Feeds:
Posts
Comments

Archive for December, 2015

[ATTENDED: December 10, 2015] A Christmas Carol

xmasLast night we attended McCarter’s production of A Christmas Carol for the second time (first time was two years ago).  We went specifically because it is the last time that they are doing this particular performance of the show (it has been the same for 16 years).  Next year they will be doing something entirely new.

We were pretty staggered by the pricing (last time we got super cheap seats but they were pretty far into the corner which ruined some of the magic).  But there was a Black Friday special and we had awesome seats (the woman next to me was mad that we paid literally half her price, muhahaha, Scrooge alert!).  But wow, what seats!

The show felt more magical and more moving than last time (I was a blubbery mess by the end).  It was awesome to see that the entire set was crooked (a great, disconcerting effect).  And to really see the sets come forward and the spirit of Christmas future as soon as he came out, those were very cool moments.  T. asked if we can sit in the front row next year.

2015-12-10 20.47.46It was also interesting to see who was different in the cast this year.  I recognized a few returning members–James Ludwig is awesome as Fred, Scrooge (Graeme Malcolm) was the same (and was awesome–I loved the way he did little things, like kick a rug into place, which were “accidents” but were totally in character).  And there were clearly some new faces and new actors.   You can see the whole cast at the McCarter site.

And I just read (in New Jersey Stage) that apparently many in the cast are quite well known:

Boasting a gigantic list of Broadway, regional and international credits, the cast of A Christmas Carol includes Leah Anderson, Allison Buck, Billy Finn, Kathy Fitzgerald, Nike Kadri, David Kenner, January LaVoy, James Ludwig, Bradley Mott, Anne O’Sullivan, Sari Alexander, Gabriel Bernal, Andrew Clark, Jean G. Floradin, Heather Gault, Michael John Hughes, Sophie Lee Morris, Gregory Omar Osborne, Patrick Roberts, Daniella Tamasi, and Arielle Taylor.

I just re-read what I had written two years ago and found that I felt exactly the same.  So for the rest of the post I am going to keep everything the same (with a few updates).

It’s like a Christmas tradition. (more…)

Read Full Post »

juiaSOUNDTRACK: AVI AVITAL-Tiny Desk Concert #239 (September 12, 2012).

aviAvi Avital plays a mandolin. But he doesn’t ply bluegrass. Indeed, much like the Punch Brothers covering Debussy, Avital uses the mandolin to play more classical type of music.  He is the first mandolinist to be nominated for a Grammy in the Best Instrumental Soloist category.

He has had this mandolin for about thirteen years and he loves it.  He has been using the same Israel lutier since he was 17, exchanging them until he found this one.  And he can really play the heck out of it.

He plays only two songs in the ten minute concert, but they really showcase his skills.

“Nigun” was written by Ernest Bloch in 1923 for violin and piano.  NPR says Avital’s arrangement, like the original, pivots between the ecstatic and the introspective, rising in intensity (and pitch) until finally disappearing in a mist of quietly plucked notes.  If you think of the mandolin as just strumming along to pop songs, you’ll be blown away by this.  He plays notes that I suspect were never meant to be played…sliding all the way down to the highest high notes on the highest strings.  I don’t know that it sounds better than a violin, but it is pretty neat.

“Bucimis” is a raucous Bulgarian folk tune in the odd meter of 15/16. “It’s almost 4/4, but not quite,” he says. “I can play it, but I can’t dance it.”  This song is absolutely wild, especially at the end.  While the first song was pretty, this song showcases just what you can do with a mandolin.  It’s intense.

[READ: June 19, 2013] Julia’s House for Lost Creatures

I don’t normally write about kids picture books (if I did my whole blog would be about them as we read so many).  But this one gets a special mention because a) it was published by First Second and b) I love Ben Hatke’s drawing style so much.

This is a delightful story which you have to start on the title page.  It shows a giant turtle with a huge house on its back.  And on the next page the text says “Julia’s house came to town.”

Julia puts in a mailbox and settles in by the sea. (more…)

Read Full Post »

[ATTENDED: December 7, 2015] Punch Brothers

punchChris Thile is a member of Nickel Creek whose last album I loved.  He’s also appeared multiple times on Tiny Desk Concerts (with several different bands).  And that’s where I saw Punch Brothers for the first time.

Punch Brothers are five guys–Chris Thile (mandolin), Gabe Witcher (fiddle/violin), Noam Pikelny (banjo), Chris Eldridge (guitar), and Paul Kowert (bass).  They play a sort of bluegrass, but with a lot of elements of classical music (their debut has a classical suite on it and now they cover Debussey live).  Other labels given to the band include “bluegrass instrumentation and spontaneity in the strictures of modern classical” as well as “American country-classical chamber music.”

That all goes a long way to not really describing what the band sounds like.

The five guys stood around one old timey microphone (like in the poster).  ANd they blew us all away. (more…)

Read Full Post »

[ATTENDED: December 7, 2015] Gabriel Kahane

2015-12-07 20.42.05After seeing Punch Brothers on NPR’s Tiny Desk Concert, I found out that they were playing at State Theatre in New Brunswick (a great venue that often has amazing bands, but also has seats so its, you know, dignified).

I found out the day before the show that the opening act was Gabriel Kahane.  I was under the impression that I had never heard of him.  Well, technically I had never heard of him, but I had heard him as he has done arrangements for Loudon Wainwright III and Sufjan Stevens.  And, it turns out he wrote a song that Punch Brothers sing on their new EP.

Anyhow, I got to the stage about one minute late, so I missed the proper introduction.  I walked in as Kahane was standing on stage with his guitar.  And what he played sounded…nice.  He has a pleasant voice and was playing interesting chords.

