It's tough to concentrate on the rigors of Beethoven with jackhammers pounding in your ears. So when they started demolishing the building next to Jonathan Biss, he moved his piano out of his apartment into a separate studio, away from the commotion. "I would get up in the morning, the piano wasn't there, and I had to leave my apartment to go practice and I've decided that's a much more productive way of working," he says. Biss needs a good working environment for his massive project.
Jeremy Denk has his own personal "piano boot camp." Actually, it's his cramped Manhattan apartment. Beside his beloved books, a trusty coffee pot and a laptop, there's not much to do except practice. Which Denk does, hours and hours a day on a Steinway wedged into his living room. On a good day, he brews pot of coffee number one at about 11, then plays for about five hours. Perhaps a run to the gym, then pot number two is brewed at about 6, followed by more playing — until the neighbors complain.
Back in March, former All Songs intern Dan Raby used this space to sing the praises of Montreal singer-songwriter JBM, a.k.a. Jesse B. Marchant, whose deliberately paced folk-pop hangs on the lingering empty spaces between notes.
People have funny ways of describing hit pop songs. A song is "infectious," an "earworm." It "gets under your skin." It's not summer without little annoyances — sunburn, mosquito bites, sweat — just as it's not summer without the Song of the Summer. This is a song (or two, or three) that explodes and quickly permeates pop culture. It runs rampant up and down your radio dial, around your parties and deep in your brain. Perhaps this is why such pop music is described in terms usually reserved for the plague.
There's more than one way to qualify as a "guitar band": You can shred, sure, or you can lay down layer upon layer of guitars to weave an intricate tapestry. For Diiv — yes, the group was once called "Dive," and yes, it's from Brooklyn — guitars dominate, but as warm, chiming mood-setters.