Releasing an album and forming a new record label back-to-back takes skill and patience and Wilco are up to the task.

Having just formed their own label (dBpm Records), Wilco have released a new album titled “The Whole Love”. Launched on September 27th, the album was available for free streaming online very briefly the first week of September. The band has also been on tour to promote the album since the 13^th of September, performing in a number of cities including Toronto, Boston, New York and Nashville.

Their new record label is partnering up with indie eclectic label Anti-Records, which will help with distribution and marketing of albums. Wilco’s Jeff Tweedy has said, “We really like doing things ourselves, so having our own label feels pretty natural to me.” This marks their departure from Nonesuch Records (they released the past four Wilco albums).

The album itself sounds a lot more edgy than previous Wilco albums and it’s a nice sound for this constantly daring group. On their new single “I Might”, the drums are in overdrive and the bass has a nice fuzz effect that makes the piece feel like a throwback to the 1970’s. Add in some organ and percussive shakers and it amounts to a pretty groovy song, easily likeable and radio-ready. Tweedy’s vocal style hasn’t changed one bit and that only enhances the differences in the band’s backing parts. While their 2009 self- titled release was a bit of a letdown, this album shows us that Wilco has their swagger back.

The resource page for writers, press, and magazine culture/direction is finally here. It can be found at Blog.MusicianTuner.com. Let me give you a glimpse of what I’ve learned about this project which is becoming a big part of my life.

The charisma that is Musician Tuner Magazine has been something I never thought possible. With me, only as an administrator, the magazine has taken shape all on its own. From the writers to the website itself. I have done NO search engine optimization and have kept to only basic online promotional methods such as Facebook and Twitter. Word of mouth has been the biggest impact in the sites reach in the Boston area. Back to the point of this post: The culture and direction of Musician Tuner has taken shape on its own. As a genuine source of musical inspiration and music news it is truly becoming such. So, it would be terrible of me to flood the site with ads and marketing banter during what is a ‘naturally occurring success’ based on volunteer writers and a genuine push for real music news. So for now, Musician Tuner Magazine will be ad free until the right time is very evident. Sometimes I think about what the site is lacking but then I realize that the first post was in July… Whatever Musician Tuner has become since has been on its own and only guided by me and its great writers.

With the October 1st release date a few days away we have reached several goals. The quality of articles and the daily visitors (reaching upwards of 100 per day and sometimes more) could not have been if not for several writers who truly gave their articles some time and effort. I’m truly impressed with all of them.

Blog.MusicianTuner.com will be a great place to read about everything site related. A real resource for information about what’s going on behind the scenes. I can’t wait to show off what’s in store for the website but keeping it on the DL is the right thing to do for now. I could have got some of the ideas off the ground and in time for the release date but time and money are not playing into the plan. I’m starting a web development company which was how this all began in the first place. That being said, Musician Tuner Magazine and musiciantuner.com will be a cornerstone of my portfolio and what I/We) are capable of. This way I can show off everything publicly and give the other online mags a real run for their money… without money and without money being at the center of the project.

These things are what raise the bar in any industry- a real motivation to attain a greater level. What I have in store is amazing and these truly are the early days of Musician Tuner Magazine.

Party Rock: cuz chicks love it.
By A. Wilderbeast
In the modern era party rocking is simply what people like to do.
But where did it come from?
Let us start at the beginning… A long time ago Grog ( the caveman) invented the keg so he could hold vast quantities of beer, so the cave-women would not have to carry so many small vessels to the dwelling gatherings. But these gatherings became very dull after Grogs buddy Frog told the same grunty story about the deer for the fifth time. SO Grog invented the drum, and made all the Cave-women shake it to his beats about how rad the trees growing outside his cave were. Frog went home and built a xylophone, and brought it to Grog’s next party; so Frog got some girls, but not as many as Grog because xylophones aren’t as cool as drums.
Let us also consider what happens when the wrong Dj takes over at your party… You know, the kid who rolls over to your computer and says: “man there’s this awesome song you gotta hear” and immediately you notice he wants you to listen to the song, he just wants you and everyone else to dig on the new Trivium song, which is probably an awesome song, but those three hot girls in the corner are not going to think so. This same kid is going to run into the middle of the floor and start moshing; To wit the three “hotties” will pick up their purses, and strut their cute new shoes to the next house party, the party that doesn’t have a mosh pit. TO be clear: There are hot girls who love metal, but lets face it; they’re not at your party; they are at a concert punching some dude in the face, and “jus’ chillin’” with the band.

