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Archive for September, 2013

Deb Olin Unferth–“Neighbors” [Are You Sleeping? In search of a good night’s rest ] (Harper’s, August 2013]

Posted in Deb Olin Unferth, Essays, Fears, Green Day, Harper's, Heidi Julavits, Insomnia, Prison, Sleep on September 10, 2013| Leave a Comment »

aug2013SOUNDTRACK: GREEN DAY-¡Tre! (2012).

treThe third and final album of the trilogy is called ¡Tre! (and yes I enjoyed that they named this one ¡Tre! as opposed to ¡Tre! and put Tre Cool on the cover—not exactly the most clever thing around, but it made me smile and makes me think that they only did three albums so they could have this title/cover combo).  And, yes, this is my least favorite of the three discs.  It feels like a bonus disc—songs that don’t really belong anywhere else. It’s kind of an album full of ballads (but that would suck) so they made it mostly ballads with other things too.

Like “Brutal Love”  a slow ballad (complete with horns) that builds into a standard rocker (it’s got a very “rock and roll” vibe).  Many punk songs are really just rock and roll played fast and this is certainly one of those songs.  (I don’t care for that kind of punk so much).  “Missing You” is a another mid-tempo rocker–the kind they do very well.

“8th Avenue Serenade” has another cool sound (as in different from the rest of the album).  “Drama Queen” is an acoustic guitar ballad with creepy creepy lyrics. It’s probably my least favorite Green Day song ever.  “X-Kid”seems even more simple than other Green Day songs (does Billie Joe throw anything away?)  It sounds like a classic rock song form the mid 80s.  “Sex, Drugs & Violence” brings the disc back some with a fun poppy rocker.  “A Little Boy Named Train” sounds a lot like “Carpe Diem” from ¡UnoI (same chords, just played slower—although the verses do change it a bit.

“Amanda” a mid tempo rocker and “Walk Away” is another slow song that sounds like classic rock.  “Dirty Rotten Bastards” clocks in at over 6 minutes!  It’s got several short sections in it though (which makes it more fun). The first part is the melody of The Marines Song.  “99 Revolutions” is so catchy it even has a chorus with only drums (that lowest common denominator of songs that is guaranteed to get the crowd to sing along).

So yes, there are a few good songs in this collection, but they could have easily scraped out the good ones and dumped them on the first two discs and just put Tre’s picture on the back of both of them.

[READ: September 6, 2013] “Neighbors”

Unferth, like Julavits, writes a kind of narrative piece about sleeplessness.  It’s hard to imagine her living the way she does, but if you’ve read her memoir, she has certainly slept in worse places than a Chicago slum.  It turns out that her downstairs neighbor, Maximilian, would turn on his TV late at night and leave it on all night. The odd thing was that he had no electricity in his apartment—he ran an extension cord to the light in the foyer.  When Unferth would get fed up with the noise, she would go downstairs and unplug the cord.

But then Maximilian’s girlfriend Dorothy moved back in.  The two of them fought nightly—loud screaming fights that were worse than the TV noise (when Unferth unplugged the TV, Dorothy found an electricity source elsewhere, although Unferth couldn’t figure out where).

She makes a very interesting distinction about the type of noise that might wake you up as compared to visceral fighting of your neighbors.  From things like jets and trains (or a fire engine, like at my house): “You may lose sleep over them, but you won’t lose sleep over them.”  Whereas hearing your neighbors screaming at each other is far more disturbing. (more…)

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A. Roger Ekirch–“Segmented Sleep” [Are You Sleeping? In search of a good night’s rest ] (Harper’s, August 2013]

Posted in A. Roger Ekirch, Green Day, Harper's, Insomnia, Lady Cobra, Sleep, Soundgarden, The Allman Brothers Band, The Strokes, The Who on September 9, 2013| Leave a Comment »

aug2013SOUNDTRACK: GREEN DAY-¡Dos! (2012).

Wdoshile I was writing about these songs the words “stupid” and “dopey” came up a lot and I realized that of this trilogy of albums, this may be the dopiest (I mean, look at the cover).  I assume that’s on purpose.  We know that Green day was taking a break from their serious albums and operas to make dopey punk rock.  But between the lyrics and the riffs, this one is really quite dopey.  Charmingly so.

¡Dos! opens with “See You Tonight” a tinny guitar sound that makes me think they’re goin to bust into The Allman Brother’s “Jessica,” but no, it remains a folky song that lasts for 90 seconds before it bleeds into “Fuck Time” a knuckleheaded, big drummed bluesy riff that  reminds me of Soundgarden’s “Big Dumb Sex” except that it might actually be serious.  And it may be the least sexy song about sex I’ve ever head.  “Stop When the Red Lights Flash” ups the speed even further (although they manage to have catchy verses that seem to recall The Who again).  “Lazy Bones” changes the tone somewhat, bringing in some nice ringing guitars (sounding more like The Strokes than punk) and a prettier feel (in the verses anyhow).  It’s probably my favorite on this disc.

“Wild One” is one of their rockier ballads.  It could probably do with being about a minute shorter, but the backing vocals are pretty cool.  “Makeout Party” is  stupid fun (with some wild solos, and even a bass solo section).   “Stray Heart” is a fun boppy song with, yes, a big arena-friendly chorus).  “Ashley” is a fast punky song (that plays high guitar notes rather than big chords).

