| Mark Kozelek Θ Live at Lincoln Hall (2012) |
Mark Kozelek Θ Live at Lincoln Hall
Born: January 24, 1967
Origin: Massillon, Ohio, USA
Location: Massillon, Ohio ~ Atlanta, Georgia ~ San Francisco, California ~
Album release: 2012
Recorded: July 8th, 2011
Record Label: Caldo Verde Records
Runtime: 78:17
Tracklist:
01 13 Songwriter – Glenn Danzig 2:15
02 New Partner Songwriter – Will Oldham 2:38
03 Half Moon Bay 6:40
04 Sunshine In Chicago 4:06
05 3rd And Seneca 7:00
06 Young Love 6:24
07 Australian Winter 5:34
08 Up To My Neck In You Songwriter – Young, Young, And Scott* 3:12
09 All Mixed Up Songwriter – Ric Ocasek 4:55
10 Carry Me Ohio 5:19
11 Like The River 2:30
12 Church Of The Pines 5:31
13 Heron Blue 7:09
14 Summer Dress 4:13
15 Duk Koo Kim 10:51
Credits:
Songwriter – Mark Kozelek (tracks: 2 to 7, 10 to 15)
Notes:
Recorded live at Lincoln Hall in Chicago on July 8th, 2011.
Available free with direct purchases through the Caldo Verde Records website. An autographed copy of this release accompanied the first 1,000 pre-orders of the Sun Kil Moon album "Among the Leaves".
Website: http://www.markkozelek.com/
Caldo Verde: http://www.caldoverderecords.com/
MySpace: http://www.myspace.com/markkozelek#!
Mark Kozelek: Live at Lincoln Hall was recorded on July 8th, 2011 at Chicago’s Lincoln Hall. Track listing: 13, New Partner, Half Moon Bay, Sunshine In Chicago, 3rd and Seneca, Young Love, Australian Winter, Up To My Neck In You, All Mixed Up, Carry Me Ohio, Like The River, Church Of The Pines, Heron Blue, Summer Dress, Duk Koo Kim.
Discography Solo:
** Rock 'n' Roll Singer EP (June 13, 2000)
** What's Next to the Moon (January 10, 2001)
** If You Want Blood (December 3, 2001)
Limited edition 2LP vinyl and rare Portuguese-only CD pressing combines "Rock 'n' Roll Singer" EP and "What's Next to the Moon."
** White Christmas Live (December 17, 2001)
** "Duk Koo Kim" single (September 15, 2003)
Limited edition 10" vinyl single (limited to 2,000 copies worldwide), features acoustic studio version and live version.
** Little Drummer Boy Live (November 28, 2006)
** White Christmas and Little Drummer Boy Live (October 2, 2007)
Limited edition 4LP vinyl box set combines his two live albums.
** Nights LP (April 1, 2008)
** 7 Songs Belfast (July 1, 2008)
Limited edition live CD, given away free with orders from Caldo Verde Records' website.
** The Finally LP (December 9, 2008)
** Find Me, Ruben Olivares: Live in Spain (April 1, 2009)
Limited edition live CD, given away free with orders from Caldo Verde Records' website.
** Lost Verses Live (May 12, 2009)
** Live at Union Chapel & Södra Teatern (March 1, 2011)
Limited edition live CD, given away free with orders from Caldo Verde Records' website.
Interview with Mark Kozelek>>>
April 27, 2009 by Jen Stratosphere Fanzine
Delusions of Adequacy: Hello Mark! You have a new album, Lost Verses Live, coming out in early May that consists of songs recorded from the acoustic tours you did in 2007 and 2008 with guitarist Phil Carney. How did you choose which tracks to include on this album out of all the live material you had recorded? Were you going for the best technical sound or the most emotionally-compelling take of a song?
Mark Kozelek: It was really a bit of both. The tough part is that these are live, straight-to-CD recordings, so there’s no way to mix anything once it’s done. It’s typical that the sound guy doesn’t record the first track, and doesn’t even get things adjusted until song 3 or 4, and then there are the songs that get cut off halfway through when the guy switches discs, so that wipes out that part. It’s funny, we had thought we had recorded all of these shows in Australia, but all of the discs ended up blank – that happens sometimes, but you go through them, and sometimes the EQ throughout is terrible, the guitars and vocals aren’t balanced right, and the performances vary a lot from night to night. I found that in the stuff I went through, each show had a few highlights, and that’s what I used. A song like “Tonight In Bilbao” could sound strong at one show, but weak the next, there are just so many variables in live recordings.
