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Archive for January, 2011

SOUNDTRACK: RADIOHEAD-The Bends (1995).

This album catapulted Radiohead out of alt-rock awesomeness into pop rock ubiquity.  It opens with “Planet Telex” which sounds like a continuation of the grungy noise of Pablo.  And yet from there, the album pushes stylistic envelopes but also works within the convention of rock songs to make fantastic singles.  The title track is still being played in concert today (which is funny since it wasn’t a single).

But it was “High and Dry” that was the first monster hit.  It was everywhere (and still sounds fresh fifteen years later).  And then “Fake Plastic Trees” basically gave a blueprint for the amusing label “mope rock” (thanks Clueless).

The album fleshed out the sound that Pablo Honey established with far more dynamic instrumentation.  But the strangest thing about the disc is that it is recorded mostly on a platform of acoustic guitars.  Even the rockingest tracks like “Just” (which gets wild and screamy by the end) is still built upon a very simple acoustic guitar motif.   “(Nice Dream),” for instance, features some screaming guitar solos over the acoustic backdrop.   Of course, the brilliant “My Iron Lung” doesn’t have acoustic guitars, it is built on a simple guitar riff until the chaos descends on it.

It’s interesting to see conventional things on the disc, like the fade in intro of “Black Star” which would be totally abandoned (often shockingly so) on later discs.  And then the disc ends with the gorgeous “Street Spirit (Fade Out)” a fairly conventional song that shows what great songwriters the bands have always been.

Despite all the high points on the disc, I tend to overlook it because of how much I love their follow-up.   But that in no way diminishes the greatness of The Bends.

[READ: December 28, 2010] “The Trojan Prince”

I was never entirely certain when this story was set, and so I have settled on the relatively distant past.  It concerns a young man and his first and future attempts at wooing a young woman.  James is a working class fellow who is on the verge of “going to sea.”  But before he leaves, he decides to visit his distant cousin Ellen.  Ellen comes from a very well off family, and James’ first steps in her house are nervous ones (he didn’t wipe off his boots before coming in and he’s afraid to see if he tracked in mud).

While he is waiting for Ellen to come downstairs, he is greeted by Connie, a girl who is slightly older than him who he grew up with.  She was a pest to him then and he is more than a little disappointed to see her here.  (The short explanation for her presence is that Connie is now orphaned and Ellen’s family has taken her in).   Despite the initial teasing she does, she quickly invites him up to the girls’ room and when he (sort of) sneaks in, he is almost overcome by the smells of a sealed-up room where to young women spent the night.  Ellen is embarrassed when he walks in, but Connie soon settles things out (blindfolding him while the girls get dressed).

The remainder of the story sees the three of them as virtually inseparable.  Although James works (and the two women don’t) he winds up spending most of his free time with them.  He resents Connie’s presence because he is interested in Ellen, but he does enjoy the time the three of them spend together.  He just can’t seem to get any time alone.  Until they all go on a picnic. (more…)

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SOUNDTRACK: RADIOHEAD-Pablo Honey (1993).

I haven’t listened to Pablo Honey in years.  I think of it as an almost proto-Radiohead release with one huge single.  But as I was listening to it again recently I remembered that I used to listen to this disc a LOT, and I know all the songs very well.  I’m also really impressed with how well the album stands up to the mayhem that they unleashed later on.  It’s also pretty crazy that the album is named after a Jerky Boys skit (and not a particularly inspired one at that).

True, the album is very simple: a guitar band in the grunge era.  And yet, despite the grunge inflections of “Creep,” it’s quite apparent that there’s a lot more going on here than slacker anthems.

On first listen (17 years ago (!)), a song like “Thinking About You” sounded like a conventional ballad that goes along with this type of album, revealing a softer side to a grungy band.  But really, it’s a complicated mellow song placed right in the middle of the album and the break in styles is very nice.  Conversely, a quick rocker like “How Do You?” is certainly a simple song, and yet it shows another dimension that the band would later investigate (it also samples the Jerky Boys deep in the mix, which I never noticed before).  Even the opener “You,” is intricate and complex, with wonderful guitar riffs and solos, easily foreshadowing some of the great stuff that Jonny Greenwood would produce later on.