“Baby Eyes” has  good harsh sound in the riff (a rare minor chord)–although again those verses are bright and happy.  “Nightlife” is the one glaringly odd song.  It has a silky bass line and a really interesting sound.  But it also feature an extensive rap by Lady Cobra (who I’ve never heard of).  The rap is just as silly as Armstrong;s lyrics, but somehow since she is speaking them so clearly (rather than hurriedly singing them) they seem even dumber.

“Wow! That’s Loud” is a wonderful title for a fast spirited song, with a dopey riff and some fun soloing sections (unusual for Green Day).  The disc ends like it began with an acoustic type ballad.  This one is called “Amy” and it is pretty much the quintessential sweet Green day ballad.

Although I liked this one, I preferred the first disc overall.

[READ: September 6, 2013] “Segmented Sleep”

I’m repeating this intro because of the content of this essay.  The timing of this Folio, entitled “Are You Sleeping? In search of a good night’s rest” is quite spooky.  I myself have been having middle of the night insomnia.  I seem to battle this occasionally.  This recent bout seems to be accompanied by a stomach upset.  So I have this really unfair cycle.  My stomach is bothered by caffeine, so it keeps me up at night and when I wake up groggy and with a headache, I need the caffeine to get me somewhat stabilized (and I’m not a big caffeine drinker—a cup of tea, maybe two a day).  But that seems to upset me during the night.  I am also really strangely accurate with my insomnia.  It is almost always between 2 and 2:30 AM. So, yea, here’s other people interested in sleep deprivation.

[begin new content] Although Julavits’ piece read like a story, Ekirch’s has a much more academic style.  Turns out that he wrote about a history of sleep for his dissertation and for part of his book At Day’s Close: Night in Times Past.  This short essay focuses on “segmented sleep.”  It turns out that in pre-industrial nights, sleep was segmented: a first and second sleep bridged after midnight “by an hour or more of wakefulness in which people did practically everything imaginable.”  This second sleep is mentioned in Odyssey and Aeneid.

In the 1990s a sleep study was done.  Males were deprived of artificial light at night for a few weeks.  They began sleeping in segments as well.  This seems to be a natural circadian rhythm to our lives.  Indeed, It was in the 1800s that segmented sleep gave way to one longer sleep—when lighting and industry came to dominate our lives.  And we felt compelled to be awake when it was light out so we could be more productive. (more…)

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Heidi Julavits–“Restlessness” [Are You Sleeping? In search of a good night’s rest ] (Harper’s, August 2013]

Posted in Green Day, Harper's, Heidi Julavits, Sleep, The Who on September 8, 2013| Leave a Comment »

aug2013SOUNDTRACK: GREEN DAY-¡Uno! (2012).

unoLast year Green Day announced that they were going to release three back to basics albums (a sort of antidote to their operas and concept albums).  And lo, there they came: one, two and three.  Oh and in the meantime, Billy Joe Armstrong had a kind of mental breakdown or something.

I’ve enjoyed Green Day’s releases since Dookie–they write simple pop/punk songs that are fun to sing along to.  Not all of them are winners, but many are.  Billy Joe has a knack for a pop hook. So when I say I liked all three of these records, it is with the understanding that these aren’t genius records, they are fun, kind of silly records.  Or, as I like to sum them up: simple three chord pop punk with supremely catchy choruses.

¡Uno!, the first one, is comprised of a lot of these simple, catchy rockers.  There are super fast rockers like “Nuclear Family” “Let Yourself Go” “Loss of Control” (with the fairly lame bridge of “we’re so crazy, oh so crazy now”–even by Green Day standards, that’s pretty lame) and “Angel Blue.”

There’s also slower rockers (which last longer) like “Stay the Night” “Carpe Diem” (with pretty harmonies and falsetto) “Troublemaker” and “Fell for You” (which if it was slower and sung by a girl group would be a perfect girl group song from the 1950s–except for the “pissed the bed line” of course).

Then there’s the jittry “Kill the DJ”, a song I instinctively dislike, (because of the stupid chorus) but which is undeniably catchy.  Even the Green Day songs I don’t really like I find myself singing along two after a couple of listens.

The last three songs change the tempo of the album a bit and each song stands out in its own way.  “Sweet 16” is a big ol’ ballad (with really falsettoed vocals).  It’s a pretty standard ballad from them, not quite as lighter-raising as their huge ballads, but this could have been huge if marketed right.  Along similar lines is “Rusty James” their more uptempo radio hit—big choruses, backing vocals a wonderful bridge—three chords and a major hit.  You have to be really jaded not to tap your foot to this one.  And the final track, “Oh Love” feels like a big 70s rocker (reminiscent of the Who).

There’ a lot of cursing on this album (mostly of the “we don’t give a  fuck” or “you’re a stupid motherfucker” variety).  And while I don’t object to that in principle, it comes across as really lazy songwriting.  Of course, this is a 40 minute album of pop punk and three chords, so it’s not exactly an unlazy album to begin with.

Of the three this is my favorite.

