Don’t let The So So Glos know that your SAK correspondent told you this, but their ridiculously good new 9-track EP, Tourism / Terrorism, comes out this Election Day (November 4th). You will be the lamest kid on your block if you don’t have a copy.

There are no publicly available studio recordings yet, but speaking of blocks, here’s a YouTubed, blown-speaker rendition of T/T’s “My Block”:

Your SAK correspondent finds it easier to rock with Golden Triangle amidst the fashions of Williamsburg than at Fashion Week.

I’ve listened to Son Volt’s “Medicine Hat” once each day since this past Friday. It’s a song that’s always resonated with me–Jay Farrar doing his best to sound like a rockin’er (though still jangly) Byrds covering ‘65-era Dylan–despite being a typically tough-to-decipher Farrarian attempt at, well, Dylan’s obtuse, image-riddled quasi-prophetic poetry. I hadn’t given the cut a spin in over a year, I’m sure, and I had no real idea why the song suddenly re-asserted itself as a favorite in the last few days.

Today I was sitting in my kitchen, shoveling the final spoonful of cereal from my bowl as the host on National Public Radio introduced a fairly short piece with only “And now a remembrance of David Foster Wallace,” my roommate Andres concurrently asking “Did you hear about this shit?” I had not.

I rocketed out of my seat, cranked up the volume knob, paced away from the radio and stood in the middle of the apartment, completely upended inside.

David Foster Wallace, 46, found by his wife at their Claremont, California home on Friday, apparently a suicide by hanging.

In the past few months I have managed to re-obsess myself with DFW, reading again each essay in Consider The Lobster, preaching his greatness to various people at parties, the conversation either becoming a mutual lovefest between myself and anyone whose ever read a word the man had written, or the other person vowing to read Wallace’s essay “Big Red Son”–easily the most intelligent, unflinching, insightful consideration of the American pornography industry ever put to paper–at the earliest opportunity.

I went with my friend Brett to watch the daytime qualifying rounds of the U.S. Open last month in Queens solely because Wallace had written an essay about tennis player Roger Federer–his take made the game sound so interesting that I, a professed sports avoider, felt I had to see some racket-wielding professionals tread the courts it in person.

This blog even unintentionally lifts a bigtime conceit from the DFW playbook, as I refer to myself in posts not by the far-more-often blogged with “we” or in the at least standard old “I” but instead as “your [Songs About Knives] correspondent,” essentially a minor modification on DFW’s hilariously clever ability to render himself in the third person when detailing his experiences, a move that somehow managed to spectacularly humanize the events portrayed therein.

The play count for “Medicine Hat” on my laptop now stands at four–once a day since Friday, but this last rotation was suffused with an unfortunate meaning that the song will, for me, probably never shake. “Just like that and the deed is done,” Farrar sings in the chorus, closing out the section by adding: “the time is now to be on the run.” I’ve played it each day since Wallace’s suicide, not yet knowing its meaning had been cemented until today.

A lot of it is epic in its lyrically open-endedness–“there will be signposts of indication / semaphore go signs and warnings”–and reads like the Biblically vague stuff that is oft-counterfeited in powerful (if arguably empty) rock songwriting. I’ve never necessarily believed that Dylan songs really mean anything, and that prospect has never troubled me, so I have always given Farrar the same pass, more because when he’s in his rock-poet mode he’s generally indecipherable, though almost certainly never meaningless.

David Foster Wallace was neither, and suddenly it is apparent that “Medicine Hat” is much the same, equal parts predictive and profound. “Departures raised with no masquerading,” Farrar wails in the first verse, “there will be teachers that die by their own hand.”

David Foster Wallace, R.I.P. 1962-2008

Your SAK correspondent’s put death on hold in favor of some First Class Rioting.

Your SAK correspondent has really wanted to post something about This Is Ivy League but they, well, haven’t been doing anything. ‘Til now! They have posted a cover of The Magnetic Fields’ “You And Me And The Moon” on their MySpace page for your daily intake of indie-popped downloadable sugar.

Let’s hope that with the Fall Semester under way at the Ivies these guys are taking a full courseload of writing and releasing some new material.

Golden Triangle (again tonight at Santos Party House):

Your SAK correspondent has been meaning to tell you about some fine DVD retail opportunities coming your way, and since you are likely stuck indoors on this downpourish Saturday it seems high time (of course, this info would only serve you well if you had already bought them and thus could currently watch them, but let’s overlook that for now).

David Bazan–Alone At The Mic

Thee Oh Sees–Thee Hounds Of Foggy Notion

Daedelus makes love, music to write columns to.

Your SAK correspondent, in an effort to be one of the cool kids, made a couple of pitches to Paper Thin Walls in the past few months, but they were rejected, and now it seems it was never meant to be.

PTW, whose editorial half was supposed to be the front end of a download store that simply never materialized (those must be some unhappy investors over at Getty), was done posting its regular content as of Friday last week (but had a characteristically smirky retrospective to go out on) but also has a minorly head-scratching best-of ‘08 addendum today.

For all the negative trends that PTW quietly escalated (chiefly indienet megasnark in their particular form of blogs linked to with piss-taking headlines), it was an editorially independent resource for legal, left field MP3s and, just as importantly, an intelligent, prose-deft ref on a field that, during PTW’s two year tenure, broadend so much as to be practically unplayable (they tore down the goalposts during SXSW’s PTW/Todd P ‘07 Throwdown).

At least we know we can continue to get our fix of Christopher R. Weingarten’s rhetorical wit over at his new home (and your SAK correspondent is not making this up) Jamd.

But your SAK correspondent forgives her/them. Last night/earlier this evening (think of it how you will) Lykkes told the crowd at Le Poisson Rouge she’d offer up something “special,” and then seemingly did:

Imagine your SAK correspondent’s heartbreak when he Googled around and discovered that Lykke’s performed the very same jam before, faking out audiences by starting up Lou Reed classic “Take A Walk On The Wild Side” and then dropping some rhymes from Tribe’s “Can I Kick It?” (which sampled “Wild Side,” not coincidentally) on top. It seemed like a brilliant New York only moment (she mentioned the city a lot in her banter), given that it was a fusion of Brooklyn-born Reed’s most famous solo song with a classic from the classic Queens rappers, but it wasn’t the first time.

No video is as yet available from the earlier (and your SAK correspondent is not making this up) cover of “Cape Cod Kwassa Kwassa” that was fused with “Dance Dance Dance.”