The more memorable songs also reveal things all these years later.  “Stop Whispering” has a real Pavement feel to it (and who knows if Radiohead had even heard Pavement (who only had one album out) at that time, but it’s some cool foreshadowing of their indie rock style).  And “Anyone Can Play Guitar,” a truly great song, is like a stripped down version of “Paranoid Android,” but with a really really catchy chorus.

By the end of the disc, it seems like Radiohead has run through its tricks although the oddly titled “Lurgee” points to future greatness as well.  It’s easy and lazy to say that this album is a blueprint for the future Radiohead, and yet it’s surprisingly true.  Not the techno stuff, obviously, but the song structures and intricacies easily foreshadow what was to come.  Yet who would have ever guessed that the “you’re so fucking special” band would turn into what they did.

It’s also foolish to dismiss this record as an early version of the band, because although the album has some slow moments, it holds up very well, and actually revealed somethings that I’m sure I missed a decade and a half ago.  Oh, and “Creep” is still awesome.

[READ: December 21, 2010] “The Tree Line, Kansas, 1934”

This is the story of two FBI agents on a stake out.  The story gets into the head of the older agent (Lee) as he listens to the endless droning of the younger agent (Barnes).

The two have been on the stake out for several days waiting for the criminal Carson to come back to his uncle’s farm, where a boot full of loot is waiting him.  They have been keeping utterly still, noting the uncle plow the barren field, taking occasional smoke breaks and really just watching the grass grow,

Barnes says t the whole stake out is futile, there’s no way that Carson is coming back here, he’ll know there are agents there, etc.  Lee, on the other hand, believes the Bureau is correct, believes that Carson will return.  I enjoyed the digression into Lee’s head about how a feeling in your gut turns into a hunch. (more…)

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[SOUNDTRACK: RADIOHEAD-Live, August 28, 2008 (NPR download) (2008).

This was the first concert that I realized was free to download from NPR.  (Which started me on a downloading frenzy!)  I was really psyched to see it because Radiohead has been one of my favorite bands for years but I’ve never seen them (and only really know their live stuff from the Live EP.  This concert is essential listening for any fan of later Radiohead (they play all of In Rainbows).

I was thinking about Radiohead’s history.  They had a sort of left-field grunge hit with “Creep” and seemed like they would be destined to play their one hit in every show until they retired.  Then The Bends was released and it had a whole bunch of hits, solidifying that they were not just a one hit wonder band.  Then OK Computer blew everyone out of the water and Radiohead were easily the best band of the 90s.

Even though “Creep” was a huge smash, it would seem weird to hear them play it now.  Their discs since Kid A have turned Radiohead into a hugely different band.  So during this set when someone shouts out “Anyone Can Play Guitar” it’s almost as unexpected as hearing someone shout “Smells Like Teen Spirit.”  (They didn’t play it…although they did play “The Bends”, which sounded kind of, but not totally, out of place).

The rest of the set includes 4 songs from Kid A, 3 songs from Hail to the Thief and 4 songs from OK Computer (and one from Thom Yorke’s solo album).  Nothing from Amnesiac.

The band sounds great, they have such a wonderful sense of mixing techno drums and squiggles with rocking guitars.  And the songs from Kid A forward are really great.  “The National Anthem” from Thief substitutes the crazy horns from the disc with wonderful samples from commercials, which works wonders.

The songs from OK Computer sound good but rather different, as if the band has a different set of instruments or technology.  “Lucky” sounds great as do the simpler tracks of “Karma Police and “No Surprises.”  The only song that I was vaguely disappointed in was “Paranoid Android” (one of my favorite tracks ever).  It sounds good, just different.  And that song is so complicated with so many bits and pieces that hearing it in a stripped down to an almost acoustic version is unsettling.

What I did like about “Paranoid” and many other tracks was the backing vocals.  In my studio experience the only voice we hear is Yorke’s, but live, someone is doing some great backing vocals, remaining faithful to Yorke’s original sound but just different enough to be really interesting.