[READ: September 6, 2013] “Restlessness”

The timing of this Folio, entitled “Are You Sleeping? In search of a good night’s rest” is quite spooky.  I myself have been having middle of the night insomnia.  I seem to battle this occasionally.  This recent bout seems to be accompanied by a stomach upset.  So I have this really unfair cycle.  My stomach is bothered by caffeine, so it keeps me up at night and when I wake up groggy and with a headache, I need the caffeine to get me somewhat stabilized (and I’m not a big caffeine drinker—a cup of tea, maybe two a day).  But that seems to upset me during the night.  I am also really strangely accurate with my insomnia.  It is almost always between 2 and 2:30 AM. So, yea, here’s other people interested in sleep deprivation.

Julavits writes about her vacation home in Maine.  Her family spends a few months there each year and it often happens that she is simply hunting the house for sleep while her family snores on.  Beginning at 12:20, she leaves Husband bed and heads off to the other options: Child One, an uncomfortable futon; Child Two: a single air mattress (“basically [a] pool toy for houses”). (more…)

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Mark Siegel–Sailor Twain or The Mermaid in the Hudson (2012)

Posted in 19th Century, Blue Öyster Cult, Canadian Music, Death, First Second :01, Geddy Lee, Graphic Novel, Mark Siegel, Marriage Trouble, Mermaids, Rush, Sex, Voivod on September 7, 2013| Leave a Comment »

sailorSOUNDTRACK: VOIVOD-Angel Rat (1991).

angelSo if you’re Voivod and you have just released a prog rock metal masterpiece, what’s your next step?  Hire Terry Brown, famed producer of the early Rush catalog!  And then try to go somewhat more commercial.  And name your new, commercial album… Angel Rat?

Oh but then—never a good sign—after recording the album, original bassist Blacky left the band.  It’s hard to find out exactly why (personal reasons) but he then went on to form The Holy Body Tattoo Dance Society and to create electroacoustic music.

When this album came out I was very disappointed in it—it is so far from the angular prog rock of Nothingface that I assumed the band had utterly sold out.  I mean, there’s ballad moments on it, there’s hardly any dissonant chords, and most of the songs are simply verse bridge chorus.  The band sounds a lot more commercial (sadly for them, the album tanked).  Listening to it now with fresh ears it actually reminds me a lot of Blue Öyster Cult, especially with Snake’s vocals and the chord structures that Piggy presents.  And since they used Terry Brown  there’s a Rush element as well.  Once I divorce the album from what came before I actually like the album quite a bit.  The songs are remarkably simple (I feel like Piggy could have been playing all the parts himself at the same time), but there’s still enough interesting weirdness that the songs don’t sound boring.  And once you get used to the overproduction and the fact that Snake can sing, there’s some really good stuff here.  Conventional but good.

It starts out pretty heavy with a chugging guitar but soon you notice that Snake is actually singing…nicely.  His voice sounds polished and good.  And then you notice that the guitars are fairly conventional—there’s almost no dissonance. True it is still heavy metal and there’s some slightly obscure chords, but for the most part it’s not all that weird.  Even the guitar solo is a fairly conventional speedy solo. And when the chorus comes in it’s actually quite pretty.  Speaking of pretty, the band photo is one of the more glammed up moments in Voivod’s career and, without being unfair, they are not a terribly pretty band, so this is kind of a funny picture.

“Clouds in My House” is also quite a pretty song, although admittedly the verses are a little dark (with that squeaking guitar solo sound that was popular around that time in heavy metal).  But the chorus is downright upbeat.  There’s a cool section in the middle with a noisy (but very simple) bass popping and a guitar solo over the top of it—it reminds me a lot of Rush in sound).  “The Prow” is the catchiest thing that Voivod has ever done—great sing-along verses and a big chorus.  “Best Regards” has more BÖC simiarlies—the chorus in particular has a very BÖC structure.  There’s also a some great bass on it.  Again, not the complicated bass of previous album, but a great rumbling sound that works very well as a riff while Piggy solos.  “Twin Dummy” is another fast song. This one features some of the stranger lyrics on the album.  Away says that he backed off on some of the concepts for this album and let Snake so his own thing.  So this song seems to be about ventriloquist dummies with the strange opening lyric “Dummy says…”  But the music is fast and furious here—some weird chords and really fast bass.  There’s also some keyboards on this track (pipe organ type sounds) that reminds me of Rush from around this period.

Title track “Angel Rat” sees Snake crooning over a very simple guitar ballad intro.  It’s almost unthinkable.  And yet the band keeps it interesting—especially Blacky’s bass.  Again, I don’t know why he left, but his bass is featured nicely on this album anyhow.  Blacky opens “Golem” with a powerful (but again simple) bass.  There’s an occasional funky note, but it’s a very staccato song. The drums have a strangely pop quality (the way he fills in the gaps).  It’s a little unsettling how obvious and catchy it is.  And even more unsettling is the solo—which has a very jazz feel.  I can’t even really tell what’s going on—is that Piggy or a keyboard?  “The Outcast” has probably the most conventional early 90s metal sound (except…is that a harmonica?)  Snake even does a falsetto at the end of a verse!  Probably the biggest surprise is that the final lines are “everything’s gonna work out.”

