here is the NFO file from Indietorrents
Artist : Okkervil River
Album : Black Sheep Boy Appendix
Source : CD
Year : 2005
Genre : Rock
Label : JagjaguwarEncoder : Exact Audio Copy (Secure mode)
Codec : LAME 3.90
Bitrate : VBR ~197K/s 44100Hz Joint Stereo
ID3-Tag : ID3v2.3Ripped By : fhqwhgads on 12/5/2005
Posted By : fhqwhgads on 12/7/2007Posted to : indietorrents
Review
————-from Pitchfork
1 Regarding "private madness," see Pauline Kael, For Keeps: 30 Years at the Movies. (New York: Plume, 1996). p. 601.
2 Following the release of Black Sheep Boy, Will Sheff’s vocals have been labeled "emo" by various sources. This tag, however, seems misleading, less a stylistic description than a critical tendency to define everything by a prevailing trend. Rather, Okkervil River seems to exist between trends, sharing similarities with emo, alt-country, and Americana, among many others, but never fitting comfortably into one category.
3 The band’s follow-up EP, The Black Sheep Boy Appendix, further reveals the fruitfulness of the Black Sheep Boy sessions, held in a hot Texas house crowded with equipment and instruments. These seven tracks (including two short interstitials) develop ideas suggested on the album and introduce some new ones. Specifically, a new musical motif runs throughout most of the EP: a brief melody that’s slightly dissonant and fragile, suggesting a precarious emotional balance. The band introduce it in the lead-off track, "Missing Children", whose mesmerizingly sinister tension recalls music written for villains from early Disney cartoons. They repeat that theme again in the final track, "Last Love Song for Now", but speed it up over the rumbling rhythms. Tied together in this way, the Appendix is obviously bound to the full-length album, but also separate from it, a sovereign thing unto itself. As such, it could be considered a Derridian supplement: an entity that complements, expands, and potentially supercedes a main object while remaining separate from it.
4 The Appendix develops thematically, but it does fill in some narrative holes. For instance, in "Black Sheep Boy #4" we learn that the title character lives in a "battered" Mustang and has been to Baltimore (which has its own significance within the Tim Hardin canon). As on the album, however, such concrete details are merely impressionistic, enough to lend the story verisimilitude but not enough to close off any additional meanings that could possibly be read into these songs.
5 Unfolding behind the screen of the Black Sheep Boy mythology, perhaps the EP’s most vital story is that of the band completing this project and in the process exorcising those creative demons. Will Sheff sings repeatedly of destroying the mirror that reflects the Black Sheep Boy, of banishing it back to its battered Mustang. This idea, perhaps more than the abstracted ram and the Tim Hardin hagiography, lends the Appendix its particular gravity, as if the band has built a mythology that threatens to swallow them. This sentiment is echoed in William Schaff’s cover art, which features the Black Sheep Boy driving a sword into its mirror self.
6 As on Black Sheep Boy, the arrangements on the Appendix are well thought out, but still explosive and immediate: Beginning with a short melody from the album’s song "A Stone", "Black Sheep Boy #4" builds steadily to a climax that has Sheff spewing his private madness from his gut, in a performance that mixes gospel fervor and mental breakdown.
7 "No Key, No Plan", about grifters on the run, has a rushing pace similar to these three songs, with the band– especially keyboardist Jonathan Meiburg and drummer Travis Nelson– churning a tumbling momentum and adding a taunting call and response in the chorus: "You’ve never earned your soul," sing the band, like a Greek chorus (which seems fitting: Black Sheep Boy could also refer to the Minotaur at the center of the maze). Sheff responds simply, "I know."
8 The delicate melody of "In a Radio Song" is resurrected on the Appendix in "Another Radio Song" and the interstitial instrumental "A Forest".
9 Okkervil River choose a very different concluding tack on the Appendix: Instead of a big push and subsiding finale, "Last Love Song for Now" offsets its lyrical gravity and the fresh, raw pain in Sheff’s vocals with handclaps and horn charts– pop devices that turn in on themselves. He repeats the lyrics from "Missing Children", but in a different context– not merely with a faster tempo, but also with a more foreboding gravity that has accrued meaning and significance over these seven songs. This recurrence completes a small cycle that begins with "Missing Children", as well as a larger cycle that encompasses the entire Black Sheep Boy project, one that laments the loss of possibilities as lambs become lost rams and children become "numb" adults. Okkervil River end "Last Love Song for Now" singing "over and over and over and over" until Sheff declares, "It’s over." Whether that’s the band’s victory cry or an admission of defeat is undeterminable.
-Stephen M. Deusner, December 14, 2005
Track Listing
————-
1. Missing Children (3:04)
2. No Key, No Plan (3:00)
3. A Garden (0:51)
4. Black Sheep Boy (5:23)
5. Another Radio Song (4:59)
6. A Forest (1:24)
7. Last Love Song For Now (6:00)Total Playing Time: 24:43 (min:sec)
Total Size : 36.8 MB (38,585,216 bytes)======================================================================
.NFO file created with NFO Sighting V1.0.469 on 12/7/2007 at 7:05 PMFor more information on NFO Sighting visit http://www.rogerhelliwell.com/comp/NFOFrameset.html