Urbane Sprawl: A Tragidramedy in Perhaps One Scene

(setting: a party/show at a warehouse in Manhattan)

C. JACOB DAVID: You didn’t by any chance expose your ears to the new Yeasayer track?  It’s been streaming since Wednesday on multiple varieties of media, so…

JONATHAN MILLS: Eh, it didn’t do much for me.  The bass was kind of flat, and though I appreciate that Keating’s “experimenting” with a new retro scene and whatnot, one can’t help but acknowledge that it’s been done on literally hundreds of levels before, definitely including the one he chose to indulge himself in.

C. JACOB DAVID: I don’t see how your opinion can match that of the highest critics, but if you ever want to apply for, say, Stereogum, be my guest—but I don’t want you to be disappointed, I mean.  As I was saying earlier, Grizzly Bear is taking post-folk to an extravagantly impressive medium.  They’re so brilliant, as I was telling Worth yesterday morning, that it’s a great honor to the so-called indie community that neither Grizzly Bear nor their contemporaries Dr. Dog and/or Jens Lekman have ever been accepted on a grander scale, if you catch my drift.  They’re charmingly baroque; as a McSweeney’s regular put it.  Did you catch the subtle yet clever allusion to Joanna Newsom on Saturday’s This American Life?  My God, that girl is rather dashing…

JONATHAN MILLS: Say, speaking of Worth, here he comes now.

M. P. WORTH: Jonathan, Jacob.  I can’t fathom why neither of you have tasted even a single pale lager at this get-together.  It’s locally brewed: straight outta Krebs’ basement!  It’s quite a masterwork, really.  And, if you happen to buy this particular brew at one of three local markets, three-quarters of the proceeds go to benefit approximately one-half of the Elephant Six Collective.

JONATHAN MILLS: Meh, the Elephant Six Collective hasn’t done much for me in the past few years.  Even they have managed to go soft.  I guess one major label reissue and a handful of charting singles will do that for anyone.

C. JACOB DAVID: It could be worse, though.

JONATHAN MILLS: How so, Jacob?

M. P. WORTH: Indeed, it could sure be better.  Ah, would you look at the time—the opening act will be starting in just a few minutes, it seems.  The Dirty Projectors couldn’t make it, unfortunately, due to artistic differences at work.  So as a last-minute replacement, Tucker booked the out-of-state talents of Future Islands—not bad, if I do say so myself.

JONATHAN MILLS: You know, I downloaded their first and part of their second EP, and they were quite moderate, but when I heard their latest record, they were not so impressive.  One wonders how they sound live.

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