“Nuage Fractal” at least has a very Voivod title.  And the chorus sounds a lot like recent Voivod (except for the solo section).  The biggest surprise has to be “Freedoom” which opens with a very pretty guitar ballad sequence.  Something that early Voivod would have stomped all over.  Snake is whisper-singing and Piggy is playing gently for two whole minutes.  Interestingly, once the full band kicks in for the last two minutes, it is one of the heaviest sections on the album.  So even when they’re being conventional, they can’t do it for too long.  The bass in particular sounds very Geddy Lee to me on this track.  The final song “None of the Above” Is another political song—this one about global destruction.  The music is surprisingly upbeat for such a topic, but Blacky’s bass is wonderfully deep and rumbling here.

So yes, ever the chameleons, Voivod have made an album that could have sold a lot of copies–except that they’re a little too weird to do so.  But it was a good experiment and resulted in some great songs.

[READ: August 15, 2013] Sailor Twain

Sarah got me this book for Christmas.  I didn’t read it until right now because it’s fun to stretch out Christmas gifts as long as possible.

This book is a lengthy graphic novel from our friends at First Second.  It is complicated and a little confusing (the whole story is a flashback that is sort of explained in the very beginning).  It’s also very beautiful.

Except, I might say, for the main character. The background images and the interstitial pages are really beautiful and detailed.  But the main character is very cartoony–very two-dimensional with a triangle nose and big circular cartoon eyes.  I found this very disconcerting for about a third of the book.  Siegel does manage to make him very expressive and uses the big circle eyes to a good drawing benefit through, but the character just looks so–surprised?–all the time that it was hard to not notice him.  Of course later on his big eyes come in handy during the darker sequences, but I still found it an odd choice.  So too were the really cartoony choices of some of the other main characters–very big, comical noses or fat round faces.  It certainly made the characters distinctive, but as I said, I was unsettled by it.

As the story opens, Captain Twain sits in a bar and is approached by Miss Camomille.  She asks to speak to him but he says he wants nothing to do with her or his past.  She holds out a necklace and says he can have it if he tells her the story.  He is shocked to see it and reluctantly agrees. (more…)

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Tom Angelberger–Fake Mustache or How Jodie O’Rodeo and Her Wonder Horse (and Some Nerdy Kid) Saved the U. S. Presidential Election from a Mad Genius Criminal Mastermind (2012) [audiobook 2012–Todd Ross and Jessica Almasy]

Posted in Adventure, Audiobooks, Children's Books, Funny (ha ha), John Hodgman, Sam Riddleberger, The Jodie O’Rodeo Showdeo, Tom Angleberger on September 6, 2013| 3 Comments »

[LISTENED TO: end of August 2013] Fake Mustache

fake mustacheI had seen the cover of this book in the library almost every time I went in.  I loved it but I wasn’t sure if the book was too old for the kids (it’s rated 8 and up, but it turns out there’s nothing too intense that my 5 year old didn’t love it too (she didn’t get it all, but she liked it).  Angleberger is best known for the Origami Yoda series–I haven’t read it and frankly without knowing anything about it, the entire concept of the series baffles me.  But I enjoyed this book so much that I may have to dive into the folded paper series too.

This audio book was read by Jonathan Todd Ross and Jessica Almasy.  And while I liked Almasy, I really enjoyed Ross’s two sections–there was something about is style that really appealed to me.

This is the simple (albeit complicated) story of a boy whose friend buys a fake mustache.  In the town of Hairsprinkle, young Caspar lives with his parents who believe in wholesomeness—in other words, they don’t have a TV.  Nor do they believe in an allowance—material goods are not so good.  But every year Caspar’s aunt gives him a couple hundred dollars to by something frivolous.  And this year, Caspar has his sites set on a man-about-town suit.  Not just any cheap suit, but a very nice tailored, man-about-town suit (this phrase, repeated throughout the beginning of the book cracked me up.  I’m sure my kids didn’t know what it meant but it made me laugh every time it was used).  After buying the suit, he went to the Heidelberg Novelty Store to buy the Heidelberg Handlebar #7—a glorious fake mustache which is made from real human mustache hair (ew).  With suit and mustache, Caspar looked like a short man-about-town.  And the citizens of Hairsprinkle were impressed

The main character and narrator of the story is Lenny Flemm, Jr.  Lenny is something of a loser and his only real friend is Caspar.  Turns out that he himself is responsible for giving Caspar the extra ten dollars that he needed to get that mustache (they had raised the price).  When Lenny goes shopping with Caspar, he is excited not to buy a suit or a mustache but to buy a sticky grabber hand (for $1).  The lady at the desk, Sven, is hilarious (and Ross’ voice for her is dynamite).

That night a bank is robbed—by a short man in a man-about-town suit.  And the next day Caspar gives Lenny his money back, with a lot of interest.  Then another bank is robbed.  And then another.  The next time Lenny visits Caspar’s room, there are stacks of gold bars against the wall. Lenny decides to call the police, but they don’t believe him—Caspar is a boy, they are looking for a man.  But now that Caspar knows that Lenny is onto him, he tries to make trouble for Lenny.

