Kieran Hebden, best known by the stage name Four Tet, is an English musician. Hebden first came to prominence as a member of the band Fridge before establishing himself as a solo artist. Hebden has remixed tracks by artists including Aphex Twin, Explosions in the Sky, Super Furry Animals, Ellie Goulding, Lana Del Rey, Manic Street Preachers, Black Sabbath and Madvillain, has produced two albums by psychedelic improvisational group Sunburned Hand of the Man. Hebden's recent output includes a number of improvisational works with jazz drummer Steve Reid and collaborations with Burial and Thom Yorke. Kieran Hebden was born in Putney, England, to a South African-born Indian mother and a British sociology lecturer father, he attended Elliott School in Putney, where he formed the band Fridge with classmates Adem Ilhan and Sam Jeffers. The band signed a recording contract when Hebden was 15, released their first album, Ceefax, on Trevor Jackson's Output Recordings label in March 1997. While working with Fridge, Hebden went on to earn a degree in maths and computer studies from Manchester University.
Hebden's first solo release was the 1997 single "Double Density", released on the Output label under the artist name 4T Recordings. He began releasing material as Four Tet in 1998 with the 36 minute, 25 second single "Thirtysixtwentyfive"; that year, he released another single, the jazz-influenced "Misnomer". 1999's Dialogue, again on Output, was Four Tet's first full-length album release and fused hip hop drum lines with dissonant jazz samples. This was followed by the double A-side single "Glasshead"/"Calamine", to be Four Tet's last release on Output. In late 1999, Warp Records released Warp 10 + 3: Remixes, a tenth-anniversary compilation of remixes of Warp tracks. Hebden contributed a remix of the opening track of Aphex Twin's Selected Ambient Works Volume II, considered to be his break-out release. In 2001, Four Tet's second album Pause was released on Domino Recording Company and found Hebden using more folk and electronic samples, dubbed "folktronica" by the media and press in an attempt to label the style.
Rounds was released in May 2003. Three singles were released from the album: "She Moves She", "As Serious as Your Life" and "My Angel Rocks Back and Forth"; this last single was released as an EP featuring remixes by electronica duo Icarus and Isambard Khroustaliov along with additional Four Tet tracks "I've Got Viking in Me" and "All the Chimers". An accompanying DVD featured all of Four Tet's videos to date. In addition, the closing track "Everything is Alright" was featured in a U. S. Nike commercial in 2001 and 2002. At the beginning of 2003, Four Tet opened for Radiohead on their European tour. A remix of the song "Scatterbrain" from Radiohead's sixth studio album Hail to the Thief was released in November 2003 as a B-side to the single "2 + 2 = 5" and included on their 2004 EP COM LAG. Furthermore, Hebden was among the people thanked by Radiohead in the booklet accompanying their 2007 In Rainbows "discbox" release. A live album named Live in Copenhagen 30th March 2004 was released in April 2004 as a limited edition, available from the Domino Records website.
In March and April 2005, Four Tet performed two shows of improvisational music, in collaboration with jazz drummer Steve Reid, in Paris and London. He appears on Steve Reid Ensemble 2005 album Spirit Walk; this collaboration was extended into a series of international tours, the release of two albums, The Exchange Session Vol. 1 and The Exchange Session Vol. 2 over the course of 2005 and 2006. His fourth studio album Everything Ecstatic was released on Domino on 23 May 2005; the video for the lead single, "Smile Around the Face", features actor Mark Heap. On 7 November 2005, Domino released a DVD version of Everything Ecstatic featuring video clips for each track of the album plus a CD with new material, titled Everything Ecstatic Part 2, made available as an individual EP. Hebden has remixed, under the Four Tet name, tracks by a wide range of artists including Tegan And Sara, Andrew Bird, Bloc Party, Super Furry Animals, Beth Orton, Badly Drawn Boy, CYNE, The Notwist, Boom Bip, Kings of Convenience, Lars Horntveth, Rothko, The xx, Thom Yorke and Radiohead.
