byrneutopiædstrata

i usu­al­ly give him about 5 min­utes. of any­thing. in­ter­view. art thing. al­bum. march­ing band shit.
—steve mehal­lo
 

An­oth­er David Byrne record that you lis­ten to just to get it over with.

I haven’t dis­liked any­thing he’s done sep­a­rate from Talk­ing Heads.

I’ve also nev­er loved any­thing he’s done sep­a­rate from Talk­ing Heads. 

It’s al­ways just kind of a box of baubles that you re­spect on some lev­el for be­ing odd and some­what cur­rent or arch but noth­ing ever re­al­ly gets up to any kind of point­ed velocity. 

It’s like an art open­ing where no­body re­al­ly likes any­thing on dis­play but no one wants to be seen leaving.

He has some ideas here and there but he re­al­ly needs push­back from Chris and Tina (or some­one like that) to make it more than a sketch with po­ten­tial; which is what all his solo stuff feels like to me, for the most part anyway. 

Though his drum and bass pe­ri­od in the late 90s was kind of fun, but even then it was like, well, I’d rather just lis­ten to a real d&b producer.

It kind of makes sense that he and St Vin­cent end­ed up find­ing each oth­er. They both kind of ex­ist in that
Safe White Art That Is Good Be­cause Its Art and Cant You Tell That Its Art Its Very Art
strata.

Else­where,
every now and again, at this point, when I am sad to hear that a song is end­ing I re­mem­ber that we have tech­nol­o­gy to pre­vent that and I light up like a goofball.
 
 

—ja­son malmberg

Flom­mist Ja­son Malm­berg is a sim­ple man who be­lieves in brown liquor and small dogs. He also makes art some­times. Copy­right © 2018 Ja­son Malmberg.

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