and remember the SNL skit for Land Shark? Yea, Lee made made that shark. Sadly, he passed away in 2023 at the age of 87.

Learning more about his legacy is really rewarding. Spend some time with this short biopic, read these memorials and then scour Google Images for "Mettawee River Theater Company" and then you must watch this.

Very effective trailer here for The World According To Allee Willis. Who is Allee Willis? I've no idea! But from some cursory readings I can tell you that she wrote songs for Motown, she wrote for 80's pop artists like Cyndi Lauper, she wrote the The Rembrandts "I'll Be There For You," she was friends with and influenced Pee-Wee Herman, she was nominated for a Grammy and a Tony for The Color Purple, she won a Grammy for the soundtrack album score for Beverly Hills Cop, she gave a keynote address to the first Digital World conference in 1992 about "interactive journalism and self-expression in cyberspace."

I've never heard of them but I can't wait to learn more. Already fascinated.

This ARS Technica piece on rampant location tracking technology is a nice reminder that you do have a little bit of power to not be tracked - you just gotta dive into your settings to make it happen.

Personally, I am quite guilty of not disabling these settings but I think after reading this I will finally do it.

I recently learned about the Crescent Dunes Solar Energy Project - an undertaking that aims 10,000 mirrors at a tower filled with salt, generating a "molten salt flow" that is used to produce steam and, thus, electricity. Reading over the Wikipedia, it has been fraught with technical problems, bad contracts and hiccups - which is unfortunate because look at that thing! It's a rather incredible concept and an impressive implementation, even if it was a bit troubled.

I'm not here to inform you about the environmental advantages of such an undertaking as the Wikipedia truly makes my head spin when trying to explain the amount of energy this creates. It doesn't really matter tho, I'm just here to tell ya "Look at this thing!"

Photo via

Today, yk Records released the third LP from LA based Talking with Hands (aka Matthew Smith). I'm biased of course but I think it's a particularly strong offering from Smith and am really pleased to have been involved in some part with bringing it into the world. As the story goes, Smith was working on a follow-up to his previous album and decided to make two EPs - each tackling a different topic. The first would be about Generative AI's entaglemenents with human creativity. The second would be about the devaluing of music from big tech. Heady topics but good starting points for inspiration as they were near and dear to his personal experiences.

Over time, those two EP's congealed and transformed into one cohesive album - Organic Machine. It's a ready that covers a lot of big topics but doesn't do it in a way that feels cumbersome or dense. The songs may be about how terrible streaming (and Daniel Ek in particular) is for artists but it's a lot of big, memorable, hooks and buzzy guitars. It's a fun time!

We released three preview singles ahead of the album. Each containing two remixes and each accompanied with a music video - you should watch them all.

I made the cover art with Matthew Smith and am quite proud of how it turned out. I don't think it needs any heavy-handed explanation but I am quite happy with the subtle Black Mirror-esque vibes and the old school loading animation - both appropriate for the album themes, imo.

It's streaming everywhere - Apple Music, Spotify, etc. It's also on Bandcamp and Ampwall if you want to support it there.

There's more promotion left to do for this record but I'd really appreciate it if you'd give it a whirl. I think you'll enjoy it.

I can't believe it but here's 11,000 words about The parallel evolution of React and Web Components from Baldur Bjarnason - an icelandic web developer with plenty to say. Did I have any idea I'd be interested in 11,000 words about this topic? No. Was I incredibly satisfied with the read? You betcha!

Been a big fan of Jordan Lehning since the days of Eureka Gold and the Make-Out with Violence OST - going back to 2013 or 2009, respectively. He's an incredible songwriter, performer and studio magician. This new video for "Cherry Stem" - the first single from his forthcoming album Up at the Witching Hour - is an impressive collection of animations and styles all set to the sublime and melancholy track. Can't wait to hear more.