On 25 September 2006, Domino Records released a two-disc compilation of Four Tet remixes. The first disc contains twelve Four Tet remixes selected by Hebden, with the second disc comprising every official remix to date of Four Tet tracks, many of, available on vinyl only. A new EP, was released on 21 April 2008. In 2008, Hebden collaborated with composer David Arnold to write "Crawl, End Crawl", the song used for the end credits of the film Quantum of Solace. In 2009, Hebden worked on a secret collaboration with former schoolmate Burial; the two track 12" was released with a plain black cover with no liner notes or details contained on the vinyl, other than the artists' names and the track titles: "Moth" and "Wolf Cub". The release was universally critically acclaimed. In November 2009, details of the fifth full-length Four Tet album were released. Influenced by a stint DJing at the Plastic People club in Shoreditch and entitled There Is Love in You, it was released on 25 January 2010; the album was preceded by a limited edition release of the 12" single "Love Cry".
In 2010, Hebden collaborated with Laurie Anderson playing keyboards on the song Only an Expert from her Homeland album. In 2011, Hebden released a split 12" with Burial and Thom Yorke, entitled "Ego"/"Mirror", he began to release music under the alias Percussions, following a tra
Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particularly in the United Kingdom and in the United States. It has its roots in 1940s and 1950s rock and roll, a style which drew on the genres of blues and blues, from country music. Rock music drew on a number of other genres such as electric blues and folk, incorporated influences from jazz and other musical styles. Musically, rock has centered on the electric guitar as part of a rock group with electric bass and one or more singers. Rock is song-based music with a 4/4 time signature using a verse–chorus form, but the genre has become diverse. Like pop music, lyrics stress romantic love but address a wide variety of other themes that are social or political. By the late 1960s "classic rock" period, a number of distinct rock music subgenres had emerged, including hybrids like blues rock, folk rock, country rock, southern rock, raga rock, jazz-rock, many of which contributed to the development of psychedelic rock, influenced by the countercultural psychedelic and hippie scene.
New genres that emerged included progressive rock. In the second half of the 1970s, punk rock reacted by producing stripped-down, energetic social and political critiques. Punk was an influence in the 1980s on new wave, post-punk and alternative rock. From the 1990s alternative rock began to dominate rock music and break into the mainstream in the form of grunge and indie rock. Further fusion subgenres have since emerged, including pop punk, electronic rock, rap rock, rap metal, as well as conscious attempts to revisit rock's history, including the garage rock/post-punk and techno-pop revivals at the beginning of the 2000s. Rock music has embodied and served as the vehicle for cultural and social movements, leading to major subcultures including mods and rockers in the UK and the hippie counterculture that spread out from San Francisco in the US in the 1960s. 1970s punk culture spawned the goth and emo subcultures. Inheriting the folk tradition of the protest song, rock music has been associated with political activism as well as changes in social attitudes to race and drug use, is seen as an expression of youth revolt against adult consumerism and conformity.
The sound of rock is traditionally centered on the amplified electric guitar, which emerged in its modern form in the 1950s with the popularity of rock and roll. It was influenced by the sounds of electric blues guitarists; the sound of an electric guitar in rock music is supported by an electric bass guitar, which pioneered in jazz music in the same era, percussion produced from a drum kit that combines drums and cymbals. This trio of instruments has been complemented by the inclusion of other instruments keyboards such as the piano, the Hammond organ, the synthesizer; the basic rock instrumentation was derived from the basic blues band instrumentation. A group of musicians performing rock music is termed as a rock group. Furthermore, it consists of between three and five members. Classically, a rock band takes the form of a quartet whose members cover one or more roles, including vocalist, lead guitarist, rhythm guitarist, bass guitarist and keyboard player or other instrumentalist. Rock music is traditionally built on a foundation of simple unsyncopated rhythms in a 4/4 meter, with a repetitive snare drum back beat on beats two and four.
Melodies originate from older musical modes such as the Dorian and Mixolydian, as well as major and minor modes. Harmonies range from the common triad to parallel perfect fourths and fifths and dissonant harmonic progressions. Since the late 1950s and from the mid 1960s onwards, rock music used the verse-chorus structure derived from blues and folk music, but there has been considerable variation from this model. Critics have stressed the eclecticism and stylistic diversity of rock; because of its complex history and its tendency to borrow from other musical and cultural forms, it has been argued that "it is impossible to bind rock music to a rigidly delineated musical definition." Unlike many earlier styles of popular music, rock lyrics have dealt with a wide range of themes, including romantic love, rebellion against "The Establishment", social concerns, life styles. These themes were inherited from a variety of sources such as the Tin Pan Alley pop tradition, folk music, rhythm and blues.