But before Lenny can prepare for this, there is a new player in town—Fako Mustacho—a man who plans to save the town, the country, the world, from itself.  Fako Musatcho is a short man with a glorious mustache and a suit—not a man-about-town suit, mind you, but a different kind of suit.  And it seems that whenever Fako speaks, people automatically listen–including the mayor who agrees to step down because she can’t catch the bank robber.  Except for Lenny who seems to be the only one who can see that Fako is really Caspar.  So, what is a kid with no friends supposed to do?

Call for help from Jodie O’Rodeo, of course.  Jodie is the star of the now cancelled kids show The Jodie O’Rodeo Showdeo. On the show she sang and did trick riding stunts.  Turns out that she can really do them (the stunts, not the singing) and she also knows that Fako Mustacho is a kid wearing a mustache.  By the middle of the book, when Part 2 opens, we hear Jodie’s side of things (in the audio book this is where Jessica Almasy takes over).  Interestingly Jodie and Lenny meet because Lenny is dressed like Jodie O’Rodeo (long story).  Lenny always thought she was cute (and was embarrassed to say so) but the show has been off the air for a few years and Jodie is really cute now.  And she still has her horse, Soymilk.  And she wants to help Lenny save the world! (And she thinks Lenny is cute, even though it’s weird because he is dressed like her).

Once the two begin working together, hijinx ensue and the story gets very exciting indeed.  Whereas Lenny is a man of words, Jodie is all about action, and there is a ton of it (most of it very funny indeed).  By the time they free themselves from Fako Mustacho’s henchmen, Fako has the whole world hypnotized and, since it is an election year, he has them all hypnotized to vote for him as the President of the Unites States.  It’s going to take nerves of steel, great horsemanship and perhaps a sticky grabber hand to stop the plans that are afoot (including the other plan to assassinate Fako should he become president—don’t forget, he is only Caspar in a fake mustache).

This story was so funny.  It is riddled with absurdities and hilarious asides.  The situations are preposterously simple and yet also dangerous.  All throughout there were wonderful jokes, hilariously silly set ups (they fall into a vat of oozing slime) and preposterously funny foolishness—who doesn’t love when no one can see the bad guy but one kid?

I enjoyed this book so much I insisted that the kids only listen to it when I was in the car.  And it did not disappoint.

As I said earlier I loved Ross’ reading.  He was very very funny (and reminded me at times of John Hodgman’s deadpan delivery–absurdity always works best in deadpan).  And his pronunciation of Fako Mustacho made me laugh every single time.   Jessica Almasy’s reading was also really good (I don’t want to give the wrong impression).  It’s just very different—Jodie’s story is more exciting than Lenny’s while it is still funny, it’s not as absurdly funny as Lenny’s (although Almasy does a great job with the different character voices as well).

Here’s trailer for the book (ha).  I feel compelled to point out that the “its” in the trailer should have an apostrophe, but at least they didn’t put one in where it didn’t belong, which is so much more common.  I also didn’t realize the book had illustrations (that’s the trouble with audio books).

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I am sold on Angleberger and am not only preparing to read the Origami Yoda books, but I can’t wait to get the audio for Horton Halfpott: Or, The Fiendish Mystery of Smugwick Manor; or, The Loosening of M’Lady Luggertuck’s Corset.  The fact that it also has a crazy subtitle means I like it already.

Incidentally, Angleberger has also written under the pseudonym Sam Riddleberger and I hear that his The Qwikpick Adventure Society is quite enjoyable too.

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Jonah D. Ansell–Cadaver: A Bittersweet Love Story (2013)

Posted in Abe Dieckman, Carina Simmons, Christopher Lloyd, Death, Eric Vennemeyer, Graphic Novel, Jonah D. Ansell, Kathy Bates, Neil Young, Pet Shop Boys, Short Books, Short Films, Tavi Gevinson, Zooey Deschanel on September 5, 2013| Leave a Comment »

cadaverSOUNDTRACK: TAVI GEVINSON-“Heart of Gold” and “Heart” (2013).

taviBoth of these songs were recorded for the release of the film Cadaver (see below).  Neither song appears in the film, although Gevinson herself is the main character.  I admit to being awed and repulsed by Gevinson [insert standard issue comments about fashion, young fame and blogging here].  But I am glad she’s using her fame to write feminist theory instead of fashion anymore.  And I enjoyed her article in The Believer recently.

As for the film, she does a very good job as the voice in the movie.  But let’s hope she doesn’t pursue her singing career any further.

She has the kind of flat delivery that Zooey Deschanel does, but Deschaenl’s voice has a gravitas that Gevinson doesn’t (sure, you can say she’s only 16 or whatever, but there are tons of teenagers who can sing amazingly).  Her take on “Heart of Gold” is fine.  She enunciates very clearly, but there’s very little passion in the song.  Her take on Pet Shop Boys’ “Heart” (a song I know very well, but didn’t know that was the title) is a little better.  Primarily because she takes the very discoy song and turns it into a slow acoustic number.  The instrumentation is a little bland (not her fault) but she puts moments of excitement into the singing.  In both cases I’d much rather hear the original, and in fact I am going to listen to the Pet Shop Boys version right now.

And before you yell at me for picking on a teenager, she is far more successful than I will ever be, so just assume this is all sour grapes.