DOA: What guitar makes and models did you and Phil use while on those acoustic tours? Do you use the same guitars that you record with when creating songs in the studio?
Mark: No, I occasionally use my j-160 in the studio, but use it mainly for live. I use vintage stuff in the studio, but don’t take it on the road. Phil used a j-45 on the last few tours, but I don’t believe he did any recording with it.
DOA: You’ve mentioned in previous interviews about how life on the road can take its toll and how it’s difficult for someone who hasn’t followed that path to know what it’s like and that the reward is to play the actual gig. I’ve often wondered if singers/bands can survive, at least financially, without touring. Do you feel that you could cut out the “playing live” aspect of being a musician and just put out studio albums, or is there an emotional, creative, and/or financial lure that drives you to go on tour?
Mark: Well, yeah, playing live is very lucrative, there’s no doubt about it. It’s the one thing that you still have to pay for to experience. But I hope that my songs will continue to do well with licensing to television and film, as I’ll have to retire from touring someday. Record stores and distributors are shutting down, so you know where that is headed.
DOA: Continuing with the previous question’s line of thought, you’ve released many albums of live versions of your studio songs. Do you prefer your live recordings to your original songs? Some artists feel they can’t capture what they want in the studio and it’s only in the live environment that their songs reach their full potential.
Mark: It’s true that there’s something happening live that you can’t capture in the studio – but what’s difficult is getting a nice, balanced, good-sounding live recording. To me, live shows are exclusive to that audience, and that night, and just don’t translate well for multiple, after-the-experience listens. That’s probably why, statistically, live records do terribly. Most people are drawn to the polished studio album, it’s easier on the ears.
DOA: Do you ever have the urge to compose a 3-minute pop song or does that format seem too restrictive and go against your grain?
Mark: It just doesn’t occur to me.
DOA: Your lyrics are an indispensable part of your songs and they have been compiled in the book Nights of Passed Over, which was originally published in Portugal. You now have an updated version available for purchase at Caldo Verde Records, your own record label. Why was there such a limited release of this lyrics book at first?
Mark: I did the book because some Portuguese guys here hounded me about it for a while, so I did it. But for various reasons, I didn’t like the way that situation turned out. I wanted to release the book where I had some control over it, and where fans had easier access to it.
DOA: Continuing with the lyrics theme, do you have any aspirations of becoming a writer in a different medium, like that of the novelist, or journalist, or blogger of minutiae (hmmm…or of import) on the Internet?
Mark: Never the blogs. ”Here’s what I did today and here’s what I think about everything.” I can think of 100 things I’d rather do with my time. But maybe a book someday, I don’t know.
DOA: What is it like to run Caldo Verde Records? Do you handle all the day-to-day duties or do you have help? What was the purpose of starting up your own record label?
Mark: The purpose was having control, doing whatever I want and not having to worry about a label going out of business, or dropping me, or whatever. I get help from my publicist, my web guy, my lawyer, my distributor.
DOA: From what I understand, you’ve produced all of your albums, from the early days of Red House Painters to Sun Kil Moon to your solo work, and you also worked as producer on Alan Sparhawk’s (of Low) Retribution Gospel Choir album, which was released on Caldo Verde. What does the job of producer entail and did it differ when working on someone else’s album? Do you have any plans to produce other albums?
Mark: I can’t imagine working with a producer. Early on, 4AD put me in touch with a few, but they were guys that produced The Pixies or whatever, and just had no concept of what we were doing, or why we were doing it. You know, “Why would you want to record 12-minute songs?” kind of thing. RHP was like the weird person that no one had the patience to deal with, so I dealt with it myself. I like producing, and had fun working with Alan and a few others, but overall don’t have any desire to produce others’ music.
DOA: Caldo Verde Records is named after a Portuguese dish and your lyrics book was first published in Portugal. What are your ties to this country?
Mark: Portugal is like a less coked-up version of Spain, more relaxed, intellectual, slower paced. No disco-dancing all night. I like it there. I do like the soup, and have a few friends there, but don’t feel any more or less tied to it than other countries.