Music journalist Robert Christgau characterizes rock lyrics as a "cool medium" with simple diction and repeated refrains, asserts that rock's primary "function" "pertains to music, or, more noise." The predominance of white and middle class musicians in rock music has been noted, rock has been seen as an appropriation of black musical forms for a young and male audience. As a result, it has been seen to articulate the concerns of this group in both style and lyrics. Christgau, writing in 1972, said in spite of some exceptions, "rock and roll implies an identification of male sexuality and aggression". Since the term "rock" started being used in preference to "rock and roll" from the late-1960s, it has been contrasted with pop music, with which it has shared many characteristics, but from wh
Art pop is a loosely defined style of pop music influenced by pop art's integration of high and low culture, which emphasizes the manipulation of signs and gesture over personal expression. Art pop artists may be inspired by postmodern approaches or art theories as well as other forms of art, such as fashion, fine art and avant-garde literature, they may deviate from traditional pop audiences and rock music conventions, instead exploring ideas such as pop's status as commercial art, notions of artifice and the self, questions of historical authenticity. Starting in the mid 1960s, British and American pop musicians such as Brian Wilson, Phil Spector, the Beatles began incorporating the ideas of the pop art movement into their recordings. English art pop musicians drew from their art school studies, while in America the style drew on the influence of pop artist Andy Warhol and affiliated band the Velvet Underground, intersected with folk music's singer-songwriter movement; the style would experience its "golden age" in the 1970s among glam rock artists such as David Bowie and Roxy Music, who embraced theatricality and throwaway pop culture.
Art pop's traditions would be continued in the late 1970s and 1980s through styles such as post-punk and synthpop as well as the British New Romantic scene, developing further with artists who rejected conventional rock instrumentation and structure in favor of dance styles and the synthesizer. The 2010s saw new art pop trends develop, such as hip hop artists drawing on visual art and vaporwave artists exploring the sensibilities of contemporary capitalism and the Internet. Art pop draws on postmodernism's breakdown of the high/low cultural boundary, with art pop artists trouble issues of sociological interpretation and historical authenticity, instead exploring concepts of artifice and commerce; the style emphasizes the manipulation of signs over personal expression, drawing on an aesthetic of the everyday and the disposable, in distinction to the Romantic and autonomous tradition embodied by art rock or progressive rock. Sociomusicologist Simon Frith has distinguished the appropriation of art into pop music as having a particular concern with style and the ironic use of historical eras and genres.
Central to particular purveyors of the style were notions of the self as a work of construction and artifice, as well as a preoccupation with the invention of terms, imagery and affect. The Independent's Nick Coleman wrote: "Art-pop is about attitude and style, it is, if you like, a way of making pure formalism acceptable in a pop context. Cultural theorist Mark Fisher wrote that the development of art pop evolved out of the triangulation of pop and fashion. Frith states that it was "more or less" directly inspired by Pop art. According to critic Stephen Holden, art pop refers to any pop style which deliberately aspires to the formal values of classical music and poetry, though these works are marketed by commercial interests rather than respected cultural institutions. Writers for The Independent and the Financial Times have noted the attempts of art pop music to distance its audiences from the public at large; the boundaries between art and pop music became blurred throughout the second half of the 20th century.
In the 1960s, pop musicians such as John Lennon, Syd Barrett, Pete Townshend, Brian Eno, Bryan Ferry began to take inspiration from their previous art school studies. Frith states that in Britain, art school represented "a traditional escape route for the bright working class kids, a breeding ground for young bands like the Beatles and beyond". In North America, art pop was influenced by Bob Dylan and the Beat Generation, became more literary through folk music's singer-songwriter movement. Before progressive/art rock became the most commercially successful British sound of the early 1970s, the 1960s psychedelic movement brought together art and commercialism, broaching the question of what it meant to be an "artist" in a mass medium. Progressive musicians thought that artistic status depended on personal autonomy, so the strategy of "progressive" rock groups was to present themselves as performers and composers "above" normal pop practice. Another chief influence on the development of art pop was the Pop art movement.