Are LMFAO simply rock n’ roll musicians who felt confined by the traditional 3-5 piece ensemble? Did they think electric guitars are lame? Or are they just more pumped on the after party than the show? In their breakthrough hit “Party Rock Anthem” they proudly proclaim “We [are] party ROCK! That is the crew that they are repping…but why must they diss on Lennon and Zeppelin? And why don’t we care? As a guitarist (who has listened to a lot of Zeppelin and Lennon ) how am I to square my pure love of party rock with their distaste for rock n roll royalty? Good thing I don’t have to.

Party Rocking is not a lifestyle choice, its a birth-style, its a lifestyle that chooses you, and there’s no operation that can change it. All you can do if you find that you suffer from this affliction is apologize.  I ski past families who are horrified by my exuberance, I just nod my head, and say “sorry”.  One of my skiing compatriots was saying “Sorry for Partying” at least a year before the before-mentioned album came out; I wonder if someone told RedFoo…

Substantively there is really nothing there.  The music is not complex, and its not going to teach you anything. But do we need to learn every time we listen? There is of course more complex music in the Party Rock Genre, Calvin Harris included.  As someone who spent a lot of their life listening to serious heavy music often centered around extremely depressing issues, (Metallica, Slayer, Lamb of God, and similar) I have come to know the value of music that means nothing except dance and make merry. Listening to System of a Down, is a lot like going to a politics and the media class, if your professor had just eaten a pile of mushrooms and was convinced the world might end next week unless you save it today.  Time and place; all things in moderation?  All I’m saying is that when you are in the mood to not be in a “mood” Party Rocking IS good.

If you’re an up and coming name in the music recording world, you have probably had full command of some pretty nightmarish sessions at your home studio. Trust me, we have ALL been there. The worst part is mixing time, where you spend hours tweeking the EQ, trying to enhance harmonics without adding horrible noise, chopping mistakes without any DC offset, and bringing your faders and panners up to pleasing levels only to hear more slop and hiss.

It doesn’t take a genius to figure out that there is no such thing as “fixing in the mix”, or “studio magic”. Sorry, it’s a hoax. The real “magic” happens before your signal even hits your converter. Allow me to explain.

If you’re like me, you’ve read countless article from the pros preaching about acoustics, mic placement, phase allignment, and performance tips. We look at these articles and go, “Yeah well I’m not a millionare, I don’t have the tools, and the musicians around here can’t record 4 bars without screwing up!” Relax. There is a gap between the home studio guys and the pros, and it isn’t necessarily a bad thing. Imagine the pros being reduced to your setup, only having your system and room. No one knows your setup better than you (if you take recording seriously), so take advantage of that! Instead of looking at the pros ranting about their HD Accel System and how great a pair of U87′s sound as overheads, think about what you can do with YOUR gear that gets the most out of it.

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Going back to what I said earlier about not fixing in the mix; there are stages when recording. Do your best in every stage, from engineering to tracking to editing to mixing. The most important is the arguably the first. Experiment with microphone placement and keep a pair of well isolated headphones glued to your ears. Have a session booked next week? Get ready now. Listen to their material at a show or on previous recordings and imagine what you want them to sound like after you’re done with them. Now call up your drummer friend. Hit record, have him play drums in your tracking room, and go move stuff around, taking notes as you do it. Put up some diffusion, take some down, move the drum set around the room, try new overhead patterns, and try every possible logically working combination. Go back and listen to the recording. What parts sound the best? What did you do to the mics, room, or kit at that point? Keep doing it. Grab measuring tape, duct tape, a T-square, anything that will help you take measurements of your new sound. Don’t be discouraged if your sound check takes a full week, it will be worth it! Do a sound check for every instrument that you will soon be recording. Unlike mixing, engineering requires you to make reasonably quick comparisons, Don’t waste too much time with a certain mic technique, microphone, preamp, or instrument. If it is too hard to get it to sound the way you want, use something else! If you make engineering and sound checking as fun/interesting as, let’s say, sequencing, your whole session will benefit. You will have to do another sound check when the band gets there, since they will have different instruments and playing styles, but at least you have a good starting point and know what you’re looking for now.