DOA: Speaking of geography, you grew up in Ohio and Atlanta, Georgia, and then moved to San Francisco and formed your first band, Red House Painters. Your lyrics and song titles over the years are rife with locations like San Francisco, New Jersey, Bilbao in Spain, Kentucky, L.A., and so many more. Have you traveled to, or lived in all of the places that you’ve written about? Are there any areas in the world that you haven’t been to yet that you really want to visit?
Mark: I’ve semi-lived in other places. I’ve spent some time in Sweden, Spain, New Orleans, lived in Virginia for a while, and a few other places. I don’t know. There are some places I’d like to see, but I get back from these tours and the last thing I want to do is go sit around an airport. For the most part, I’m content with all that I have seen, and am happiest when I’m home, here in San Francisco – no car, no planes, none of that.
DOA: Since I live in New Jersey, I have to ask if your emotionally-poignant song “Moorestown” refers to Moorestown, NJ, and if so, what is your connection to the town? Do you feel that you are naturally a wanderer who feels restless if stuck in one location, or has the moving to different areas been foisted on you by the need to tour?
Mark: Yes, Moorestown, New Jersey. My ex-girlfriend is from there, who I’m still close with. If it wasn’t for my work, I never would have traveled so much. But I’m grateful for it. It’s kept me busy, given me a living, and I’ve met a lot of amazing people.
DOA: Moving to Red House Painters for a moment, how come there are two versions of “Mistress”, where one has a faster pace with fuller production and the other is sparer with slow piano refrain? Why that song and not others?
Mark: Well, not true. There are a few versions of “Shock Me” and “The Light”. Sometimes I do a few different versions – like “Salvador Sanchez” and “Pancho Villa” – both the same song but very different moods. It’s not uncommon for me to record a few versions, to really explore the song.
DOA: What was the impetus for your triumphantly downbeat cover of “The Star-Spangled Banner”? Who sang on backing female vocals? You really made it your own. I wish they’d sing your version in baseball stadiums!
Mark: That was me singing the female backing vocals.
DOA: Take Me Home: A Tribute to John Denver features you and Rachel Goswell (of Slowdive and Mojave 3) on the song “Around and Around”. What was it like working with her? Were you in a studio together or were you sending tracks over the Internet?
Mark: She’s my friend but I sent it to her through the mail. She’s in England.
DOA: My favorite cover song of yours is “Trucker’s Atlas” by Modest Mouse. I think it’s the highlight of your Tiny Cities cover album. It could be a lost Sun Kil Moon track, a rambling, rolling, traveling song, figuratively and literally, with stream-like strummed guitar and you in gorgeous vocal form. Did you ever get a response from Issac Brock and company about you covering their album?
Mark: No, they never responded.
DOA: You composed the score for a 2001 indie film called Last Ball. What was the experience like to work on a film score?
Mark: I like doing the score stuff, but have had no luck with it. I have a feel for it, but it’s not my niche, so I don’t get asked to do it a lot.
DOA: What is the significance of the artwork for your Ghosts of the Great Highway album?
Mark: Nothing behind it. It’s a photo I found at my friend’s grandmother’s house in Tennessee. She gave me permission to use it. I remember my friend telling his friends “Mark’s gonna use this photo for his next album cover.” And his friends said, “Yeah, right.” But it did have a ghostly feel, so I used it.
DOA: Lastly, what would your dream job be if you were not a musician?
Mark: Therapist.
Fortaken: http://www.adequacy.net
Other interviews:
TSun Kil Moon leader on his freewheeling new album, challenging modern attention spans, and how fewer women attend his shows nowadays.
