Yes, I will be Stan Getz so long as you'll continue to be an India Arie lyric. I think the synergy there is delicious and a real boon to the project.
Also, if you don't want your account hacked, Truth, you will need to concoct a less obvious password ("xenakisluv69". really?)
But I feel something akin to honored that Truth took a moment and tore himself away from his field recordings of Charleston pumpkin patches and 1960's rural exorcisms LPs to comment on the opining of an 'overground' bro. That it was all wrapped up in zany wordplay and his continued, semi-inexplicable appropriation of Carles is just buttercream frosting, really.
I did find the timing more than a dash coincidental that the moment he lobbed that grenade of trenchant commentary re; the new, bubbling underground movement that is dubstep that lil' ol' pitchfork continued their anointing of James Blake. I would check for bugs, homeboy. You are being watched. What could be next .. a vicious deconstruction of this up and coming scene?
But I suppose the point I want to make is that being a fan of Young Marble Giants and Vampire Weakend (OK, that pun was solid) are not mutually exclusive. There is a precursor for everything, but damned if I'm going to only listen to those with firsties. Am I disqualified from blissing to 'Geogaddi' because Klaus Schulze cuts exist? I can't holler the lyrics to 'Acquiesce' at my pops (winkwink, Tongue) because 'Helter Skelter' already did anthemic Brit pop?
(incidentally, this is my preferred minimalist pop)
(and preferred soul jam)
There is no shame in mixing and matching; songcraft and a firm melody hit the spot, whether riding 'overground Contra waves' or shit that Ryan Dombal hasn't even dreamt of giving an 8.4 to yet.
(and when you're done with those exorcism recordings, I'd like to compare them to my EVP reel-to-reels from Massachusetts mental institutions)
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