Don’t forget your basic rules of thumb for whatever you’re recording. Be mindful of proximity effects, plosives and signal flow, but take time to be a little experimental. Let me give you a clear perspective of the “experimental” I’m talk about here. Take the time to compare mid-side to stereo micing, see what comes closer to the sound in your head. If you’re a guitarist, you know by now how elusive the perfect tone can be. Try condensors on guitar cabs and combine them with your favorite dynamic. Experiment with the distance not only from the speaker cap, but from the cabinet itself. Be sure to rehearse all of your preamps and marry them to the best microphones. Sometimes just an SM57/i5/ATM650 at a 45 degree angle hooked up to a warm preamp works best, other times you need more. Try assigning a small ribbon mic behind the cab for resonance. Is your cab cloth on or off? Make sure your amplifier is responding nicely with the speakers, the power section is most important here. Check that the preamp section is contoured nicely to the guitar and playing style, and dial in just enough saturation to compliment the punch and presence of the power section. Mix and match speakers, cabinets, amp heads, and guitars. Yes, I am serious. This is a science only cut out for the mad, so go ahead, lose your mind. You’ll do great.

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Our goal in mind is to make mixing as relaxing as possible once the band has left the studio. If you can get your tracks to sound like they are already mixed while they are being tracked, you’re doing perfect. Give your musicians a good headphone mix so they can play their hearts out. Make sure that if you are punching in and out, the musician performs before and after the markers to retain the color. Be an ass, tell them when it sounds bad and how to do better. If they can’t hear that nasty mistake in their track, solo it and put it on a loop until they beg you to redo it.

Now, if you do this, you may still have a headache at the end of the day, but I can guarantee it won’t be as bad. Make your sessions as fun as they can be and make sure EVERYTHING sounds good in the beginning. From there, make it sound better as the recording process continues and you will be proud of your work. With clean tracks to work with, you will be able to A/B your mixing effects much easier and hear the difference between 5ms of attack time on your compressor. You will have more head room for soft limiting and harmonic excitement, and I bet you won’t need to boost or cut any frequencies more than 4dB. Just filter out ultra high and ultra low areas to give yourself a clean bandwith and make your mix as sonically pleasing as possible through all of your available monitoring systems, using all of your DAW’s metering systems.

When you’re mixing, it’s all taste. If you want my advise, isolation and phase are KEY. If your tracks are perfectly isolated without bleed or background noise or phase issues, you will have a BLAST mixing it. If your tracks are clean and tight, your “signature sound” as a music producer will develop instantly. It will be like MIDI sequencing a hip-hop beat using perfectly sampled sounds. Imagine, no clipping, no odd correlation, no DC offset, no timing issues… just purely musical tracks for you to get as creative as possible with. That is the real “magic” us home studio guys are missing out on. Now go get productive!

Sean Hart runs a recording studio in Coventry, R.I.
for more info, visit hartbeatstudios.bravehost.com

Jim Carrey covers Radiohead’s Creep on stage at ARLENE’S GROCERY on 9/9/11
That’s right, it’s really him. Apparently when filming major motion pictures gets old you do what every buzzed middle aged divorce’ does… Karaoke.
Who knew He could sing, But He can! Even a Radiohead cover by Jim Carrey makes me laugh and leads me to ask; How can you not love this guy? Yes amidst my heroes Will Farrell, Aziz Ansari, Steve Carell, Jonah Hill… Why can’t any of them do karaoke at a college bar? It’s because they’re all Hollywood snobs. Way to good for dive bars and especially…especially for karaoke with a cover band at a bar that has the worst website on the internet, in the lower end of New York City.

At the end of his long and illustrious career many standout images will come to mind. Bruce almighty, In Living Color’s-Karate Instructor, an AMAZING flash based website and now…my new personal favorite, a karaoke cover of Creep. I love Jim Carrey.

On a Saturday night in early August, I went to Lizard Lounge in
Cambridge, for an all-indie show including Audrey Ryan, The Shills and Justin Levinson. In all honesty, lately these types of ventures had been unsuccessful for me, so I wasn’t expecting much especially since I didn’t know any of the artists; but, I decided to give it a try anyway and I am glad I did!