We obviously miss a lot by not seeing the visuals of the show, but the audio is great.  The quality of the recording is fantastic and any Radiohead fans would be foolish not to download it.

[READ: December 23, 2010] “Hammer and Sickle”

I feel like DeLillo is a such an influential author, I can’t believe that he’s a) still alive and b) publishing stories in the New Yorker.  This story starts in such a mundane setting that I was worried it was going to be a run of the mill tale of  life in a minimum security prison.  We see the narrator dressed in an orange jump suit on the side of the road with a group of other prisoners.  He is thoughtful as the traffic whizzes past.

But the scene quickly switches back to the prison and this is where DeLillo becomes “DeLillo.”  In the central prison room, the prisoners begin watching a show every day.  The show consists of two teenaged girls reading the financial news.  Except that their news is more like free-form poetry.

“The fear is Dubai. The talk is Dubai.  Dubai has the debt. Is it 58 billion dollars or 80 billion dollars?”
“Bankers are pacing marble floors.”
“Or is it 120 billion dollars.”
“Sheiks are gazing into hazy skies.”
“Even the numbers are panicking.”

“The world’s only seven-star hotel.”
“The world’s richest horse race.”
“The world’s tallest building.”
“All this in Dubai.”

“But where is the oil?”
“The oil is in Abu Dhabi.  Say the name.”
“Abu Dhabi “

And the prisoners (most of them guilty of financial fraud of some kind) love it.  Even the Elder Prisoner (sentenced to over 700 years…his fraud caused some MAJOR international problems), the man who controls the remote, has deemed it appointment TV.  (more…)

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[WATCHED: December 17, 2010] Scott Pilgrim vs the World.

I was delighted to finally get to see Scott Pilgrim vs the World on DVD. And man, it did not disappoint.  I love Michael Cera, so even though he’s not who I pictured as Scott Pilgrim, he played the character quite wonderfully (although he was within the realm of the “Michael Cera” character, he had an air of the sinister about him which was quite captivating).

The movie did  great job at capturing the hyper real video game quality of the books (I love all the little extra details which were not cute comic book details (like the phones printing RIIIIIIIIING) but simply part of the world they lived in.

I thought that the compression of this long (but not too long) series was wonderfully done.  Although I missed some aspects of the book, I thought it was all handled very well.  Plus, I liked the increased presence of the awesome Wallace and I really liked the way they adjusted the Knives storyline so that it could conclude at the same time as Ramona’s.  That’s very different from the final book, and, while I think the book’s version is more elegant (and fitting a longer story), for the movie, that truncation worked very well and allowed for a fantastic conclusion.  The end was great thanks to the introduction of the cool video game that Scott and Knives play early in the movie–a game which was made up for the movie.

I’m also thrilled to finally know how to pronounced Sex Bob-omb and I’m also thrilled to hear how much they rocked (Beck did most of the band music and über-god Nigel Godrich made the score for the rest of the film. Other great bands on the soundtrack include Metric, Broken Social Scene, Dan the Automator and Kid Koala.  I sort of ignored the soundtrack when it came out but I think i may have to go check it out now.

So in the movie, Scott must battle Ramona’s seven evil exes to win her love.  As for the seven evil exes themselves, they were all fun (and nicely diverse).  I enjoyed seeing Ann Veal (her?) working with George Michael Bluth again and Jason Schwartzman was simply terrific as the evil Gideon.  Also terrific was Satya Bhabha as the over-the-top first evil ex and Chris Evans as the bad-ass actor boyfriend.  I was only bummed that the Katayanagi brothers were given kind of short shrift (but hey you can only have so many characters).  The fight scenes were really well executed and fun.

The only weakness I would say in the film is that I thought Ramona was a little flat.  It was hard to know just what was so compelling about her for Scott (aside from the act that she was in his mind-portal all that time).  The book gives more details that show their relationship build, but the movie left that out.  I’ve never seen her in anything else, so I don’t know whose fault that was.  This compromises the ending a little bit because the decision between Knives and Ramona is actually kind of difficult (where it really shouldn’t be).  And yet, I thought the ending was really well done, with Ellen Wong really stealing the show).

