Sinister: Because he liked the sound of it

[Reid Dossinger]

Oh, how happy am I?  Damn happy.  I'm walking past Two Way Pull records
here in Chapel Hill yesterday, fully expecting that they wouldn't yet
have their copies of TIGGERJAMMIES in, and what have they written on
their "lo-fi marketing" chalkboard?  This: "New Belle and Sebastian EP
in...Yay!"  Well, yay indeed!  So I broke down their door (it was
unlocked, but I like the drama) and demanded that they sell me one.  And
they had about 20 copies of it, 10 on CD, 10 on vinyl!  This is about
the best import service I've ever seen.  I'm so impressed.

Of course, now I'm going to have two copies when my copy from Jeepster
arrives in the mail.  But that's okay...one can live in my car the other
can live in my bedroom, and when I find suitable parents for one of
them, I'll gladly give it up.

And speaking of cars, I've noticed that Modern Rock Song especially
sounds so much better in my car.  I don't know what it is, but as I was
listening to it on the way home yesterday, I was beaming from ear to
ear.  Then when I listened to it in my bedroom last night, I still loved
it, but it didn't have the same effect.  "First listen effect" I
figured.  But then when I listened to it again this morning, I was
whisked back to the heady, wonderful days of, um, yesterday.

Anyway, Modern Rock Song=stunning.  I still think that it has even more
potential (if you can believe that), but it does sound phenomenal.  Does
Stuarts voice sound a little weird to anyone?  Stevie's voice sounds
phenomenal.  My favorite part is when he starts singing.

...Where the Summer goes: great melody.  It's going to get stuck in my
head a billion times over the course of the next few months.  Some of
Stuart's best lyrics in a long time, too.  I'll have to listen to it a
few more times to pick up the nuances.

I don't mind The Gate so much.  I guess it's one of those things where I
can see both sides.  I think it's a nice song, with a catchy melody and
good arrangement, etc.  But so far, there's not much that makes me want
to go back to it over and over.  Maybe I'm just writing this all a bit
prematurely.

Slow Graffiti is still one of my all-time favorites.  The horns sound
fantastic, and I love the way Stuart tweaked the vocal melody.  One
thing I'd like to point out to see if anyone's noticed is that just
after the line "take whatever's coming to you, boy", it sounds like
Stevie lets out these two extra "boy"'s.  Someone tell me I'm not crazy,
please.

To answer a question about musicians, I am one.  Drummer first,
guitarist, songwriter.  It takes me for fucking ever to write a song.
I'm possibly the slowest songwriter in the world.  It sounds like what
you think it'd sound like: someone who's into B&S, Rufus Wainwright and
Grenadine.  </self indulgence>

~~Reid
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