As I walked in, Audrey Ryan was playing the first song of the night. It took me about 30 seconds to come in, sit down and fall in love with her music. I found her to be fresh and creative, her songs full of interesting -and pretty- melodic lines. Her voice had a nice, clear tone and she had good control of her singing; she reminded me of Regina Specktor, somehow. She blew me away in the songs where she used loops, playing and recording multiple instruments until she achieved full arrangements; in these, the only thing that needed some attention was her beats, because they were unclear at times. Anyway, her girl-next-door vibe and nice rapport with the audience was also a plus in terms of her overall performance; I thought she was quite brilliant.  In my opinion, she might have been the highlight of the night; however, there were a few aspects of the performance that broke the “spell” her music created. Had she been more invested in the actual performance of the show, a bit more organized and clear about what she wanted to do next and how she wanted her set to flow, it may have been just perfect.  Unfortunately, the reality was that the show lacked fluidity.  Still, I am interested and excited to hear some more from her.

After listening to Audrey Ryan I wasn’t sure I wanted to listen to anyone else, really; but of course, the night was still young and next up was the band The Shills.  This band was not what I was expecting; they were actually better.  Their performance was good.  As a matter of fact, their lead vocalist –Bryan Murphy- had the best stage presence out of everyone performing that night. He was well invested in his performance, had charisma and a good connection with the audience members that were there to see them, which is something that I enjoyed watching. The rest of the members -Eric Ryrie, Dave Sicilian and James Zaner- were adequate musicians, looked comfortable and supported his performance very nicely. Unfortunately, in terms of their music, I can’t say that I was too impressed. Although some of their ideas were really good, I’m not sure they all worked every time. I found myself confused by some sudden changes in the middle of their songs; in my opinion, there were too many musical ideas put together at once. Instead of having cleaner and straight-forward arrangements, it seemed as if they tried to include everything they came up with in each song, especially the earlier ones.  Fortunately, after Murphy announced that they are currently in the recording studio, they played some of their new songs and these were much better. The newer compositions had a more mature sound, they were taking advantage of the longer and softer melodies that showcased their best attributes as musicians and were better suited for his powerful voice. Also, there was the cohesiveness that was lacking in the earlier compositions. So, all in all, I think The Shills gave its audience a good performance and something to look forward to.

Last but not least, that night’s headliner took the stage. Justin Levinson sang and played his own set, backed up by some good musicians. They all seemed to be serious about their performances; their ideas were creative, tasteful and unpretentious. As with The Shills, Justin Levinson’s music sometimes jumped from one musical idea to the other; the difference was that, in his case, these ideas had that cohesiveness that tied them together.  At times country-folk, at others indie-rock or even rockabilly, his music was quirky and smart. The melodies were not only beautiful but also interesting, and Levinson, as a vocalist, had a nice, soft tone that was well suited for his music. The song “I was so wrong” was one of the highlights of his performance; even his rendition of Elton John’s “Rocket Man” was very well done. In overall, this was the best performance of the night. The musicians were great; they achieved a good balance and communicated well. The one thing that I missed from Justin Levinson himself was the connection to the audience. He seemed somehow disconnected from the rest of us which is even more noticeable in a smaller venue like this one, where people are watching you so close.

In any case, even though all three acts had some things that need to be worked on, I left the Lizard Lounge pleasantly surprised. I was looking for some cool, interesting music and I found it. No matter what your preference is, there was music for everyone.  Good music from young and talented artists.

It was midday in late July, and we had been driving down the same God-forsaken stretch of I-55 for hours, surrounded by cornfields that seemed to stretch to eternity. Occasionally an odd white farmhouse would pop up, maybe a green and yellow tractor could be seen crawling weakly along the horizon, but for the most part, corn. In the distance I could make out a green sign, blurred by dancing heat waves. It read: Memphis, 160 miles. I turned up the radio. I was close.

Road trips are great until you’re out of music. We had driven only 1,500 miles since we left our native Rhode Island, still had 3,000 to go, and we’d already resorted to the radio. The iPods ran dry somewhere east of Chicago, and the CDs didn’t stand a chance. Even the good ones provided maybe ten minutes of entertainment – no one seems to make a full album anymore.

Listening to the radio across hundreds of miles is so frustrating it’s almost laughable. Earlier we’d stumbled across about five different stations claiming to be the place for St. Louis hip-hop, each with a DJ more flamboyant than the last.

“HOT 104.1, ST. LOUIS’ N-N-N-NUMBER ONE HOME FOR HIP-HOP,” DJ Rock-T boasted, amid a torrent of quick cuts between the standard sound effects – foghorns, crowds cheering, sirens.