[READ: August 31, 2013] Cadaver

This book came across my desk and I was intrigued because it was a comic book about cadavers.  It’s shaped like a comic strip book (reminding me of early Far Side books) and it turns out to be a comic book adaptation of a short film which was originally a poem.  In the introduction, Jonah Ansell explains that his (baby) sister was going off to medical school so he wrote her a (funny) poem.  Eventually, the poem was turned into an animated short film.  And after being made into a short film it was made into this book.

The story is told in rhyme and is quite funny, until it gets rather touching.  In the introduction, Ansell also explains that there was more to the story than medial school–it’s about love and loss and cynicism vs romanticism.  Not bad for a 7 minute film.

An unnamed med student is handed a scalpel by the scary professor.  She is told to make the first incision into the cadaver.  She does so, but as she removes the heart (nicely shaped like a cartoon heart), the cadaver sits up and says that he needs it back.  The student’s partner passes out.  The man says he’s not read to die, he has a heart to give someone. (more…)

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Jason–Werewolves of Montpellier (2010)

Posted in Graphic Novel, Jason, John Arne Sæterøy, Kim Thompson, LGBTQ, Mystery, Pink Floyd, Short Books, Slayer, Translation, Venom, Violence, Voivod on September 4, 2013| Leave a Comment »

werwolvsSOUNDTRACK: VOIVOD-Nothingface (1989).

nothingI have talked about Nothingface before, but here it is in sequence with the Voivod catalog.

This is the culmination of Voivod’s move toward progressive metal. Even nearly 25 years after its release, this remains one of my favorite albums ever.  The guitar chords are complex and wonderful.  Snakes’ voice is melodic with odd tinges of weirdness thrown in—where he goes up or down a note unexpectedly.  Plus, he has that peculiar pronunciation/emphasis that makes the words sound even more exotic (like “repugnant”).  And despite the fact that they cover Pink Floyd (!), the album is still heavy.

The whole band is in top form here—Away’s drumming is explosive and complex, Blacky has a fantastic rumbling sound that’s not distorted but really fills in the bottom end and Piggy’s guitar is masterful.  “The Unknown Knows” has some cool staggered notes and a great catchy guitar riff during the verses but the time changes come fast and furious.  I love the way the guitar and bass play off each other in this song.  But then comes the cover of “Astronomy Domine”.  Imagine the band from War and Pain who used to cover Slayer and Venom now covering Pink Floyd.  It’s hard to fathom, but man, do they pull it off wonderfully—adding a heavy bass element but keeping it very faithful.  And Away’s drumming is stellar.  It’s a marvelous cover.

“Missing Sequences” starts with a cool bass line and Snake’s great pause… “NOW!” Then when he starts singing again, his voice is phased in a very cool sci-fi kind of way.  There’s also some interesting effects—keyboards maybe–in many of the songs.  There’s also a great part where there’s a rumbling bass and Snake’s scream of “GO!” before a weird guitar solo and then even weirder shifted guitar chords.  It’s magnificent.

As is the guitar playing in the verses for “X-Ray.”  I’m not even sure how Piggy came up with the bizarre chords in “Pre-Ignition.”  And yet despite the harshness, there’s pretty melodies like in the cool catchy “ground and rock and sand” section of the song.  And as for pretty, the quiet beauty that opens “Into My Hypercube” is really impressive for such a dissonant album—Snake whispers his vocals and the guitars are all pretty, major chords.  Until the bridge where dissonance enters and then the post bridge (who even knows what to call these song parts) which is once again a heavy round of dissonant chords.  And then when the “tumult in the dark” section starts, it’s practically a whole new song—until Blacky’s bass section reintroduces the beginning motif.

The final track has a wonderful moment where Snake’s voice follows Piggy’ unusual guitar line perfectly.  And then the very cool almost funky (great bass sound) of Blacky after the “too late for S.O.S.” line.  The album ends abruptly (too late for S.O.S.) and you’re left contemplating everything that just happened (I haven’t even mentioned the lyrics).

It’s a prog metal masterpiece.

[READ: August 26, 2013] Werewolves of Montpellier

I enjoyed Jason’s Lost Cat so much that I went to the library and checked out some other books by him as well.

Werewolves has the same looking characters as in Lost Cat, but they are different people (I assume).  The strange thing about this book is that the werewolves don’t look all that different from the main drawings.  At first I wasn’t even sure that he was wearing the werewolf mask.  But on closer inspection there are subtle differences (the eyes, the ears, the fingers).  Indeed, it took two reads for me to really notice all the subtle details.  Nevertheless, it’s just funny to imagine the characters thinking he was a werewolf when he looks for the most part the same anyway.

But so this story starts with the main character, Sven, dressed like a werwolf and breaking into someone’s house.  When the victim comes home, she catches him, but is frightened and he flees out the window.  In the next scene his next door neighbor, Audrey, (not his girlfriend, as she is dating a woman named Julie) brings him some food and tells him that he was in the paper (unidentified but in costume).

Then we see the main character and a bird looking guy playing chess in the park (and talking about the value of escalators for checking out women’s asses).  The main characters seems to be primarily dog-like and bird-like, but they intermingle freely.