≠ By Laura Snapes | Published: May 23, 2012: http://pitchfork.com/features/interviews/8845-mark-kozelek/
≠ By Jonathan Donaldson | Published: March 1, 2011 - The mercurial voice behind Sun Kil Moon and Red House Painters swats at the cobwebs in a rare interview: http://timeoutboston.com/music-nightlife/music/55739/interview-mark-kozelek
≠ Anna Murray Tuesday | Published: July 21, 2009: http://www.cluas.com/indie-music/Interviews/tabid/106/EntryId/1117/Mark-Kozelek.aspx
≠ By Anna-Lynne Williams | Published: May 1, 2008 / “Our True Love Finds Us When it is Time”: An Interview with Mark Kozelek: http://www.identitytheory.com/interview-mark-kozelek/
≠ By Marc Hawthorne | Published: May 10, 2006: http://www.avclub.com/articles/mark-kozelek,13987/
Photo Credit: Nyree Watts
| Mark Kozelek Θ Live at Lincoln Hall (2012) |
Mark Kozelek Θ Live at Lincoln Hall
Born: January 24, 1967
Origin: Massillon, Ohio, USA
Location: Massillon, Ohio ~ Atlanta, Georgia ~ San Francisco, California ~
Album release: 2012
Recorded: July 8th, 2011
Record Label: Caldo Verde Records
Runtime: 78:17
Tracklist:
01 13 Songwriter – Glenn Danzig 2:15
02 New Partner Songwriter – Will Oldham 2:38
03 Half Moon Bay 6:40
04 Sunshine In Chicago 4:06
05 3rd And Seneca 7:00
06 Young Love 6:24
07 Australian Winter 5:34
08 Up To My Neck In You Songwriter – Young, Young, And Scott* 3:12
09 All Mixed Up Songwriter – Ric Ocasek 4:55
10 Carry Me Ohio 5:19
11 Like The River 2:30
12 Church Of The Pines 5:31
13 Heron Blue 7:09
14 Summer Dress 4:13
15 Duk Koo Kim 10:51
Credits:
Songwriter – Mark Kozelek (tracks: 2 to 7, 10 to 15)
Notes:
Recorded live at Lincoln Hall in Chicago on July 8th, 2011.
Available free with direct purchases through the Caldo Verde Records website. An autographed copy of this release accompanied the first 1,000 pre-orders of the Sun Kil Moon album "Among the Leaves".
Website: http://www.markkozelek.com/
Caldo Verde: http://www.caldoverderecords.com/
MySpace: http://www.myspace.com/markkozelek#!
Mark Kozelek: Live at Lincoln Hall was recorded on July 8th, 2011 at Chicago’s Lincoln Hall. Track listing: 13, New Partner, Half Moon Bay, Sunshine In Chicago, 3rd and Seneca, Young Love, Australian Winter, Up To My Neck In You, All Mixed Up, Carry Me Ohio, Like The River, Church Of The Pines, Heron Blue, Summer Dress, Duk Koo Kim.
Discography Solo:
** Rock 'n' Roll Singer EP (June 13, 2000)
** What's Next to the Moon (January 10, 2001)
** If You Want Blood (December 3, 2001)
Limited edition 2LP vinyl and rare Portuguese-only CD pressing combines "Rock 'n' Roll Singer" EP and "What's Next to the Moon."
** White Christmas Live (December 17, 2001)
** "Duk Koo Kim" single (September 15, 2003)
Limited edition 10" vinyl single (limited to 2,000 copies worldwide), features acoustic studio version and live version.
** Little Drummer Boy Live (November 28, 2006)
** White Christmas and Little Drummer Boy Live (October 2, 2007)
Limited edition 4LP vinyl box set combines his two live albums.
** Nights LP (April 1, 2008)
** 7 Songs Belfast (July 1, 2008)
Limited edition live CD, given away free with orders from Caldo Verde Records' website.
** The Finally LP (December 9, 2008)
** Find Me, Ruben Olivares: Live in Spain (April 1, 2009)
Limited edition live CD, given away free with orders from Caldo Verde Records' website.
** Lost Verses Live (May 12, 2009)
** Live at Union Chapel & Södra Teatern (March 1, 2011)
Limited edition live CD, given away free with orders from Caldo Verde Records' website.
Interview with Mark Kozelek>>>
April 27, 2009 by Jen Stratosphere Fanzine
Delusions of Adequacy: Hello Mark! You have a new album, Lost Verses Live, coming out in early May that consists of songs recorded from the acoustic tours you did in 2007 and 2008 with guitarist Phil Carney. How did you choose which tracks to include on this album out of all the live material you had recorded? Were you going for the best technical sound or the most emotionally-compelling take of a song?
Mark Kozelek: It was really a bit of both. The tough part is that these are live, straight-to-CD recordings, so there’s no way to mix anything once it’s done. It’s typical that the sound guy doesn’t record the first track, and doesn’t even get things adjusted until song 3 or 4, and then there are the songs that get cut off halfway through when the guy switches discs, so that wipes out that part. It’s funny, we had thought we had recorded all of these shows in Australia, but all of the discs ended up blank – that happens sometimes, but you go through them, and sometimes the EQ throughout is terrible, the guitars and vocals aren’t balanced right, and the performances vary a lot from night to night. I found that in the stuff I went through, each show had a few highlights, and that’s what I used. A song like “Tonight In Bilbao” could sound strong at one show, but weak the next, there are just so many variables in live recordings.