I must have heard a hundred stations claiming to be at the apex of the airwaves, but the fact of the matter was that they were all the same damn station, on the same damn cycle. “The Show Goes On,” by Lupe Fiasco, followed by “I’m On One,” by DJ Khaled (featuring Drake, of course), maybe with LMFAO’s “Party Rock Anthem” capping it all off.

The same three songs. As endless as the corn that surrounded us on I-55. And now, with 160 miles to go until we reached our destination, my buddy couldn’t take it anymore.

“Dude, could you please turn this [expletive deleted] off?”

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Beale Street, 11:00 PM. It had been hours since the fiery Southern sun vanished behind the skyline, but it was still hot. Damn hot, in fact: 100 degrees on the heat index, and that seemed low. The crowd on the street didn’t seem to mind, judging by what they were wearing. Blue jeans, plaid shirts, occasional cowboy boots. I was a walking swamp, drenched in sweat from head to toe, and I was barely wearing anything. Sleeveless Municipal Waste t-shirt, cutoff denim shorts, purple bandana tied tight around my head to sop up some of the run-off. I got a lot of funny looks.

It was a Sunday but the street was still soaked in neon and swarming with crowds. Outside the restaurants the scent of cigarette smoke wisped through the air, carrying with it notes of barbeque ribs that had been cooking, low and slow, since early in the day.

I had expected all that. Prior to the trip I had read up on Memphis, and two themes always popped up: barbeque and sweltering heat. What I hadn’t counted on was the music. It was a mesmerizingly chaotic racket, spilling out of almost every one of the thirty-odd bars lining the street. Bluesy, jazzy, funky – if you could dream it, it was being played. And it was live. I had been to concerts before, plenty, but I had never heard anything quite like this. The single most unifying factor on this street wasn’t the barbeque, or the clothes, or even the alcohol. It was the music. Music; not being used as pleasant white noise for a cocktail party, or as an excuse to beat someone senseless, but to be watched, absorbed, and enjoyed.

We settled on a little bar towards the end of the street, away from most of the crowds and street performers and commotion. There was a small blues combo playing, fronted by an older man in a pale yellow Hawaiian shirt. He was perched on a stool, face buried in a harmonica. The drummer was playing loose and rough, the trombonist not playing at all, but rather holding his horn high above his head, dancing like some kind of sultry R&B crooner. And the crowd, affixed on the front man, was smiling.

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Such is the state of our music today. Never before have I felt so intensely that I’m being spoon-fed the same pre-packaged songs day in and day out. Don’t get me wrong; I’m fine with LMFAO. “I’m in Miami, bitch!” I’m all about that. But I’m also all about McDonald’s, and you won’t catch me eating it every single day.

No, instead I seek out other food. Maybe I’ll try some fine Italian calamari tonight and go in on some General Tso’s chicken tomorrow. I need to mix it up, try new things. Variety is, after all, the spice of life.

That is what I discovered in Memphis. I’m not crazy about the music that was being played; I’m not a jazz-head or an old-school blues cat. I don’t actively seek out Stevie Wonder cover bands. Yet after seven long hours of driving with nothing but cornfields and Lil Wayne reruns, I needed something fresh, and against all odds the harmonica player in the Hawaiian shirt gave that to me.

So for those of you frustrated by today’s music, or for those of you just looking for something new, something real, fear not. You may find it in an artist you’ve never heard of, or a genre you’ve never sampled. You may even find it in a bar on the end of Beale Street.

Wherever you find it, I promise you this: Good music is still out there. You may just need to do a little digging.

Welcome to MusicianTuner.com.

Justin Vernon must have found himself in a tough spot writing the successor to his 2008 opus, For Emma, Forever Ago. That album is so special on so many levels that it can be difficult to pin down what established it as such a seminal work in such a short amount of time. Some connect with the story behind it – that romanticized, nearly transcendental tale of love lost and redemption found. To others, it’s a photograph in nine songs – a heartbreaking portrait of a man, a guitar, and a cabin.

Bon Iver immediately establishes itself as something different. Vernon isn’t a struggling songwriter in a cabin anymore. He has seen the world, and, presumably, come closer to discovering his place in it. Justin Vernon has been reborn, and unfortunately the album suffers for it.

