This post is called what it's called because through my big-arse headphones now, there is an Eleventh Dream Day song with the aforementioned title playing. Again, no particular reason for the title other than it exists -- and that's good enough of a reason.
I mentioned last week that my note headers in class tend to be bad puns or indie-rock references. With that completely in the front of my mind, I ended up breaking a differential equations lecture - on autonomous differential equations, and qualitative methods for analyzing their solutions, if you've any tiny interest in the mathematical content - into chunks named after all the Versus albums. Unfortunately, there weren't enough chunks to pass 1998's Two Cents Plus Tax, incidentially the last they recorded for a major label before settling down with Merge.
Speaking of Versus, I ended up at Paul's CDs and got Hurrah on vinyl a week ago. Probably the only good thing about hipsterdom and its growing influence on mainstream culture is that vinyl has never been more readily available (well, at least in my lifetime), and it seems like the price of vinyl is (slowly) becoming more reasonable to the extent where even I can start a vinyl collection. You can still go spend 30 or whatever dollars it is on one of those 180-gram double-vinyl behemoths where, for some reason, they deem it necessary to split 35 minutes of music onto two records, but I think Matador Records got it right by splitting Interpol's new release into a "standard" and a "deluxe" vinyl issue. The standard one puts the 45-minute-or-so record onto a standard weight disc and sells for about what you'd expect to pay for the CD, and the deluxe one goes for all the 180-gram, double-disc, gatefold stuff that we mortals cannot hear how it sounds different.
I had a show yesterday. Here is the playlist. I think it's a lesser playlist than the past few weeks --too many long songs, but that's how I felt, I guess -- but I managed to play one of my favorite Minmae songs. I mentioned Minmae when I first heard of them in a post on Pavement clones, and remarked that out of the three I profiled, they sounded the least like Pavement. Like Blitzen Trapper, the influence is there, but their vocalist's deadpan baritone and the country musical arrangements make them resemble a more experimental, unpredictable Silver Jews.