The DVD itself is pretty awesome and there are a ton of special features.  Although Scott Pilgrim vs the Bloopers was a major let-down.  The movie is so understated that none of the bloopers are over-the-top hilarious.  However, the trivia track that you can play during the movie (I watched about ten minutes of it) was very interesting.  I especially enjoyed reading how parts of the movie that were finished before the book actually made their way into the book because O’Malley liked them so much.

I’m also thrilled that they filmed the movie in Toronto.  The trivia track points out all kinds of interesting locations.  From The Torontoist:

The first thing Wright did when he met O’Malley here in 2005 was visit all the real-life locations.”Pretty much everything that was in the book, we shot the same place Bryan had drawn,” he says.

A perfect example is the house in which Scott and his pal Wallace live. In reality, O’Malley lived at 27 Alberta Avenue, though he thinly disguised it as “Albert Avenue.”

As any true fan knows, however, the drawings in the book are actually at number 65, down the street. So, that’s where they shot, turning the garage door into the apartment door.

And there’s plenty more details in that article.  Like that those romantic and perilous stairs are real stairs on Baldwin St.  (I love crap like that).

It’s a really enjoyable romp of a film, unjustly ignored in the theaters.  And perhaps best of all…in no way is it setting itself up for a sequel!  A movie that just ends….how novel!

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SOUNDTRACK: RICHARD THOMPSON-Dream Attic (2010).

I was a little disconcerted by this CD when I first listened to it.  The opening song, “Money Shuffle” has a really long sax solo.  I’m not a big fan of sax solos in general, and the fact that this was so prominent was really confusing to me.  It was only more confusing when later in the disc I noticed some clapping.  Was this a live album?  Made of songs I’d never heard before? What the hell was going on?

Well, this is an album of all news songs.  They were all recorded live in California on West Coast tour.  It’s unclear why you can occasionally hear the crowd noise.   RT’s live records have always been a place where he really shines.  He lets loose with amazing solos and just seems so less constrained than he does by his studio work.  This is  logical way for him to record an album.  And I think it’s one of his best.

So anyhow, “Money Shuffle” is one of RT’s great indignant songs about the banking industry. It rocks hard (I can get into the sax solo at this point) and it features some great angry (but intelligent vocals).  It’s also got a nice wailing guitar solo (and an electric violin solo, too!).

As with many RT discs, this one is sequenced beautifully.  The second track is the beautiful melancholy ballad “Among the Gorse, Among the Grey.”  It’s a quite track with minimal accompaniment and the melody is haunting.  It’s followed by the shuffling rocker “Haul Me Up” complete with all kinds of deep backing vocals.  It’s the perfect place for RT to put in a long guitar solo.

“Burning Man” is a slow, quiet track with a great melody line.  It’s followed by the upbeat, hugely sarcastic “Here Comes Gordie” about a puffed up guy.  It’s rather funny and has a great violin solo.  “Demons in Her Dancing Shoes” has an unexpected chorus, with a rhyme scheme that is unusual in a rock song.  I wind up singing this song all day after I hear it.  The horns play fantastic accents and the guitar solo is brief but fiery.  It ends with a great jig that feels like a different song altogether.

“Crimscene” is one of RT’s fantastic stories.  It is a slow building affair about a crime, obviously.  It opens with slow violins as the scene is set.  But it quickly reveals itself to be the kind of angry RT song that is going to feature a scorching guitar solo. And does it ever!  The only surprise is when the raging solo is over that he can get back to that earlier mellowness so seamlessly.  “Big Sun Falling in the River” is another great singalong.  The chorus is just so darn catchy (even if it’s hard to remember the words exactly).

“Stumble On” is another classic RT type of song.  It’s a slow mournful song of failure, something he does with incredible beauty.  And “Sidney Wells” is a vicious story about a serial killer. It’s 7 minutes long with dozens of verses and a solo after each verse (sax, violin, guitar–which is brutally great).  It’s a wonderfully told murder ballad (and also features an interesting jig at the end).