The term "pop art", first coined to describe the aesthetic value of mass-produced goods, was directly applicable to the contemporary phenomenon of rock and roll. According to Frith: " turned out to signal the end of Romanticism, to be an art without artists. Progressive rock was the bohemians' last bet... In this context the key Pop art theorist was not Hamilton or any of the other British artists who, for all their interest in the mass market, remained its academic admirers only, but Andy Warhol. For Warhol the significant issue wasn't the relative merits of'high' and'low' art but the relationship between all art and'commerce'." Warhol's Factory house band the Velvet Underground was an American group who emulated Warhol's art/pop synthesis, echoing his emphasis on simplicity, pioneering a modernist avant-garde approach to art rock that ignored the conventional hierarchies of artistic representation. Holden traces art pop's origins to the mid 1960s, when producers such as Phil Spector and musicians such as Brian Wilson of the Beach Boys began incorporating pseudo-symphonic textures to their pop recordings, as well as the Beatles' first recordings with a string quartet.
In the words of author Matthew Bannister and Spector were both known as "eremitic studio obsessives... habitually absented themselves from their own work", like Warhol
The United States of America known as the United States or America, is a country composed of 50 states, a federal district, five major self-governing territories, various possessions. At 3.8 million square miles, the United States is the world's third or fourth largest country by total area and is smaller than the entire continent of Europe's 3.9 million square miles. With a population of over 327 million people, the U. S. is the third most populous country. The capital is Washington, D. C. and the largest city by population is New York City. Forty-eight states and the capital's federal district are contiguous in North America between Canada and Mexico; the State of Alaska is in the northwest corner of North America, bordered by Canada to the east and across the Bering Strait from Russia to the west. The State of Hawaii is an archipelago in the mid-Pacific Ocean; the U. S. territories are scattered about the Pacific Ocean and the Caribbean Sea, stretching across nine official time zones. The diverse geography and wildlife of the United States make it one of the world's 17 megadiverse countries.
Paleo-Indians migrated from Siberia to the North American mainland at least 12,000 years ago. European colonization began in the 16th century; the United States emerged from the thirteen British colonies established along the East Coast. Numerous disputes between Great Britain and the colonies following the French and Indian War led to the American Revolution, which began in 1775, the subsequent Declaration of Independence in 1776; the war ended in 1783 with the United States becoming the first country to gain independence from a European power. The current constitution was adopted in 1788, with the first ten amendments, collectively named the Bill of Rights, being ratified in 1791 to guarantee many fundamental civil liberties; the United States embarked on a vigorous expansion across North America throughout the 19th century, acquiring new territories, displacing Native American tribes, admitting new states until it spanned the continent by 1848. During the second half of the 19th century, the Civil War led to the abolition of slavery.
By the end of the century, the United States had extended into the Pacific Ocean, its economy, driven in large part by the Industrial Revolution, began to soar. The Spanish–American War and World War I confirmed the country's status as a global military power; the United States emerged from World War II as a global superpower, the first country to develop nuclear weapons, the only country to use them in warfare, a permanent member of the United Nations Security Council. Sweeping civil rights legislation, notably the Civil Rights Act of 1964, the Voting Rights Act of 1965 and the Fair Housing Act of 1968, outlawed discrimination based on race or color. During the Cold War, the United States and the Soviet Union competed in the Space Race, culminating with the 1969 U. S. Moon landing; the end of the Cold War and the collapse of the Soviet Union in 1991 left the United States as the world's sole superpower. The United States is the world's oldest surviving federation, it is a representative democracy.
The United States is a founding member of the United Nations, World Bank, International Monetary Fund, Organization of American States, other international organizations. The United States is a developed country, with the world's largest economy by nominal GDP and second-largest economy by PPP, accounting for a quarter of global GDP; the U. S. economy is post-industrial, characterized by the dominance of services and knowledge-based activities, although the manufacturing sector remains the second-largest in the world. The United States is the world's largest importer and the second largest exporter of goods, by value. Although its population is only 4.3% of the world total, the U. S. holds 31% of the total wealth in the world, the largest share of global wealth concentrated in a single country. Despite wide income and wealth disparities, the United States continues to rank high in measures of socioeconomic performance, including average wage, human development, per capita GDP, worker productivity.
The United States is the foremost military power in the world, making up a third of global military spending, is a leading political and scientific force internationally. In 1507, the German cartographer Martin Waldseemüller produced a world map on which he named the lands of the Western Hemisphere America in honor of the Italian explorer and cartographer Amerigo Vespucci; the first documentary evidence of the phrase "United States of America" is from a letter dated January 2, 1776, written by Stephen Moylan, Esq. to George Washington's aide-de-camp and Muster-Master General of the Continental Army, Lt. Col. Joseph Reed. Moylan expressed his wish to go "with full and ample powers from the United States of America to Spain" to seek assistance in the revolutionary war effort; the first known publication of the phrase "United States of America" was in an anonymous essay in The Virginia Gazette newspaper in Williamsburg, Virginia, on April 6, 1776. The second draft of the Articles of Confederation, prepared by John Dickinson and completed by June 17, 1776, at the latest, declared "The name of this Confederation shall be the'United States of America'".
