Push the little baby down the spiral stairs Lyon is a song which makes me think of my life. A sad song which can make me weep if I am in the right mood. Introspective and nostalgic. Looking back on life. Touching something very deep inside. Such a crappy keyboard but so beautiful.

• Nautical Antiques Pinback

This cd is a trip.Crutch is almost ferocious after the magnificently slow Loro before. But a little too long. Two minutes would have been enough. A lot of repetiton, minimalism on this record. Rousseau is the most annoying track. But eleven out of twelve is a rarely reached hit and miss ratio.Byzantine is one of those songs I love to whistle to. To improvise on by whistling.

It has a Western soundtrack quality. There is a shadow of Pavement again here.I discovered Pinback via the ILM listening chambers which unfortunately don't exist anymore. The idea was to post an mp3 without naming the artist or song and the others would discuss on it without mentioning names if they knew them. A very good way to find about music you usually never listen to or don't know about. The song in the was Tripoli, the album opener. Three views on this song which condensate Pinback's music much better than anything I could ever write about them:Kim in the ILM listening chamber. I haven't heard this particular song before, but it must involve a certain obscenely talented and prolific person, who has barely been heard of yet outside of certain circles.

I say this because it bears all the hallmarks that initially caught my attention - the perfect harmonies, the restrained almost monotone vocals that are so oddly engaging, subtle grooves and irresistible rhythms that sway through the song. It's so good as to be almost a paradox - both warm and delicate at once, like a snowflake that never melts. This is the kind of music that I attach myself to for life. Thanks to the person that suggested this one.Tom Ewing on (March, 27th, 2000).

Nautical Antiques Pinback

The real-life Pinback may be roisterous types, but when I hear Tripoli I think of saucer-eyed boys in basements making quiet sounds for themselves. With its mumbling vocals, with its humming-to-yourself harmonies and with the mousiest scratching I've ever heard, this is private music, in shelter from the world. Pinback, thank goodness, don't sound anywhere near proficient enough to noodle, which is the big risk post-pop runs, and the no-attitude vocal approach means the simple, pretty tune gets room to breathe. Of course you'll be underwhelmed the first time you listen to it, but hide it somewhere on an MP3 playlist and it'll charm you soon enough.Pitchfork's Andrew Goldman in. Tripoli, Pinback's opening track, starts with the kind of drum massacre you'd expect from Modest Mouse. Then the voices enter- two of them, to be precise. Two superb, soft, vibrato-less voices, free of Isaac Brock's snarl or Jeremy Enigk's affected accent.

Voices singing about death and pushing babies down spiral stairs, conveying a gut-wrenching loneliness. Voices that make this album from beautiful start to beautiful finish. Hey, they're compelling voices. In fact, they're so compelling that it becomes easy to ignore the sweet humming of minimal keyboard lines, and guitar playing that occasionally drops hints of Enigk and Prewitt.The now defunct with a more critical approach concerning the album.

Unfortunately, after 'Tripoli', Pinback don't really have any more surprises up their sleeves. Every tune on their debut uses the same trick - two dueling singers, both with trademarked low-key, very slightly out-of-tune voices, simple little beats, guitar overdubs. The relatively underarranged 'Loro' is a standout, with almost unbearably plaintive guitars and whispered singing in the grand sensitive-indie-boy tradition. Pinback have got their alternatetunings and gently-chiming progressions down pat, but their lyricism - and sense of song development - could use some work.

None of the songs particularly go anywhere, and the two-singers device doesn't do enough to hide the fact that most of their lyrics are gibberish.The AMG. I humm these tunes in the shower.

I sing them as I drive to work. I listen to them with headphones to start my day. Every single time I play this disc, either at work or at home, everyone wants to know who it is. It's infectious!!!If you arrived to the end of this I can offer you a of 16 songs (#15 Victorious D is a broken link) Pinback performed live in San Diego on March, 23rd, 2002. Six of the twelve songs on This Is a Pinback CD are assembled there. Unfortunately three of my favourites ( Crutch, Lyon and Byzantine) are missing.Other mp3 links: (pop-up alert), and.And here is the of which part IV was this post.By the way the poll for has been closed. The winner was Nick Drake's Pink Moon which has been my favourite of that year for most of my life.

While a rotating cast of instrumentalists finds loose assembly under the Pinback name, the partnership of Armistead Burwell Smith IV and Rob Crow is at the heart of the some of the most complex, postmodern indie pop happening on the West Coast. In the first few days of 1998, Smith (of San Diego-based Three Mile Pilot) and Crow (of Thingy and Heavy Vegetable) formed a part-time recording project under the name Pinback.

The simple plan grew more involved while Three Mile Pilot took an indefinite hiatus and Crow put a number of his musical projects on hold. Recording on Smith's home computer, the duo enlisted Three Mile Pilot drummer Tom Zinsor, and by the following August, Pinback had finished recording 14 songs of delicate, canonic pop that was tentatively slated for release on San Diego's Vinyl Communications. However, when interest in the band skyrocketed after a Tim/Kerr label showcase at the North by Northwest Music Festival, the record got tied up in a bidding war that caused a slew of contractual problems and held the record in limbo for almost a full year.When they were eventually cleared from all former obligations, Pinback finally signed with New Jersey's Ace Fu Records, which released their eponymous debut in early 1999, almost a full year after it was recorded. With their long histories in West Coast indie circles and the marriage of the players' diverse musical backgrounds, Pinback scored immediate critical success.

The Some Voices EP that followed the next year on Tree Records displayed a slightly more lo-fi and elemental side of Pinback while building on the intelligently constructed songcraft of their eponymous debut. Blue Screen Life, the band's second studio effort, exuded something more musically pure. Gone was the frilly rock nonsense; instead, Pinback went for more of a melodic nature with classic indie flair.Pinback made their Touch & Go debut in fall 2004 with Summer in Abaddon, which saw the bandmembers continue slowly to push themselves a bit further with complex song structures while maintaining their indie pop sensibilities. Two years later, the band issued Nautical Antiques, a collection of rarities and B-sides spanning from 1998 to 2001.

Their second album for Touch & Go, Autumn of the Seraphs, followed in 2007. Though it would be five years before Pinback followed up, their 2012 album, Information Retrieved, found them easily settling into their melodic groove.

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In 2015, Crow announced his intent to severely reduce his musical activities following the completion of in-progress recordings. Nate Cavalieri.