It’s followed by “A Brother Slips Away.”  This is a sad mournful song that RT also does very well.  I don’t really care for these songs in his catalog (I prefer the faster songs), although this one is really pretty.  After many listens, I have started to rather enjoy this song too.  He follows this ballad with “Bad Again” a stomping rocker about losing in love (if he ever had a successful relationship, he’d have no more songs!).  It’s a fun old-timey rocker, that even sounds like it might be from the fifties.

The disc ends with the amazing “If Love Whispers Your Name.”  This 7 minute song can easily sit alongside his other majestic epic tracks.  It opens with great minor chords and a dejected but not bowed RT standing up for Love.  And by the end, everyone in the house should be moved to tears.  The lyrics are simple but powerful:

If love whispers your name
Breathes in your ear
Sighs in the rain
Love is worth every fall
Even to beg, even to crawl

‘Cause I once had it all and
I once lost it all and
I won’t miss again
If the chance should come my way
If love should look my way

You can hear the aching in his voice as the song builds through several verses.  And then he lets his guitar speak for him–an amazingly aching solo if ever there was.  And how do you come out of a soul-wrenching three-minute guitar solo?  You don’t.  You let the disc end with nothing but applause.  Amen.

RT has made a really stunning album–unmistakably RT, and yet original and wholly enjoyable.  It’s never easy to say where to start when advising someone to gt into RT, and I would definitely say that this is as good a place as any.  He covers all the bases in terms of style, and the playing is simply wonderful.

[READ: December 22, 2010] “A Year of Birds”

After reading several Jonathan Franzen birding articles in a row, I wasn’t sure if I was up for another one.  But Proulx–whom I’ve never read before even though I’ve planned on reading The Accordion Crimes for years–takes a very different approach to our avian friends.

This piece is a memoir of her stay in Bird Cloud, near the Medicine Bow ranch in Wyoming.  The house that she is living in overlooks a vast gorge with a river and mountains on either side.  From her dining room window she can see a family of bald eagles who swoop around and dive for fish.  They chase away other birds of prey and, despite what the books say, they do not seem to overtly fear Proulx when she wanders around.  (The books say they will never nest within a 1/2 mile of a house).

Most of the story is taken up with her trying to figure out what the dark birds circling another area of the mountains could be.  After several months of fruitless binocular searching, she finally realizes that they are golden eagles.  Again, the books suggest that golden eagles would never nest so close to bald eagles, and yet there they are. (more…)

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SOUNDTRACK: BUKE AND GASS-“Page Break” (2010).

NPR has selected the 50 best CDs of 2010.  I knew a few of them but had never heard of a bunch of other ones (about 20% are classical).  This CD with the bizarre cover has a great write up:

The wannabe tech-geek in me was initially attracted to Buke and Gass for the band’s two handmade instruments, which modify a baritone-ukulele and a guitar/bass hybrid run through heavy-duty amps (also handmade, mind you).

The problem (and perhaps its because I’m listening at Xmas time) is that the main melody line of the bridge makes me want to sing “Hark, Hear the Bells” and so this feels like a Christmas song even though it’s not.

Whoops– check that.  That melody is certainly there, but I just learned that I was listening to it in mono.  The other speaker presents all kinds of interesting things that distract from that melody (and project much more coolness).

I like the intensity of the track (and the fact that it’s under 2 minutes long).  It’s pretty heavy and the female vocals are nicely aggressive.  And by the end of the song, the syncopation is downright awesome.

It’s amazing how listening to the ENTIRE song can really change your mind.  This is definitely a cool track and will make me investigate the band more.

[READ: December 22, 2010] “One Night of Love”

I had recently gotten interested in reading Javier Marías when I was looking for information about Roberto Bolaño.  I discovered that New Directions Press, the publisher of all of Bolaño’s smaller books also published translations of all of Marías’ books too.  This story comes from his new collection of short stories While the Women Are Sleeping.  (I had also forgotten that McSweeney’s published his book Voyage on the Horizon a few years ago).

I didn’t know where Marías was from when I first started this (I assumed he was Mexican because of the New Directions connection–he’s actually from Spain).  Anyhow, when I thought he was from Mexico, I wondered if there was some kind of connection between his style and Bolaño’s, but also if he was trying to reintroduce magical realism to Bolaño (who abhorred magical realism).