The final new characters are two men talking about the photo.  They say that the werewolf in the photo is not part of their brotherhood and they want to punish this newcomer for causing them trouble. (more…)

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Adam Johnson–“Nirvana” (Esquire, August 2013)

Posted in Adam Johnson, Batman, Canadian Music, Esquire, Kurt Cobain, Marriage (Happy), Nirvana, Short Story, Technology, Voivod on September 3, 2013| Leave a Comment »

esqSOUNDTARCK: VOIVOD-Dimesnion Hatröss (1988).

hatrossDimension Hatröss takes the advances from Killing Technology and moves them even further into craftsmanship and prog excellence.  In the Killing Technology band photo and in this one, Blacky had shaved part of his head—which was pretty outrageous for a metal band in the late 80s.  It’s just a small visual showing how the band was different from other metal bands.

It also opens with some interesting sounds—a swirling noise that coalesces into a fantastic solid heavy riff—a confident metal riff that is more sophisticated than most of their output already.  And then a cool noisy chord from Piggy lets you know that this album is going to be…different.  And so it is, a wonderful mix of metal and prog rock chords (and long songs)  all used as the background of a sci-fi story of The Voivod.  The dissonance is amazing on the album—Piggy is playing chords that seem like they shouldn’t come from a guitar.

“Tribal Convictions” is a little less harsh than “Experiment” and you can really hear Snake has been honing his singing skills.  There’s even multiple tracks of vocals (including a deep voice singing along on this track).  And there are so many different sections—and the first that stands out on the album is Piggy’s echoed guitars just before the “who’s the God” section.  Or the repeated chords that open the fantastic “Chaosmongers”—sounding for all the world like electronic malfunction.  And yet for all of the experimentation, the songs are still heavy—the chorus of this song is very fast and full of Away’s noisy splash cymbal.  My favorite parts comes at around 2:15 where Piggy plays these great fast chords and Blacky plays a very cool accompanying bass line.  Indeed, Blacky’s bass sounds great on this record.  And when that riff repeats later in the song, it’s followed by a great concluding section.

“Technocratic Manipulators” is a fast heavy song—a very traditional sounding metal song until the “that’s not for me” comes in with a  huge time change that last… for one measure.  I love how the song ends with a repeated section of “I’d rather be…” until the final line, “I’d rather…think.”

Then comes one of my favorite Voivod songs with the awesome title “Macrosolutions to Megaproblems.”  It opens with some increasingly dissonant chords, but also features some loud chanted singalong sections followed by a ringing guitar solo that sounds like a siren.  All within a few seconds of each other.  It also has the thoughtful bridge, “You better shake up your mind, coz if you’re just staying blind, integrity you won’t find.” And another super cool dissonant chord sequence on the high notes of the guitar—I don’t know how Piggy thought of these sequences.  Just to top it off, the ending sequence is a series of descending chords, each one odder than the last.

“Brain Scan” has a cool riff at the end of each verse that is actually surprisingly major chord bright—amidst the chaos of the rest of the song (more great bass from Blacky and some crazy sounds of a brain scan—Snake’s voice processed?).  “Psychic Vacuum” is one of the songs where I have to wonder how they can switch to different sections so fast.  “Cosmic Drama” opens with a distant echoic riff and then nothing but heaviness.  And yet it keeps up that sci-fi experimental feel.  This is one of the great heavy metal records of the 80s.  technically brilliant playing, odd time signatures and yet still some really catchy music.

The CD has an addition of the Batman theme song.  It’s a very odd addition and has no place on the record, but I’ve always liked it because it is so weird. (It’s also only 1:45).

[READ: August 29, 2013] “Nirvana”

I was apprehensive about reading this story because I tend to dislike Esquire fiction. But Adam Johnson won the Pulitzer Prize for fiction for The Orphan Master’s Son (which I haven’t even heard of), so I figured this must be better than the male bonding stories that usually appear in Esquire.

And so it was.

This also happens to be the second stories about a virtual reality President that I’ve read in a few days.  How about that.

So this story is set in some kind of future.  And in this future the President has been assassinated (and has been dead for three months).  The story seems like it is set in the near future (so I kept imagining Obama as the dead President and I wonder if others do too).  But something is odd, because the protagonist has been whispering to the President (and evidently the President is talking back to him).  However, what’s more significant to the narrator is his wife. (more…)

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Zadie Smith–“Meet the President!” (New Yorker, August 12 & 19, 2013)

Posted in Boredom, Death, Kathleen Edwards, Live from Mountain Stage, New Yorker, Short Story, Technology, The Future, Zadie Smith on September 2, 2013| Leave a Comment »

CV1_TNY_08_12_13RussoGate.inddSOUNDTRACK: KATHLEEN EDWARDS-Live from Mountain Stage (April 16, 2013).

Kkedsathleen Edwards is one of my favorite country/folkie performers.  I love her song craft and the beautiful way she sings.  And I’d love to see her live if she ever comes around.  Although she explains during this Mountain Stage show that it was near the end of her tour and she sounds….tired. Or perhaps just mellow.

I love the five  songs she plays “Asking for Flowers,” “Change the Sheets,” “House Full of Empty Rooms,” “Chameleon/Comedian,” and “Soft Place to Land,” but they all seem so…quiet.  I think of Edwards as kind of a rowdy performer—she can wail with them all, but everything seems dialed back here somewhat.  “Empty Rooms” is so quiet (and it is a mellow song, but even more so here).  But even  “Change the Sheets” which has a bridge and chorus that just blows me away the way it rocks and “Comedian” which ends with such wonderful anguish on the record, are both much more mellow here.

