the fyrehaus

Notes: Yes, I am listening to the leak. We all are. To be honest, we all also jumped when FOB started pushing out iTunes singles and giant boxed packages months ago, so we’ve already paid for this damn thing. (I’ve also already heard four of the thirteen songs in their iTunes incarnations.) Let’s just hope what I’m about to hear justifies the $100 some of us have dropped.

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I tried going back through my Twitter posts to see what I’ve been listening to, but I haven’t been as faithful as I’d hoped in reporting what I’m listening to. I might be balancing too many Twitter identities.

Either way - Sarah and I decided to do a quick rundown of what we’ve both listened to in the last week or so.

Sarah: this song is awesome, “Carlos Walter Wendy Stanley” by Chap
Megan: ooh. ok, quick. we’re doing a five minute rundown of cool things we’ve been listening to
Sarah: new Chiefs
Megan: new kings of leon, repeating ‘use somebody’ a lot; dr dog’s fate (THANKS SPENCER), new killers, raising sand (what, like, a year later?), alternate abbey road covers - ‘golden slumbers / carry that weight’ in specific. japanese motors
Megan: have you heard them? the single ’single fins and safety pins’ is awesome. but i like regrets a paradise better
Sarah: I have!
Megan: i listened to the new bloc party a few times
Sarah: Oh, um, the hot video at Oxford is “Who Let the Yankees in the Chip Shop” by the Matches. All those Suarez remixes
Megan: yeah, he has good remixes
Sarah: The TMBG “Cast Your Pod to the Wind” collection
Megan: i really liked the remix pete posted in his blog for, like, three horus
Sarah: i think hey monday is kinda boring, but i love cassadee drops
Megan: i really haven’t given them enough of a shot
Megan: i have razia’s shadow all queued up, just haven’t tried it yet
Megan: and, of course, folie a deux.

And that’s where I stopped, because that’s all I’m listening to right now. Sarah’s going to give it the Fyrehaus First Listen tonight. Look for her coherent cogitation on it.

Pete Wentz claims “Cloverfield” inspiration, apparently.

The rocker said he spoke to writer Drew Goddard at the film’s premiere, and that he revealed he was listening to their LP while producing the script.

Writing on his official blog, Wentz said: “Basically, I went to the premiere and Drew came up to me. He said the only thing he listened to when he was writing the movie was Infinity On High.

“I thought he was just being nice or blowing smoke up my ass, but we were huge fans of his writing on Buffy The Vampire Slayer and Lost, so we kept talking.

“He went on to cite specific songs. He mostly boiled it down to ‘The Take Over, The Break’s Over’, and my mind was blown.

“He said you could sync Infinity and Cloverfield up, like Pink Floyd and The Wizard Of Oz..

“I was like ‘Are you serious?’ and then he said, ‘Well, you probably couldn’t, but if we watched it together I could do it for you’.

“He pointed to some of the lines specifically, mostly on ‘The Take Over, The Break’s Over’. It’s interesting to see someone else’s interpretation of your songs. If you get a chance, check out the movie. And keep your eyes open at the end.”

Fall Out Boy’s Joe Trohman has publically said that Ashlee Simpson is no Yoko, as the gossip rags would have you believe. Which most of my friends probably already knew. The fun part is further down:

Pete Wentz has previously gone on record to bemoan the lack of Grammy nominations for Fall Out Boy at the end of a successful year (one which saw them produce a video so chock-full of product placement there was barely any room for anything else), insisting that the “50-year-old white man” who decided the shortlist couldn’t understand their music. The American edition of OK magazine subsequently carried hints that the lack of attention from the Academy had been designed to punish Wentz’s girlfriend for lip-synching. No, really.

The possibility that the lack of critical acclaim may be more to do with Wentz being no Lennon than Simpson being an Ono has yet to filter through.