Well that’s moot, (he may be doing that but not because he is from Mexico).

So this story concerns a man who is dissatisfied with his wife’s sexual appetite and performance.  He has taken to visiting prostitutes (see why the Bolaño thing rang true?), but he is concerned because the prostitutes  have grown “increasingly nervous and increasingly expensive” ([Nervous]?). (more…)

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SOUNDTRACKPHISH-LivePhish 10.21.95 Lincoln, Nebraska (2007).

This Phish show is pretty unusual, even for a band whose live sets are by definition unusual.  It opens with a reprise (“Tweezer Reprise”) which is basically the end of a song.  There’s also a song that is not itself unusual but it’s one that I’ve never heard before:  an all acoustic guitar song called “Acoustic Army.”

But aside from those minor oddities, it also features the craziness of “Kung” which is more or less just nonsensical screaming.  Then Set One ends with a great cover of “Good Times Bad Times.”

Set Two is where the madness comes full bore.  After some great versions of “David Bowie” and Lifeboy” we get a 24 minute version of “You Enjoy Myself.”  After about twenty minutes the song devolves into a vocal extravaganza, with each of the four guys trying to outdo themselves with weird noises and vocals sound effects for 5 minutes.  And just when you think the nonsense is over, the band covers Prince’s “Purple Rain.”  Fish, the drummer, sings the song (rather poorly, it must be said), but the “highlight” is his vacuum cleaner solo.  Yes, vacuum cleaner solo.

I have included a video from this portion of the show to see just how odd this concert must have been (although I believe that other concerts featured similar nonsense too).  If you get bored by the noise in the beginning of the video, remember that it’s out of context and not really representative of the rest of the  show, but do fast forward to when the guy in the dress pulls out the vacuum cleaner and tell me that that’s not the best damn vacuum cleaner solo you’ve ever heard.

The set ends with Trey noodling the riff from “Beat It,” although they never play the full song.   Then there’s an encore cover of “Highway to Hell” (which rocks).  The disc comes with a bonus track, a twenty some minute soundcheck where you can hear the band experimenting with sounds and ideas for the show.  Not essential but interesting.

Lest you think this whole show is weird, there’s some great renditions of “Chalk Dust Torture” and “Guelah Papyrus.”

[READ: December 15, 2010] “The Yellow”

This story opens with a forty-something year old guy who has moved home with his parents.  To the consternation of his father (“have you turned faggot?”), he paints his attic bedroom yellow.  Who would have guessed that this (four-page) story about a sad middle-aged man would end with casual sex and zombies?

Roy is frustrated with his life (obviously).  He gets out of his parent’s house and goes for a drive.  While scanning the classic rock stations looking for the next great thing, he feels a thump and realizes that he has hit an animal.  He’s fairly certain it’s a dog. (more…)

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[LISTENED TO: November through December 2010] A Portrait of the Artist as a Young Man

I initially ended this post with: “Even though this audio was unabridged, it felt a bit like hearing an abridged version.  I suspect I shall have to actually read the novel again in 2011 to see what I missed.”  Well, I assumed that the audio was unabridged.  But now I see that there is another recording which is 7 discs as opposed to my copy’s 3 discs.  Gadzooks!  In tiny print on the back of the box, I see now that this is abridged.  NO WONDER I felt like so much was left out of the story.  It actually made me think that the story wasn’t all that coherent.  As such, you can kind of disregard this post until I listen to the unabridged version (which is available free for download here).

So, back to my initial review:

I was listening to this audio book while exercising.  The fact that it took me as long as it did to finish the audio book is more of a testament to my lack of exercising than the book itself.  Although I will say that unlike Dubliners, I found that listening to this book (and again, perhaps it was the distance between listenings) to be somewhat unsatisfying.  And of course, as with all of these Naxos CDs, the vocals are recorded so quietly (except when he starts screaming–the hellfire sermon is so loud it scared my family upstairs) that you really have to try to listen hard to hear the whispers.  The final chapter–Stephen’s diary–is read so quietly it was hard to hear over the exercise machine, even with the sound up all the way.