The final version of the Articles sent to the states for ratification in late 1777 contains the sentence "The Stile of this Confederacy shall be'The United States of America'". In June 1776, Thomas Jefferson wrote the phrase "UNITED STATES OF AMERICA" in all capitalized letters in the headline of his "original Rough draught" of the Declaration of Independence; this draft of the document did not surface unti
Post-punk is a broad type of rock music that emerged from the punk movement of the 1970s, in which artists departed from the simplicity and traditionalism of punk rock to adopt a variety of avant-garde sensibilities and diverse influences. Inspired by punk's energy and DIY ethic but determined to break from rock cliches, artists experimented with sources including electronic music and black styles like dub, free jazz, disco. Communities that produced independent record labels, visual art, multimedia performances and fanzines developed around these pioneering musical scenes, which coalesced in cities such as London, New York, Melbourne and San Francisco; the early post-punk vanguard was represented by groups such as Siouxsie and the Banshees, Public Image Ltd, the Pop Group, Cabaret Voltaire, Pere Ubu, Gang of Four, Joy Division, Talking Heads, Throbbing Gristle, the Slits, the Cure, the Fall, Au Pairs. The movement was related to the development of ancillary genres such as gothic rock, neo-psychedelia, no wave, industrial music.
By the mid-1980s, post-punk had dissipated while providing the impetus for the New Pop movement as well much subsequent alternative and independent music. Post-punk is a diverse genre. Called "new musick", the terms were first used by various writers in the late 1970s to describe groups moving beyond punk's garage rock template and into disparate areas. Sounds writer Jon Savage used "post-punk" in early 1978. NME writer Paul Morley stated that he had "possibly" invented the term himself. At the time, there was a feeling of renewed excitement regarding what the word would entail, with Sounds publishing numerous preemptive editorials on new musick. Towards the end of the decade, some journalists used "art punk" as a pejorative for garage rock-derived acts deemed too sophisticated and out of step with punk's dogma. Before the early 1980s, many groups now categorized as "post-punk" were subsumed under the broad umbrella of "new wave", with the terms being deployed interchangeably. "Post-punk" became differentiated from "new wave".
Nicholas Lezard described the term "post-punk" as "so multifarious that only the broadest use... is possible". Subsequent discourse has failed to clarify whether contemporary music journals and fanzines conventionally understood "post-punk" the way that it was discussed in years. Music historian Clinton Heylin places the "true starting-point for English post-punk" somewhere between August 1977 and May 1978, with the arrival of guitarist John McKay in Siouxsie and the Banshees in July 1977, Magazine's first album, Wire's new musical direction in 1978 and the formation of Public Image Ltd. Simon Reynolds' 2005 book Rip It Up and Start Again is referenced as post-punk doctrine, although he has stated that the book only covers aspects of post-punk that he had a personal inclination toward. Wilkinson characterized Reynolds' readings as "apparent revisionism and'rebranding'". Author/musician Alex Ogg criticized: "The problem is not with what Reynolds left out of Rip It Up... but, that too much was left in".
Ogg suggested that post-punk pertains to a set of artistic sensibilities and approaches rather than any unifying style, disputed the accuracy of the term's chronological prefix "post", as various groups labeled "post-punk" predate the punk rock movement. Reynolds defined the post-punk era as occurring between 1978 and 1984, he advocated that post-punk be conceived as "less a genre of music than a space of possibility", suggesting that "what unites all this activity is a set of open-ended imperatives: innovation. AllMusic employs "post-punk" to denote "a more adventurous and arty form of punk". Many post-punk artists were inspired by punk's DIY ethic and energy, but became disillusioned with the style and movement, feeling that it had fallen into a commercial formula, rock convention, self-parody, they repudiated its populist claims to accessibility and raw simplicity, instead of seeing an opportunity to break with musical tradition, subvert commonplaces and challenge audiences. Artists moved beyond punk's focus on the concerns of a white, working-class population and abandoned its continued reliance on established rock and roll tropes, such as three-chord progressions and Chuck Berry-based guitar riffs.
