Everything Is Ending H

Pavement covers (and one song about Pavement). Ramshackle and sly like the originals, in all different ways – nobody is too reverent but nobody wrecks anything with an excess of experimentation, either. Up there on my “best ever tribute comps” list with that Queen thing on 31G – it’s that good.

CD 1
1. drums + fervent sexy Brit > swingin hipster musik. This is the song about, not by.
2. shrill skittery shuffly take on one of my very favorites
3. chimey mostly-acoustic history lesson, full of summer languor and sung like storytelling
4. Bardo Pond’s formidable sonic horsepower harnessed to a much stricter song structure than they usually use, to great effect
5. melancholy strum finds the sad at the core of the original’s don’t-care pose – w/harmonica!
6. cheek and reverb, coed vox – fades to sweet drone
7. lush rock mit glockenspiel
8. wistful Scot w/steelstring and an earnestness that reminds me of Billy Bragg
9. ramshackle w/saw and periodic fuzzed-out rockouts
10. sweet Stereolab-ish vocals and organ w/oddly naked, aggressive guitar
11. strum and drums and deep voice right in your ear
12. fuzzed-out and energetic– captures the exuberant kiss-off energy of the original
13. psychedelic!
14. spare, skittery, bassy, chimey
15. shrieky intro > big rock
16. loungy version of ambivalent ode to SoCal
17. pretty faithful version of the driving, catchy original, but they shouldn’t have let the bass player mix it
18. chime and twang


CD 2
1. answering machine message > murmury and bassy
2. low warm voice and subdued band
3. very faithful to the original, but hey, the original is pretty rad…
4. reverbed falsetto, tambourine, piano, bass – not sure what language he’s singing in but it doesn’t seem to be English
5. super fuzzed out and catchy, sorta New Bad Thingsy
6. slowdance that builds to a countryish frenzy not unlike the Geraldine Fibbers
7. medieval-folk intro, occasionally-irritating falsetto vox
8. strums, whistles and more falsetto
9. murky, kinda off-key version of the hit
10. rockin and muttery w/odd dragging slowdowns
11. spacy
12. warm strum and superrepetetive lyrics
13. psychey, catchy
14. minimal, melancholy and lovely
15. quiet and sleepy, with banjo
16. starts ~7 seconds late – 70’s vibe, deep bass hum and, hm, accordian? And female vocals tripping over Malkmus’s excessive syllables (and getting the words wrong).
17. another take on “Here,” this one with piano, coed vox and horn
18. deep and fuzzy