She has a very funny sequence talking about female singers and how she wants to create a Canadian ladies band called Modern Beaver (and she is apparently serious about it, and even has songs for them (as of summer 2013), but no time or energy to get it done.  Maybe for Xmas?

Any Kathleen Edwards is good Kathleen Edwards, but I’m looking forward to the next rowdy set I get to hear from her.

[READ: August 28, 2013] “Meet the President”

This is a most unexpected story from Zadie Smith.  It is set in the future and features a technology that allows the wearer to be fully absorbed into a virtual space.

It opens with a boy, Bill Peek, standing on a barren beach in England.  While his family may have once come from this area, that was immaterial, he considers himself a global child, accompanying his father on inspections.  But this part of England is a wasteland and only those who could not afford to leave England were still there.

Bill is pleased to have the beach to himself so he can plug in.  But then he is approached by an old lady with a young girl.  The girl, Agatha, is simple.  And both of the women talk to Bill even though he is doing his best to ignore them while he interacts with his virtual goggles.

Bill is deep in his world, creating his avatar (which has breasts and a tail) and by arming himself with grenades and knives.  He is trying to create the landscape.  Other users wondered whether you should augment the area around you or use a more or less barren world as your basis.  Bill has chosen the barren world and learns that it is three miles to the White House. (more…)

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Roddy Doyle–Wilderness (2007)

Posted in Adventure, Canadian Music, Children's Books, Culture Shock, Dogs, Dublin, Ireland, Irish Writer, Jealousy, Live from Mountain Stage, Luke Doucet, Marriage (Happy), Marriage Trouble, Melissa McClelland, Nature, Parenting, Roddy Doyle, Short Books, Travel on September 1, 2013| Leave a Comment »

wilderSOUNDTRACK: WHITEHORSE-Live from Mountain Stage (May 16, 2012).

whitehorseWhitehorse is opening for Barenaked Ladies on the current leg of their tour (we’re going to see them in October).  I hadn’t heard of them.  Turns out Whitehorse is the duo of Luke Doucet and Melissa McClelland.  They are from Canada, which may be why they are touring with BNL–because they’re not very funny or very upbeat.

They play four songs in this Mountain Stage show.  I really like “Killing Time” which has a very alt-country feel—McClelland’s harmony vocals are great on the chorus, which has a very low down dirty feel.  I particularly like the lines:

Pimms in the cooler and daughter in the yard Playing California strip croquet

And

Tongue is a sharpened razor Little miss know it some But get her alone she cries I wanna go home Oh, this little piggy plays dumb.

They have some good stories too, like the one about “Emerald Isle” which is about Luke running a marathon in Ireland.  His Irish mother, who had never been to Ireland, flew out to meet him at the finish line and his wife, Melissa, flew in from Australia as well.  There are more great harmonies in this song which, while mournful has a wonderfully uplifting feel.  “Night Owls” is a very slow ballad which, while lyrically interesting, is a little too slow for my tastes.

For the final song, Melissa explains that the two of them had been playing solo and then they got married and still played solo.  And then they decided to join forces. “Broken One” was a song that Luke wrote for his ex-girlfriend (and it is mean); Melissa says that she fixed it for Whitehorse.  It’s a pretty standard country song with a honky tonk feel.  It has a great blow off line: “You gotta have a heart to have a broken one.”

There’s something about Canadian Country music that I like so much more than American country music.  I wonder what that is.

[READ: August 24, 2013] Wilderness

I recently stumbled upon this book at the library.  I was only vaguely aware that Doyle had written a children’s novel, but there it was on the shelf.  This is not a young child’s book, which is kind of a shame.  I know my son would love half of the book, but I didn’t think he was ready for the other half.

The two parts of the story are about different members of the same family.  The father, Frank, is the same.  He married a woman quite young and they had a daughter.  When the daughter was about 4 years old, the father and mother realized they could no longer live together.  After some fights, the mother left for America.  Where she stayed.  Gráinne, the daughter, is now 18 and she is a sullen, angry teenager.  Her dad is still okay, but most of the time she wants to treat him like he’s not.  But he seems okay with that and gives her space.  The crux of her story is that her mother has decided to come back after all these years.  And Gráinne now has to deal with that.

Her story is a little mature, (especially for my 8 year old son), and she has some pretty harsh things to say about her parents, (which I hope he doesn’t have yet).

The other half of the story concerns her half brothers, and I know my son would love this part.  Conveniently, the two stories are easy to demarcate–the ones with the boys are named Chapter 1 etc, the one with Gráinne are named things like The Bedroom, The Bus etc.  So I did consider telling him to read just those parts.  But maybe I’ll just wait.  Anyway, her half brothers, Johnny and Tom, belong to her dad and her stepmom, Sandra.  Sandra loves her boys and her husband and even Gráinne–most of the time.  But lately Gráinne has been a little much.  And Frank has encouraged Sandra to take the boys and go on a trip, just with them.  That will let her focus on the boys and give him some time with Gráinne. (more…)

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