These artists instead defined punk as "an imperative to constant change", believing that "radical content demands radical form". Though the music varied between regions and artists, the post-punk movement has been characterized by its "conceptual assault" on rock conventions and rejection of aesthetics perceived of as traditionalist, hegemonic or rockist in favor of experimentation with production techniques and non-rock musical styles such as dub, electronic music, noise, free jazz, world music, the avant-garde; some previous musical styles served as touchstones for the movement, including particular brands of krautrock, art rock, art pop and other music from the 1960s. Artists once again approached the studio as an instrument, using new recording methods and pursuing novel sonic territories. Author Matthew Bannister wrote that post-punk artists rejected the high cultural references of 1960s rock artists like the Beatles and Bob Dylan as well as paradigms that defined "rock as progressive, as art, as'sterile' studio perfectionism... by adopting an avant-garde aesth
Bill Callahan (musician)
Bill Callahan is an American singer-songwriter and guitarist who has recorded and performed under the band name Smog. Callahan began working in the lo-fi genre of underground rock, with home-made tape-albums recorded on four track tape recorders, he began releasing albums with the label Drag City, to which he remains signed today. Callahan started out as a experimental artist, using substandard instruments and recording equipment, his early songs nearly lacked melodic structure and were clumsily played on poorly tuned guitars, resulting in the dissonant sounds on his self-released cassettes and debut album Sewn to the Sky. Much of his early output was instrumental, a stark contrast to the lyrical focus of his work, he used lo-fi techniques not because of an aesthetic preference but because he didn't have any other possibility to make music. Once he signed a contract with Drag City, he started to use recording studios and a greater variety of instruments for his records. From 1993 to 2000, Callahan's recordings grew more and more "professional" sounding, with more instruments, a higher sound quality.
In this period he recorded two albums with the influential producer Jim O'Rourke and Tortoise's John McEntire, collaborated with Neil Hagerty. Callahan worked with his then-girlfriend Cynthia Dall in his early career, they contributed vocals to each other's albums. After 2000's Dongs of Sevotion, Callahan began moving back to a simpler instrumentation and recording style, while retaining the more consistent songwriting style he had developed over the years; this shift is apparent in albums such as Rain on Lens, A River Ain't Too Much to Love. Smog's songs are based on simple, repetitive structures, consisting of a simple chord progression repeated for the duration of the entire song, his singing is characterized by his baritone voice. Melodically and lyrically he tends to eschew the verse-chorus approach favoured by many contemporary songwriters, preferring instead a more free-form approach relying less on melodic and lyrical repetition. Themes in Callahan's lyrics include relationships, relocation and more politics.
On the subject of voice in his albums, Callahan has said, "It’s one character per record. So, the character appears in all or most of the songs on one record and is gone. Though it makes me feel weird to talk about; because I don’t think in clear terms of characters. My albums as a whole could be seen as one character with many voices." His dispassionate delivery of lyrics and dark irony obfuscate complex emotional and lyrical twists and turns. Critics have characterized his music as depressing and intensely introverted, with one critic describing it as "a peep-show view into an insular world of alienation."Cat Power recorded Callahan's song "Bathysphere" on her 1996 album What Would the Community Think and covered another Callahan song, "Red Apples", on her Covers Record, released in 2000. In 2007, Callahan released Woke on a Whaleheart, his first solo album released under his own name, Sometimes I Wish We Were an Eagle followed in April, 2009. Both recordings were released through Drag City, worldwide.
In 2009, Callahan contributed cover songs on four separate tribute albums to Judee Sill, Kath Bloom, Chris Knox, Merge Records. In 2010, he released his first live album Rough Travel for a Rare Thing, recorded in 2007 at The Toff in Melbourne, Australia. Apocalypse, was released in April 2011 to favorable reviews. Critic Sasha Frere-Jones called it "my favorite of Callahan’s albums, not because it has better songs—those are scattered among at least five others — but because it does what he wants it to do: it conveys an album’s coherence." A tour film chronicling Callahan's 2011 Apocalypse tour was released in 2012. His latest album, Dream River, was released in September 2013.. In 2018, Callahan was featured in the Live at Third Man Records series; this was his second live album. Though he was born in Maryland, Callahan's family spent a total of eight years living in Knaresborough in England's North Riding of Yorkshire, with a four-year return to Maryland from 1969 to 1973, his parents worked as language analysts for the National Security Agency.