DOA: What guitar makes and models did you and Phil use while on those acoustic tours? Do you use the same guitars that you record with when creating songs in the studio?
Mark: No, I occasionally use my j-160 in the studio, but use it mainly for live. I use vintage stuff in the studio, but don’t take it on the road. Phil used a j-45 on the last few tours, but I don’t believe he did any recording with it.
DOA: You’ve mentioned in previous interviews about how life on the road can take its toll and how it’s difficult for someone who hasn’t followed that path to know what it’s like and that the reward is to play the actual gig. I’ve often wondered if singers/bands can survive, at least financially, without touring. Do you feel that you could cut out the “playing live” aspect of being a musician and just put out studio albums, or is there an emotional, creative, and/or financial lure that drives you to go on tour?
Mark: Well, yeah, playing live is very lucrative, there’s no doubt about it. It’s the one thing that you still have to pay for to experience. But I hope that my songs will continue to do well with licensing to television and film, as I’ll have to retire from touring someday. Record stores and distributors are shutting down, so you know where that is headed.
DOA: Continuing with the previous question’s line of thought, you’ve released many albums of live versions of your studio songs. Do you prefer your live recordings to your original songs? Some artists feel they can’t capture what they want in the studio and it’s only in the live environment that their songs reach their full potential.
Mark: It’s true that there’s something happening live that you can’t capture in the studio – but what’s difficult is getting a nice, balanced, good-sounding live recording. To me, live shows are exclusive to that audience, and that night, and just don’t translate well for multiple, after-the-experience listens. That’s probably why, statistically, live records do terribly. Most people are drawn to the polished studio album, it’s easier on the ears.
DOA: Do you ever have the urge to compose a 3-minute pop song or does that format seem too restrictive and go against your grain?
Mark: It just doesn’t occur to me.
DOA: Your lyrics are an indispensable part of your songs and they have been compiled in the book Nights of Passed Over, which was originally published in Portugal. You now have an updated version available for purchase at Caldo Verde Records, your own record label. Why was there such a limited release of this lyrics book at first?
Mark: I did the book because some Portuguese guys here hounded me about it for a while, so I did it. But for various reasons, I didn’t like the way that situation turned out. I wanted to release the book where I had some control over it, and where fans had easier access to it.
DOA: Continuing with the lyrics theme, do you have any aspirations of becoming a writer in a different medium, like that of the novelist, or journalist, or blogger of minutiae (hmmm…or of import) on the Internet?
Mark: Never the blogs. ”Here’s what I did today and here’s what I think about everything.” I can think of 100 things I’d rather do with my time. But maybe a book someday, I don’t know.
DOA: What is it like to run Caldo Verde Records? Do you handle all the day-to-day duties or do you have help? What was the purpose of starting up your own record label?
Mark: The purpose was having control, doing whatever I want and not having to worry about a label going out of business, or dropping me, or whatever. I get help from my publicist, my web guy, my lawyer, my distributor.
DOA: From what I understand, you’ve produced all of your albums, from the early days of Red House Painters to Sun Kil Moon to your solo work, and you also worked as producer on Alan Sparhawk’s (of Low) Retribution Gospel Choir album, which was released on Caldo Verde. What does the job of producer entail and did it differ when working on someone else’s album? Do you have any plans to produce other albums?
Mark: I can’t imagine working with a producer. Early on, 4AD put me in touch with a few, but they were guys that produced The Pixies or whatever, and just had no concept of what we were doing, or why we were doing it. You know, “Why would you want to record 12-minute songs?” kind of thing. RHP was like the weird person that no one had the patience to deal with, so I dealt with it myself. I like producing, and had fun working with Alan and a few others, but overall don’t have any desire to produce others’ music.
DOA: Caldo Verde Records is named after a Portuguese dish and your lyrics book was first published in Portugal. What are your ties to this country?
Mark: Portugal is like a less coked-up version of Spain, more relaxed, intellectual, slower paced. No disco-dancing all night. I like it there. I do like the soup, and have a few friends there, but don’t feel any more or less tied to it than other countries.
