T/S: Wilco "I Am Trying To Break Your Heart" vs. Califone "Horoscopic. Amputation. Honey"

I think the Califone album holds together better as a whole, but the Wilco song is the better opener. Both great songs, though, and gorgeous production on both songs as well.

You're right about the production, although I think that Califone's even-sparser recording gives it the advantage on that front. Certainly the Califone was quicker to astonish me. That said, I believe Wilco's is the more perfect song. It's more 'conventional' than Califone's, but it's the one that'll stick in my head, the one whose pronounced damaged-pop leanings will ultimately hand it the win. My opinion may of course change given that I've been listening to (and loving) one of these two songs for 3 years, and the other for 3 hours.

Plus, the Wilco has that perfect segment of music, from (I think) 0:54 to 1:05. I can't think of a better rhythm-section entry.

it's the one that'll stick in my head

oh my god i *almost* said this, but considering this isn't exactly, say, top 40 pop music, i wasn't sure whether to bring catchiness into the picture. but you're right, i can remember the wilco tune better. which is an advantage of some sort, perhaps.

anyone else? come on guys!

I knew you'd like Califone.

The Califone wins on feedback, but the Wilco wins for the moment about four minutes in when the fragmenbted piano finally catches a hold of its own tail and completes a full hook; sublime. I prefer Califone overall as a band.

The Califone song has in the past couple of days become absolutely masterful, and better still, the album's ingrained itself. "Vampiring Again" is my next-favourite, but there are a few stormers. Califone are probably the more interesting band of the two. The manner in which "HAH" builds up with just a piano, a shakily-played mandolin-thing and a few electronic effects is amazing to behold. When it slips into that ascending/descending riff, requisite tension is created, to be subsequently released by the euphoric final section (which is the same riff, played faster, with a rickety beat, a mantra, and a fuckload of noise behind it).

I've just re-listened to the Wilco moment Nick speaks of. The key here is the depth of sound; the piano suddenly envelops the listener, sounding as lush as a meadow, and demonstrating that production really does make a difference.

The Califone wins on feedback

More bands should "win" on feedback, for sure.

Not mocking you; I think it's a good observation, and a leg up on the Wilco song.

kshighway should check out Califone and realise they're much much much better than Wilco.

hahah that was kind of what i was thinking when i went to see why this was bumped

That is an awesome idea.

When I saw this thread towards the top of ILM, I had a hunch someone would be mentioning me somewhere in it. Excellent.

So, I have listened to Califone. Back in 2007, I picked up Roots & Crowns after seeing Amanda Petrusich praise it on Pitchfork (and her blog, I think) and, coincidentally, some dude named SickMouthy praise it on his blog and perhaps Stylus too.

I love Roots & Crowns, and I'd say it's a better record than all of Wilco's records except for Summerteeth, Yankee Hotel Foxtrot, and A ghost is born. So, there you go.

You know, I have an increasingly complicated relationship to Wilco’s work. Back in 2004, when I was just starting to really get into indie music as a senior in high school, A ghost is born was one of the first indie records I picked up (because of a feature in Spin and word of mouth), and I absolutely fell in love with it and the band. Getting into Wilco became something of a minor obsession, as I started buying all of the band’s records, Jim O’Rourke’s Insignificance, Autumn Defense and Loose Fur records, Greg Kot’s biography, everything. It was one of those adolescent things where a band starts to mean something to over and above their music.

In 2007, I was really looking forward to Sky Blue Sky, but when I heard it I was massively disappointed. Competent record; there are two great songs, and I can take or leave the rest. This year, I was excited for Wilco (the album); I do like that record, but it rarely rises above being a “Whitman’s sampler” of their career, as Tweedy called it.

I’m at the point where, if we’re strictly talking about their music, Wilco isn’t really my favorite band anymore. It’s more of just an attachment thing. I do have hope for their next record, because Tweedy has said some things in interviews that have led me to believe it could be a return to form, but I’m skeptical. Either way, though I feel like I don’t really have a favorite band anymore in the sense that I could say, “I think this band’s work is better than all other bands’ work”; like most other music fans, I have obsessions with certain songs, albums, or bands for a while, then they pass, and sometimes they may come back. If anything, The Mountain Goats are closest to what I could convincingly call a favorite band these days, but for a lot of last year all I listened to was Interpol, and who knows what’ll it be next year.

All that being said, Summerteeth, Yankee Hotel Foxtrot, and A ghost is born are unfuckwithable.

No worries Kevin, join the club. You could substitute in "The Cure" and "Robert Smith" into that paragraph and I'd feel the exact same way. They are still my "favorite" band if I'm asked to name one, or if it comes up in conversation, but what does that really mean anymore?