Also happens to be one of the few, rare songs that are in my personal, particular, whistling octave (or what the fuck ever)—meaning I can whistle along and actually harmonize. Imagine that.

[him]
I’ll follow you into the park,
Through the jungle, through the dark,
Girl, I never loved one like you.

[her]
Moats and boats and waterfalls,
Alleyways and pay phone calls,
I’ve been everywhere with you.

[him]
We laugh until we think we’ll die,
Barefoot on a summer night,
Nothin’ new is sweeter than with you.

[her]
And in the streets you run a-free,
Like it’s only you and me,
Jeez, you’re something to see.

[both]
Ahh, home. Let me go home.
Home is wherever I’m with you.
Ahh, home. Let me go ho-oh-ome.
Home is wherever I’m with you.

I heard the title Vampire Weekend and I thought, “Oh, man, that’s gonna be great. I gotta see it.” And there are these guys with little Gap T-shirts on and I’m going, “What happened to the balls in rock ‘n’ roll? Why are American bands so wimpy?”
—Alice Cooper

(via Pitchfork)

(via Mike Monteiro)

Arnold Schoenberg’s, Drei Klavierstücke, op. 11-II played by cats on pianos.

More info (and op. 11-I and 11-III).

…A session for the final edition of BBC Radio 3′s “Mixing It”, broadcast on 9 February 2007. This is a one track CD single – just under 20 minutes long. Thanks to Felix Carey, Philip Tagney, Mark Russell, Robert Sandall and Ergo Phizmiz.

Download: People Like Us – On the Rooftops of London (MP3)

The first collection is a series of audio-reactive ‘video sound sculptures’.  Inspired by synasthesia, the rare, sensory experience of seeing sound or tasting colours, these videos are physical manifestations of sound, sculpted by volume, pitch or structure of the soundtrack.

Check it out.

Gotta see it to believe it.  Watch the demonstration video here.

Found via Monoscope.

Radio Silence documents the ignored space between the Ramones and Nirvana through the words and images of the pre-internet era where this community built on DIY ethics thrived, where musicians and fans booked shows, photographed bands, aired pirate radio shows, started record labels, designed album covers, and published zines themselves.  Authors Nathan Nedorostek and Anthony Pappalardo have catalogued private collections of unseen images, personal letters, original artwork, and various ephemera from the hardcore scene circa 1978–1993.

You can pre-order from the powerHouse Books site, or you can save a few bucks (while making me a few cents) by ordering through this Amazon affiliate link.