Lyonel Feininger, Villa on the Shore, 1921

This woodcut is one of many great prints by Feininger that are included in a book I have. I couldn’t find a good enough image of his little watercolour and pen drawings of sailboats so I chose the more graphic stylings of his earlier work, which are equally strong and showcase his ever-present command of line.

Mark Hollis’s only solo album after Talk Talk is a minimalist masterpiece. I would love to eventually find this amount of space and control in the music I make. I could’ve picked any song from this album as evidence, but I’d forgotten how good this one is, probably because it’s so understated, even on a record of numerous slow wonders. Just before the two-minute mark, Hollis’s voice does something unexpected and the song begins to shift subtly before returning to its sparse, pastoral groove. Restraint enables release and it is such a powerful device.

Paul Buchanan’s voice and music is unfeasibly melancholy and beautiful as you can hear in this complementary video. In a recent Guardian article he said, “You work and work and work and have the life that you have, and once in a while, sometimes once in a decade, you see a few things you’ve got and think, yes, that’s authentic.” I think that’s an admirable attitude in a world where popular song is often churned out, devoid of any specific emotion or ‘soul’.

Lauren Marsolier, Transition -part 3, 2009 – 2012

Lauren Marsolier, Transition -part 3, 2009 -2012

Lauren Marsolier, Transition -part 2, 2007 – 2009

These images and others like them feel like a series of absences and withheld information, but also in the subtle collage of seemingly seamless elements, they are also about adding something and reinvention: haunting and smooth – a new reality.

via It’s Nice That

Hey! What if the Byrds had made lo-fi, ’80s indie-pop produced by Ariel Pink in his bedroom? I’d like to think it’d sound similar to Catwalk.