DOA: Speaking of geography, you grew up in Ohio and Atlanta, Georgia, and then moved to San Francisco and formed your first band, Red House Painters. Your lyrics and song titles over the years are rife with locations like San Francisco, New Jersey, Bilbao in Spain, Kentucky, L.A., and so many more. Have you traveled to, or lived in all of the places that you’ve written about? Are there any areas in the world that you haven’t been to yet that you really want to visit?
Mark: I’ve semi-lived in other places. I’ve spent some time in Sweden, Spain, New Orleans, lived in Virginia for a while, and a few other places. I don’t know. There are some places I’d like to see, but I get back from these tours and the last thing I want to do is go sit around an airport. For the most part, I’m content with all that I have seen, and am happiest when I’m home, here in San Francisco – no car, no planes, none of that.
DOA: Since I live in New Jersey, I have to ask if your emotionally-poignant song “Moorestown” refers to Moorestown, NJ, and if so, what is your connection to the town? Do you feel that you are naturally a wanderer who feels restless if stuck in one location, or has the moving to different areas been foisted on you by the need to tour?
Mark: Yes, Moorestown, New Jersey. My ex-girlfriend is from there, who I’m still close with. If it wasn’t for my work, I never would have traveled so much. But I’m grateful for it. It’s kept me busy, given me a living, and I’ve met a lot of amazing people.
DOA: Moving to Red House Painters for a moment, how come there are two versions of “Mistress”, where one has a faster pace with fuller production and the other is sparer with slow piano refrain? Why that song and not others?
Mark: Well, not true. There are a few versions of “Shock Me” and “The Light”. Sometimes I do a few different versions – like “Salvador Sanchez” and “Pancho Villa” – both the same song but very different moods. It’s not uncommon for me to record a few versions, to really explore the song.
DOA: What was the impetus for your triumphantly downbeat cover of “The Star-Spangled Banner”? Who sang on backing female vocals? You really made it your own. I wish they’d sing your version in baseball stadiums!
Mark: That was me singing the female backing vocals.
DOA: Take Me Home: A Tribute to John Denver features you and Rachel Goswell (of Slowdive and Mojave 3) on the song “Around and Around”. What was it like working with her? Were you in a studio together or were you sending tracks over the Internet?
Mark: She’s my friend but I sent it to her through the mail. She’s in England.
DOA: My favorite cover song of yours is “Trucker’s Atlas” by Modest Mouse. I think it’s the highlight of your Tiny Cities cover album. It could be a lost Sun Kil Moon track, a rambling, rolling, traveling song, figuratively and literally, with stream-like strummed guitar and you in gorgeous vocal form. Did you ever get a response from Issac Brock and company about you covering their album?
Mark: No, they never responded.
DOA: You composed the score for a 2001 indie film called Last Ball. What was the experience like to work on a film score?
Mark: I like doing the score stuff, but have had no luck with it. I have a feel for it, but it’s not my niche, so I don’t get asked to do it a lot.
DOA: What is the significance of the artwork for your Ghosts of the Great Highway album?
Mark: Nothing behind it. It’s a photo I found at my friend’s grandmother’s house in Tennessee. She gave me permission to use it. I remember my friend telling his friends “Mark’s gonna use this photo for his next album cover.” And his friends said, “Yeah, right.” But it did have a ghostly feel, so I used it.
DOA: Lastly, what would your dream job be if you were not a musician?
Mark: Therapist.
Fortaken: http://www.adequacy.net
Other interviews:
TSun Kil Moon leader on his freewheeling new album, challenging modern attention spans, and how fewer women attend his shows nowadays.
≠ By Laura Snapes | Published: May 23, 2012: http://pitchfork.com/features/interviews/8845-mark-kozelek/
≠ By Jonathan Donaldson | Published: March 1, 2011 - The mercurial voice behind Sun Kil Moon and Red House Painters swats at the cobwebs in a rare interview: http://timeoutboston.com/music-nightlife/music/55739/interview-mark-kozelek
≠ Anna Murray Tuesday | Published: July 21, 2009: http://www.cluas.com/indie-music/Interviews/tabid/106/EntryId/1117/Mark-Kozelek.aspx
≠ By Anna-Lynne Williams | Published: May 1, 2008 / “Our True Love Finds Us When it is Time”: An Interview with Mark Kozelek: http://www.identitytheory.com/interview-mark-kozelek/
≠ By Marc Hawthorne | Published: May 10, 2006: http://www.avclub.com/articles/mark-kozelek,13987/