Listened Oceans Apart by Contributors to Wikimedia projects from Wikimedia Foundation, Inc.

Oceans Apart is the ninth and final studio album by The Go-Betweens, released in 2005. All the songs were written by Grant McLennan and Robert Forster. The album was recorded at the Good Luck Studios in London between November 2004 through to January 2005, except for “Boundary Rider” which was recorded at The White Room Recording Studio in Brisbane.

I always remember Oceans Apart, it did win an Aria, but I am not sure I ever heard it in full at the time it was released. I certainly never owned it. Listening now, it represents a classic Go-Betweens album, with a contrast between Robert Forster’s spritely upbeat tracks set-up in contrast with Grant McLennan’s dreamy pop. Although the band reunited with producer Mark Wallis, for me this album does not quite match the completeness of 16 Lovers Lane. I wonder if it misses the ‘Go-Betweens drama’ as Amanda Brown has put it or if a part of this disappointment is my own listening? I am going to assume the later. I think once I got over that I found that the hooks and melodies to be quite infectious. I also found the use of programmed beats and synthesisers worked, which seems ironic at time with how much the rallied against some of this in the 80’s.
Listened Thom Yorke: Suspiria (Music for the Luca Guadagnino Film) from Pitchfork

Yorke’s score tackles a broader range of styles and ideas than any of his previous solo work, and all of them shine. There are appropriately cinematic, minor-key passages for piano and strings; great sheets of electronic buzz; gorgeous choral miniatures with a whiff of Arvo Pärt’s arctic grace; brooding, gothic Americana; and striking forays into pure electronic abstraction, the kind of thing you might have found on the German experimental label Mille Plateaux in the late 1990s.

Pitchfork also wrote a review of the title track.

Recorded on what sounds like the type of upright piano you might find in the corner of an empty recreation hall, “Suspirium” drifts along with practically no production, a desolate snapshot of Yorke in his studio, quietly summoning with moody magic.

Bookmarked You May Not Know Jack Antonoff. But You Probably Love His Music. by http://www.nytimes.com/by/joe-coscarelli (nytimes.com)

“The heart and soul of pop is newness, excitement, innovation,” said Mr. Antonoff, a spirited, zealous talker who rarely stops fidgeting. “The music industry is built on chasing that ambulance — ‘someone did it, let’s go that way.’ I don’t want to be a part of that. I want to be away from it.”


After bringing artists into his modest space, he likes to start with a simple question: “What’s the worst thing that’s ever happened to you?”


In contrast with the cold, near-scientific approach to songwriting favored by titans like Max Martin and Dr. Luke, Mr. Antonoff strives for a gut-level, emotionally probing therapy experience — “excavating,” he calls it. “If someone could do it without me, then I don’t want to be there,” he said, recalling an unsuccessful experience trying to write for Rihanna, who often pulls from large pools of competitive talent.

In this review in the New York Times, Jack Antonoff shares some of his past, how he goes about working with other artists and how Gone Now differs from the first Bleachers album.
Listened Steel Train, by Steel Train from Steel Train

Steel Train is the third full-length studio album by Steel Train, released on June 29, 2010.[5] The album features an all-female companion album entitled Terrible Thrills Vol. 1, which consists of covers, remixes, and re-imaginings of every song on the album by female artists.


Before Jack Antonoff produced tracks for Pink, Lorde and Taylor Swift, he was a member of Steel Train. I am always interested to listen to how artists evolve. This reminds me of the contrast of the early Powderfinger albums to their latter pop productions. I am also interested where the particular interest in 80’s synthpop came in as it is not really present in these guitar laden tracks.