If any album can be summed up by it’s opening track, it’s Bon Iver. “Perth” starts wonderfully, hooking you with a perfectly atmospheric, nearly ethereal guitar lick. It’s classic Bon Iver, demonstrating Vernon’s knack for unlocking the elegance in simplicity. The chorus, ushered in by a surprisingly throaty drop, carries the same subdued power. “Still alive for you.” Brilliant.

And then, with all the subtlety of a brick to the face, we’re subjected to an extended, ham-fisted breakdown section. It’s tacky, brawny, and almost amateurish. Perhaps if Vernon had found a better way to ratchet up the tension before diving headfirst into an ocean of racket the second half of the song would have been more effective. There is no tension, however; “Perth” is just a song with split personality disorder.

From there the album is equally confused. “Minnesota, WI” features some smooth guitar work, though it ends up sounding like Vernon is doing his best Shepard’s Dog-era Iron & Wine impression. Then there’s “Holocene,” which is ripped straight from the title track of Vernon’s solo EP Hazeltons, and thus comes off as Bon Iver doing its best Justin Vernon impression.

So goes most of the album. The songs that feature Vernon as himself shine brightest, such as the twangy “Michicant,” which remains grounded thanks to his steady – and vulnerable – vocal performance. It’s hardly Vernon’s best work, but it features a level of maturity and grace notably absent from the rest of the album.

And yet, despite all this, I don’t hate Bon Iver. This isn’t strictly the Justin Vernon show anymore, at least not to the extent For Emma was. The name of the album says it all – this is what Bon Iver the group sounds like, and as a group they still have a lot of growing up to do. For right now, however, they’ve created an album with an identity crisis, featuring a leading man who is trying to move on from that cabin in Wisconsin but either can’t or doesn’t yet want to.

After listening to Bon Iver’s first album, For Emma, Forever Ago, I thought that Justin Vernon, the genius behind the band, should not put out another album because it would never compare. With tracks like ‘Lump Sum,’ ‘re:Stacks,’ and ‘Blindsided,’ I had never heard such beautiful music before.

I quickly became obsessed with Bon Iver. Not only his music, but also who Vernon is as a person. I found out he self recorded the album in his father’s cabin after he had spent a few months in the hospital with liver cancer. While sick in bed he watched episodes of Northern Exposure. One episode, the residents greeted each other with a ‘bon hiver,’ meaning ‘good winter.’ Vernon took this phrase and altered it. The two words, ‘Bon Iver,’ have changed folk music today. Justin Vernon is one laid back guy, there’s no denying that, but the time and effort he puts into his music shows in every song, and in every note.

When I had heard there would be a new Bon Iver album coming out on June 21st, 2001, three years after his first album, I was worried that I would be let down. I thought about how comfortable I got with For Emma, Forever Ago, and I didn’t want the new album to ruin all I had come to know and love of Bon Iver.

When the first single, Calgary, was released I listened to it multiple times. It’s synths, simple percussion, and his well-known multi-layered, high-pitched voice rung out beautifully in this track. I laughed at myself, knowing my disinterest in the self-titled album might’ve been a defense mechanism. It was my way of not having to count down the seconds until it finally came out. After I heard this track the countdown started.

The album turned out to be even better then the first one. ‘Holocene’ would have to be my favorite, because it strikes a resemblance to ‘Hazleton’ and ‘Liner,” two tracks released under his name, Justin Vernon. Within the first few seconds of the song you will get lost. The guitar is recorded with some magical software I have yet to discover, which produces music that will make you feel like you are outside at night, laying in a big open field, watching the stars. With ‘Beth/Rest,’ the last track on the album, Vernon has built a time machine that will take you back to the 1980s, to a time where Phil Collins made soft, piano rock mean something to people. ‘Wash’ is a simple, slightly-out-of-tune piano song that resembles raindrops outside your window as the wind blows through. The rest of the album is just as incredible, with tracks like ‘Minnesota, WI’ and ‘Hinnom, TX,’ places that Vernon has traveled to, will bring you to new places you have never been to before.

The world knows of Bon Iver, from the Myspace Transmission studio in Beverly Hills to the La Blogotheque podcast in Paris. The only problem is that not everyone knows him. The world will be a much better place if we all listened to Bon Iver. They should make a bumper sticker of that.

-Mikey Weil

Twitter: hottweils