So this is the story of Stephen Daedalus before Ulysses, when he was, as the title states, a Young Man.  My favorite memory of reading this book was when I read the opening aloud to a sick friend who thought that I was messing with her:

Once upon a time and a very good time it was there was a moocow coming down along the road and this moocow that was down along the road met a nicens little boy named baby tuckoo….

Stephen is of course, baby tuckoo, so this novel is more than just the young man days.   But from this baby story, we quickly jump to Stephen at school and we see an episode that impacted his whole life: boys who were teasing him pushed him into a stagnant pool of water. (more…)

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SOUNDTRACK: LOS CAMPESINOS!-Tiny Desk Concert #67 (July 5, 2010).

This Tiny Desk show really accentuates what fun can be had with the Tiny Desk format. Los Campesinos! are an eight piece band, but only four of them could come (or could fit, anyhow) in the tiny office.  And so we get a hugely stripped down set from the wonderful Welsh band.

One of the real benefits of these Tiny Desk shows is that it really highlights the songs themselves.  I enjoy Los Campesinos!, but sometimes I feel like their songs are so busy it’s not always easy to know exactly what’s going on.  This set shows how cool and interesting these three songs are underneath all the wild sounds and effects.

It’s also fascinating to watch these four folks perform in this room with nothing to hide behind.  The singer doesn’t even have a microphone, he’s just standing there with his arms behind his back singing to a small room.  And how odd it must be to sing to a dozen or strangers the a capella ending of “Straight in at 101.”

The three tracks all come from Romance is Boring and include the wonderfully titled: “A Heat Rash In The Shape Of The Show Me State; Or, Letters From Me To Charlotte”, “Straight In At 101” and “The Sea Is A Good Place To Think Of The Future.”

As you might be able to guess from the titles, the band is wordy and articulate.  What you might not be able to guess is just how sexually explicit their lyrics are.  Not dirty (well, a little dirty) just unabashedly frank (and its made even more so in this quiet setting).

You can watch (and download here).

[READ: December 15, 2010] Echo #25 & #26

These next two books in the series are really fantastic.  Issue #25 brings the confrontation with Cain to a head.  It almost comes too quickly–there has been so much lead-up to it that when they finally meet the confrontation is (necessarily) brief and explosive.  They finally meet at the top of a mountain (where yet another really gruesome act is done to someone–although really it pales to what happened to the guy who was practically a skeleton).  The intensity of the confrontation, and the excitement of the denouement made me think that the series was just about to end.

But them comes Issue #26 in which the final panel changes the entire game!  (more…)

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2010 in review

I was going to d some kind of year end post, but the folks the stats helper monkeys at WordPress.com did it for me.  They mulled over how this blog did in 2010, and here’s a high level summary of its overall blog health:

Healthy blog!

The Blog-Health-o-Meter™ reads Wow.

Crunchy numbers

Featured image

Madison Square Garden can seat 20,000 people for a concert. This blog was viewed about 65,000 times in 2010. If it were a concert at Madison Square Garden, it would have performed about 3 times.

In 2010, there were 356 new posts, growing the total archive of this blog to 863 posts. There were 876 pictures uploaded, taking up a total of 46mb. That’s about 2 pictures per day.

The busiest day of the year was November 8th with 569 views. The most popular post that day was Consider David Foster Wallace (2010) [Preface & Introduction].

Where did they come from?

The top referring sites in 2010 were thehowlingfantods.com, facebook.com, en.wordpress.com, infinitesummer.org, and bolanobolano.com.

Some visitors came searching, mostly for pearl jam, ass mode, james joyce, ulysses moore, and ulysses moore series.

Attractions in 2010

These are the posts and pages that got the most views in 2010.

1

Consider David Foster Wallace (2010) [Preface & Introduction] November 2010
1 Like on WordPress.com,

2

Pierdomenico Baccalario–Ulysses Moore series, books 1-4 April 2009
71 comments

3

Awkward Pauses [Ass Möde] March 2010
3 comments

4

Terry Moore–Echo #23 & #24 (2010) August 2010

5

James Joyce–[Week 4] Ulysses (1922) [Wandering Rocks, Sirens, Cyclops] August 2010

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