Callahan dated other high-profile musicians Cynthia Dall, Chan Marshall, Lisa Crystal Carver and Joanna Newsom. In 2013, he became engaged to filmmaker Hanly Banks, their son, was born in March 2015. In 2000, "Cold Blooded Old Times" appeared on the High Fidelity soundtrack. In 2000, "Hit the Ground Running" was featured over the ending credits of the film Swimming. In 2003, "Held" was featured in the documentary Born Rich. In 2004, "Vessel in Vain" appeared on the soundtrack of the independent British film Dead Man's Shoes. In 2005, "A Guiding Light" appeared on the soundtrack of the film Winter Passing. In 2007, "Held" was featured in a Cadillac Escalade commercial. In 2008, "Night" was featured in the teen buddy comedy College. In 2012, "Our Anniversary" was featured during the closing credits of the film Smashed, appeared on its soundtrack. In 2014, "Night" was featured in season 1, episode 4 of the Amazon Studios television series Transparent. In 2015, "Small Plane" was featured in episode 2 of the FOX television series Backstrom.
In 2016, “Jim Cain” was featured in the closing credits of
The Pastels are an independent music group from Glasgow, formed in 1981. They were a key act of the UK independent music scene of the 1980s; the group consists of Stephen McRobbie, Katrina Mitchell, Gerard Love, John Hogarty, Tom Crossley, Alison Mitchell. Their early records for record labels such as Whaam!, Rough Trade, Glass Records, had a raw and immediate sound and amateur, which seemed at odds with the time. But an emerging fanzine culture identified with the group's sound and image, The Pastels started to influence a new wave of groups, which interested the NME and other UK media; the Pastels' sound continued to evolve and, although part of the NME's C86 compilation, in interviews they always sought to distance themselves from both twee and shambling developments. Their debut album, Up for a Bit With The Pastels moved from garage pop-punk through to ballads with synth orchestra splashes. In 2003, it was named the 37th best Scottish album by The Scotsman; the follow-up, Sittin' Pretty was less eclectic.
Reports started to appear in the UK music press. It became clear that a new line-up was configuring around original members, Stephen McRobbie and Annabel Wright, now joined by Katrina Mitchell; this line-up is the best known of The Pastels' various phases, featured either David Keegan or Gerard Love on guitar. They signed with the emerging Domino Records and completed two albums, Mobile Safari and Illumination, which showed them developing an odd, particular sound – melancholic and awkward, but warm and engaging. A remix set featured Jim O'Rourke and others on the album, Illuminati, their next release was the soundtrack to David Mackenzie's The Last Great Wilderness, made for film or not, is one of the most realised Pastels albums. It featured. In 2006, The Pastels developed and completed new music for a theatre production by Glasgow-based company, 12 Stars. In 2009, The Pastels, in collaboration with Tenniscoats from Tokyo, released an album called Two Sunsets. In 2013 they released their first album proper in Slow Summits again through Domino.
The Pastels featured on the soundtrack for the film The Acid House. The story of The Pastels from their formation to the early 1990s features in 2017 documentary Teenage Superstars; the Pastels now operate their own Geographic Music label through Domino, are partners in Glasgow's Monorail Music shop. Stephen McRobbie – guitar, vocals Katrina Mitchell – drums, vocals Brian Taylor – guitar Martin Hayward – bass, vocals Bernice Simpson – drums Annabel Wright – bass, keyboards Gerard Love – guitar, bass guitar Tom Crossley – flute, keyboards Alison Mitchell – trumpet John Hogarty – guitar Norman Blake – guitar, bass guitar Colin McIlroy – guitar David Keegan – guitar Jonathan Kilgour – guitar Eugene Kelly – vocals, guitar Charlie Dinsdale – drums Francis MacDonald – drums Chris Gordon – drums Michael – bass guitar Sandy Forbes – drums Dean Wareham – guitar Maureen McRoberts – saxophone Darren Ramsay – trumpet Up for a Bit with The Pastels Sittin' Pretty Mobile Safari Illumination Slow Summits Suck On Truckload Of Trouble Illuminati Summer Rain The Last Great Wilderness Jad Fair and The Pastels - This Could Be the Night EP Jad Fair and The Pastels - No. 2 EP The Pastels and Tenniscoats - Two Sunsets The Pastels and Tenniscoats - Vivid Youth / About You Official website The Pastels at AllMusic