08-31-2010, 03:16 PM
I was reading the second Scott Pilgrim book, and look what I found:
![[Image: pilgrim-1.jpg]](http://newsprint-fray.com/hip/pilgrim-1.jpg)
![[Image: pilgrim-2.png]](http://newsprint-fray.com/hip/pilgrim-2.png)
08-31-2010, 03:44 PM
i was so happy when i read this! but it wasn't in the movie 
09-04-2010, 07:53 PM
That is so cool. I saw the movie last week and I definitely would've remembered that part if it was in there. Too bad. The movie is great though.
:thumb:
:thumb:
09-09-2010, 09:36 PM
Eww what? They're probably listening to "We're Hardcore."
I wonder what inspired O'Malley to put that in there, if it was a specific song or an entire album...
I wonder what inspired O'Malley to put that in there, if it was a specific song or an entire album...
09-20-2010, 11:00 AM
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Gord Downie is a "totally sweet genius."
So wrote Canadian cartoonist Bryan Lee O'Malley in the second volume of his Toronto-centric comic book series Scott Pilgrim vs. the World, which recently became a movie starring Michael Cera.
"I've met the Queen and I thought this was way cooler," Downie says with a chuckle over the phone from his home in Toronto. "I thought it was really neat. I saw the film and we were blown away by it. You really feel like it's a film that's made just for you. It's one of the best Canadian films that isn't Canadian."
He laughs.
Is O'Malley's description accurate?
"Of course," he says softly. "Ha! Well, that record, too, man. I think Bryan Lee O'Malley is the only person who listened to Battle of the Nudes. I'm sort of proud because it got sort of dismissed."
Downie is referring to his somewhat maligned second solo effort released in 2003, which came hot on the heels of his 2001 debut, Coke Machine Glow.
Seven years have passed since Nudes and since Downie gathered his Country of Miracles -- Julie Doiron, Josh Finlayson, along with Dale Morningstar, Dr. Johnny Pee and Dave Clark of The Dinner is Ruined -- a band that had begun to take shape during the last of the Coke Machine Glow sessions at the old Gas Station studios in Toronto, and which became Downie's regular backing band during the Nudes tour (where it finally got its official name).
On The Grand Bounce, Downie's third solo album released earlier this year, you can feel the camaraderie among them all, little snippets before and after songs, including murmurs and whispers, count-ins and giggles, as if you were sitting in the sessions with the gang.
"The Grand Bounce was both easy and difficult," Downie says, admitting the pressure of deadlines almost got the best of him, and that he's "barely hanging on most of the time."
"I've really enjoyed every record, every person I've ever worked with, and grasped the essence and importance of what it is. You get to be 14 inside -- you're making a record, you're living your dream, and you're able to encapsulate the best you can the feelings and abilities of the moment."
If Downie managed to capture that essence, he thanks producer Chris Walla (of Death Cab for Cutie), who deftly handled the sonic layering of the album.
"I was very impressed by the fact that he records and mixes and produces all the Death Cab stuff and he's in the band," Downie says. "You just don't see that kind of faith and trust in any band these days, really. I think that's what bands are ultimately selling: their faith and trust in each other. I was also impressed with his sonic sense, listening to those records, and how neat and adventurous they were and how much a part of it he is.
"Having said all that, I wasn't a Death Cab completist. It was just meeting him in Pemberton at the festival and chatting for about an hour and a half backstage that made me realize he was a really cool guy. And if the idea is that friendship changes everything, that's what I want. Bob Rock taught me that, and his friendship and Chris's have changed my life. Making music should be about that and you shouldn't settle for anything less."
Though Downie says that "overarching concepts are hatched in hindsight," The Grand Bounce's song sequencing hints at the album's title, rising from a countrified mood ("East Wind," "As a Mover"), eventually reaching a surrealistic power-pop core ("The Drowning Machine," "Yellow Days") before falling back down in its original resting place ("Broadcast," and the hissy, analog "Pinned").
"That's the way it goes and that's the way it flows," Downie says. "All the songs seem to be about relationships, or a relationship, as you move from the past to the present to the future -- sometimes in the same moment -- with somebody."
By Francois Marchand, Postmedia News
Gord Downie is a "totally sweet genius."
So wrote Canadian cartoonist Bryan Lee O'Malley in the second volume of his Toronto-centric comic book series Scott Pilgrim vs. the World, which recently became a movie starring Michael Cera.
"I've met the Queen and I thought this was way cooler," Downie says with a chuckle over the phone from his home in Toronto. "I thought it was really neat. I saw the film and we were blown away by it. You really feel like it's a film that's made just for you. It's one of the best Canadian films that isn't Canadian."
He laughs.
Is O'Malley's description accurate?
"Of course," he says softly. "Ha! Well, that record, too, man. I think Bryan Lee O'Malley is the only person who listened to Battle of the Nudes. I'm sort of proud because it got sort of dismissed."
Downie is referring to his somewhat maligned second solo effort released in 2003, which came hot on the heels of his 2001 debut, Coke Machine Glow.
Seven years have passed since Nudes and since Downie gathered his Country of Miracles -- Julie Doiron, Josh Finlayson, along with Dale Morningstar, Dr. Johnny Pee and Dave Clark of The Dinner is Ruined -- a band that had begun to take shape during the last of the Coke Machine Glow sessions at the old Gas Station studios in Toronto, and which became Downie's regular backing band during the Nudes tour (where it finally got its official name).
On The Grand Bounce, Downie's third solo album released earlier this year, you can feel the camaraderie among them all, little snippets before and after songs, including murmurs and whispers, count-ins and giggles, as if you were sitting in the sessions with the gang.
"The Grand Bounce was both easy and difficult," Downie says, admitting the pressure of deadlines almost got the best of him, and that he's "barely hanging on most of the time."
"I've really enjoyed every record, every person I've ever worked with, and grasped the essence and importance of what it is. You get to be 14 inside -- you're making a record, you're living your dream, and you're able to encapsulate the best you can the feelings and abilities of the moment."
If Downie managed to capture that essence, he thanks producer Chris Walla (of Death Cab for Cutie), who deftly handled the sonic layering of the album.
"I was very impressed by the fact that he records and mixes and produces all the Death Cab stuff and he's in the band," Downie says. "You just don't see that kind of faith and trust in any band these days, really. I think that's what bands are ultimately selling: their faith and trust in each other. I was also impressed with his sonic sense, listening to those records, and how neat and adventurous they were and how much a part of it he is.
"Having said all that, I wasn't a Death Cab completist. It was just meeting him in Pemberton at the festival and chatting for about an hour and a half backstage that made me realize he was a really cool guy. And if the idea is that friendship changes everything, that's what I want. Bob Rock taught me that, and his friendship and Chris's have changed my life. Making music should be about that and you shouldn't settle for anything less."
Though Downie says that "overarching concepts are hatched in hindsight," The Grand Bounce's song sequencing hints at the album's title, rising from a countrified mood ("East Wind," "As a Mover"), eventually reaching a surrealistic power-pop core ("The Drowning Machine," "Yellow Days") before falling back down in its original resting place ("Broadcast," and the hissy, analog "Pinned").
"That's the way it goes and that's the way it flows," Downie says. "All the songs seem to be about relationships, or a relationship, as you move from the past to the present to the future -- sometimes in the same moment -- with somebody."
By Francois Marchand, Postmedia News