Much to my own surprise, it seems I have been making Halloween mixes since 2005. I missed one in 2016 but published two in 2017, so I'm revising history and saying I've never missed. This year is no different! I just published Gruesome Ghouls and Ghosts, a two and a half hour mix of spooky and scary tunes that just so happen to be from Nashville. Please do me a favor and hit play on that just for the first 60 seconds. You may not have 2.5 hours available for a slow burn from kooky songs into scary soundscapes into totally devolved sounds but you've hopefully got 1 minute for a goofy introduction from my favorite alter ego, Michael Bleeds! We have fun.

For proper posterity, I'm going to list all the prior mixes below. Next year will mark twenty years of doing this. I can't even comprehend it. Hope you enjoy!

• 
  Gruesome Ghouls and Ghosts
  2024
• 
  Dark Delights
  2023
• 
  Creature Feature
  2022
• 
  Spooky, Scary & Ghoulish Delights
  2021
• 
  The 2020 Halloween Spooktacular
  2020
• 
  Halloween Spooptacular 2019
  2019
• 
  Volume 119
  2018
• 
  Volume 96
  2017
• 
  Spell Caster
  2017
• 
  Ruination Rumination
  2015
• 
  Revival Denied
  2014
• 
  Potions and Brews for Countless Horrors
  2013
• 
  Paralyzed with Fear
  2012
• 
  Endless Hell
  2011
• 
  My Descent into Madness
  2010
• 
  Dark Despair (Undead Trespass)
  2009
• 
  Crepuscular
  2008
• 
  Et Tu, Morte?
  2007
• 
  Songs for Spooks
  2006
• 
  Pure Terror
  2005

It's been awhile since I just encountered a proper photography portfolio site - the kind you used to run across with great frequency ten to fifteen years ago but feels so rare and fleeting now. The photographic work of Hudson McNeese is a quality slice of life - often strange, intriguing or beautiful. Sometimes just tasty. All of the collections and selected works are worth spending some time with.

I also highly recommend the comics and commissioned works - loads of goodness to consume.

I'm not sure where I stand on the state of music journalism. Sites like Pitchfork and Stereogum still cover a great deal of the "mainstream indie" press and mainstays like Brooklyn Vegan, Aquarium Drunkard or Bandcamp Daily are still providing great insight on a bit more of the fringes. Not to mention Nashville Scene coverage that always hits the spot for me (tho I could stand to have 10x more of it). I never really looked to sites like Rolling Stone or SPIN for my music coverage because they tend to cover music that isn't for me.

That said, there is a general feeling that music journalism is in a shake-y spot. Confidence in Pitchfork or Bandcamp sticking around for the long term is very low because of their parent companies. I understand that thinking but, for now, both seem to be chugging along just fine. Regardless, diversity is king when it comes to covering the arts! More is better! I read somewhere that 10,000 songs were uploaded to streaming per day. There's no shortage of music that can be covered if you wanna hear it.

Enter Hearing Things, a new independent music journalism destination. They've got a nice about page explaining where they come from and the ethos they are hoping to embrace but the gist it - a bunch of experienced music journalists started a new thing with the hopes of covering more things. The vibe is a bit like early Pitchfork days in terms of how casual it feels but all of the unnecessary snark seems to be replaced with wide-eyed optimism. Feels good!

I wish them luck and they're in my bookmarks for regular reading. Maybe you'll give them a spin too?

I've been working with Talking with Hands to help promote the upcoming album Organic Machine. We've released two prior singles - each with music videos and remixes of the album track. It's a lot of work to put together beforehand but the results are worth it. Today, we release the third (and final) single before the album is out but this time we've got a full-on short film!

Directed by TJ Masters, "Organic Machine" was shot in Austin, TX on Kodak film. The effects were created in pre-production and most everything in the piece is a first take, since film is expensive and time was fleeting! I think the results speak for themselves but if you need any further enticement to hit that play button, there's always this.

Maybe this is lazy but I get a Shane Carruth vibe from the short - ala Primer. If you stick around for the whole thing, there's a bit of a Michel Gondry vibe and a pixel animation by yours truly. Along with the short film we also released another maxi-single with two remixes. It's on Bandcamp, AmpWall and everywhere else. Please enjoy.