It’s easy to set up a false dichotomy between zines and blogs and assume that the Internet killed chickfactor—but that wouldn’t be the whole truth. [...] Like much of ’90s zine culture, chickfactor’s influence is paradoxical: Looking back, they may seem secondary to the music they boosted. But their editorial DNA lives on in the long-form interview style and enthusiastic, buttoned -down tone of sites like Pitchfork (for which I write), Stereogum, and the Quietus, whose impact is far greater than chickfactor’s ever was.For Ex-Zinesters Only: on chickfactor’s Influence in the Digital Age
Everything was loud, fast, and feedback-strewn. About 5 percent of the audience was absolutely flipping out. Seventy to 80 percent was mostly flipping out, but with less flailing. "We’ve practiced three times in a row, which is three more times in a row than we’d ever practiced before,”chickfactor’s Anniversary Shows at Artisphere: What We Learned
“I’m not a fan of the label — not because it’s pejorative, which it largely is, where I live — but because it’s a terribly inaccurate description of most bands I see being labeled with it, Black Tambourine included. I don’t think of us (or the Pains, or a million other bands that get called 'twee') as being affectedly cute or sickeningly sweet or purposefully charming. I think people might use 'twee' when they mean 'nerdy' or 'indie' or 'jangly' — I’m not sure how it came about that noisy guitar bands ever got labeled 'twee.'”Talking Tunes, Zines, & More With Pam Berry Of Black Tambourine
- La foto qui sopra viene da Brightest Young Thing, che ha anche un reportage della serata molto bello, quasi commovente, se avete presente i nomi che vengono citati, o anche solo la canzone da cui prende il titolo questo post.
(mp3) Black Tambourine - Throw Aggi Off The Bridge