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...mixtape was equally indebted to traditional African musical traditions and their corresponding Western interpretations. The most bizarre example of this, perhaps, was seeing Mwamwaya sing in Chichewa over Vampire Weekend’s “Cape Cod Kwassa Kwassa” in a bold, globally-minded move to transcend the African sound and enter the arena of global...

Author: By Benjamin Naddaff-Hafrey, CONTRIBUTING WRITER | Title: The Very Best | 10/23/2009 | See Source »

...Kannberg, it is that he is every bit as inscrutable as we thought, but possesses a skill of light-hearted melody that few could have credited him with. Like Malkmus’ solo work, this album is unambitious and minor, seemingly intended to divert and entertain rather than truly move. Still, it is an undeniable pleasure to have the inimitable Spiral Stairs back in our midst...

Author: By Keshava D. Guha, CRIMSON STAFF WRITER | Title: Spiral Stairs | 10/23/2009 | See Source »

...anyone’s voice can capture the wistful romanticism of sadness by the sea, it’s that of Death Cab for Cutie’s Ben Gibbard. On “One Fast Move or I’m Gone: Kerouac’s Big Sur,” Gibbard and Jay Farrar—of Son Volt and Uncle Tupelo fame—collaborate to craft a soundtrack to an upcoming documentary about Jack Kerouac’s 1967 novel “Big Sur.” Lyrics for the soundtrack are entirely drawn from...

Author: By Clio C. Smurro, CONTRIBUTING WRITER | Title: Ben Gibbard and Jay Farrar | 10/23/2009 | See Source »

Frustratingly, a number of songs use poorly-chosen passages from the novel to create banal lyrics. For instance, on the track “These Roads Don’t Move” lines like “These roads don’t move / You’re the one that moves,” are surely meant to feel prophetic, but instead just feel insipid. As anyone even vaguely familiar with Beat literature can attest, Kerouac’s writing offers more beautifully composed images than those selected by Gibbard and Farrar to depict in song...

Author: By Clio C. Smurro, CONTRIBUTING WRITER | Title: Ben Gibbard and Jay Farrar | 10/23/2009 | See Source »

...work into e-book format, though none have emerged for an online version. However, for Waters and Sollors, the decision to create “Literary History” as a book, first and foremost, was a natural one. According to Kaufman, the obvious reason behind such a move is that the well-respected academics and published authors in the group of contributors are part of a culture that holds printed editions in higher esteem than Internet versions...

Author: By Denise J. Xu, CRIMSON STAFF WRITER | Title: Turning Over an Old Page | 10/23/2009 | See Source »

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