I anticipated 40 minutes of pleasant, if unremarkable, solo songwriting stuff.  Then he sat at the piano. (more…)

Read Full Post »

smmaSOUNDTRACK: PROTOMARTYR-Tiny Desk Concert #492 (December 4, 2015).

protoPromtomartyr’s Under Color of Official Right has been one of my favorite albums of the last few years.  Joe Casey’s vocals are more or less spoken (and angry) while the music is propulsive and rocking.  Sometimes punk, sometimes something else entirely.  It’s a weird pairing but it worked wonderfully.

I hadn’t heard their new album yet–I am a little afraid that they’re going to mess with the perfection of their second album–but as soon as I saw they did a Tiny Desk Concert I had to check it out.

“Singer” Joe Casey stands at the front.  He wears a suit and sunglasses (evidently he has some stage fright issues) and he barely moves.  And then there’s the rest of the guys–each wearing all black, looking like the backing band for someone else entirely (the bassist has super long blond hair).  And yet, man, do they play great together.

The band plays three songs.  The first two are from their new album.  “Why Does It Shake?” has a cool interesting bass line and sharp, occasional guitar chords along with drums that are mostly played along the rim.  The song unexpectedly slows down for a middle section.  And all along, Casey asks his tough, threatening lyrics.  The song is over 4 and a half minutes, perhaps one of their longest tracks.

The second song, “”Devil In His Youth” is a fast propulsive song with a great catchy riff that leads to the simple spoken chorus of “the devil in his youth.”  This song is much more familiar in terms of Protomartyr songs and is only two and a half minutes long.

The final song comes from their debut album, No Passion All Technique (which is hard to get and which I’ve never heard). The song doesn’t sound drastically different from the others, but you can hear a different tone, perhaps a little less abrasive?

Naturally for a curmudgeonly band, they don’t play anything from the album I love, but this set is really good nonetheless.  And yes, it may be time to investigate the new album.

[READ: October 28, 2015] Super Mutant Magic Academy

I saw this book when we were visiting Toronto and I wrote down the title to check it out.  I didn’t know anything about it, and didn’t realize that I knew the work of Jillian Tamaki from several great graphic novels

I also had no idea that this was actually a long in progress webcomic that Tamaki has put into book form.

And finally, I didn’t expect it to be a series of one page funny strips that tell an overarching story. (more…)

Read Full Post »

stitches SOUNDTRACK: SON LUX-Tiny Desk Concert #464 (August 21 2015).
sonlux
I really only know about Son Lux from NPR.  And the more I hear from them, the more I like them.

Recently Son Lux has become a trio (it was originally the project of singer/instrumentalist Ryan Lott).  But in this Tiny Desk, rather than staying small, Son Lux went big, adding off-duty, civilian horn players from the United States Marine Band.

I love the opening of “You Don’t Know Me” with the unexpected stops and starts amid the whole section of horns.  And then Lott’s voice comes in, it’s unusual, dramatic and theatrical.  While the horns are more powerful than everything else in this song, as it nears the middle, the guitar line comes in and is groovy and simple.  And then of course there’s the drummer, Ian Chang.  It’s a shame he’s stuck in the back corner because he is incredible.  The rhythms and rolls are tight and furious, but never overwhelming, they are like perfect accents.  And the accessories he uses–simple and effective—all on such at tiny kit. It’s amazing.  All of this goes on for half the song before Lott sits at the piano and plays along.  I love how the song drops out and leaves just the horns to play the end.

For “Now I Want” Chang plays piano.  He plays a simple set of notes moving the song along until he jumps back to drums and Lott takes over on piano (a much more accomplished melody).  There’s great guitar sounds by Rafiq Bhatia (who knew you could get a guitar to do that–he even has a dollar bill under some strings for some of the song) and more amazing drum work.  I love the way the song completely slows down for a gentle piano melody in the middle and the builds back up again.

Lott is a fun and charismatic lead, whether he’s clapping for his band mates, or encouraging people to sing along.

For “Your Day Will Come” some of the horns leave, with only a trio remaining.  Lott opens on piano, with some guitar sounds played over the top.  This song is primarily Lott’s as he sings his heart out (some really loud sections) as the music gently swells.

[READ: July 10, 2015] Stitches

I’m not sure what attracted me to this book, but as soon as I brought it home Sarah said she knew it.

This is a memoir of the young life of David Small.  His drawing and painting style is very dark, and the people he draws are pretty creepy–which just makes his upbringing seem all the more horrible.

His drawings of himself as a baby are unflattering.  And his mother and father both wear glasses so we never really see their eyes–just white where the glass is (their faces are a little darker, so the white really stands out).

He was born tiny and with bad sinuses and a bad digestive system.  His father was a doctor and did all kinds of technological things to him to try to cure him.  Which at that time consisted primarily of radiation.  His father seemed caring, but he was totally committed to his science and had little time for his family.

This meant that he sent most of his time with his mother.  And she didn’t speak very much.  She communicated by slamming doors.  Unless she was very mad and then the screaming began.
(more…)

Read Full Post »

chigerSOUNDTRACK: KACEY MUSGRAVES-Tiny Desk Concert #463 (August 20, 2015).

kaceyKacey Musgraves is probably the most country country singer that I really like.   She makes a lot of music that is really really country–the kind I typically dislike, and yet her lyrics are just so good that I can look past the country sound that I dislike so much (and even start to enjoy it).

I love that she plays with all of the country cliches—her backing band is decked out in matching sequined suits, there’s whoops, there’s a ton of slide guitar.  And yet her lyrics question convention (and have wonderful word play).

She plays five songs (so many more than most people!)

She’s super fun and chatty, making lots of jokes and introducing her band.  She also says she’s not going to leave, which is okay with the crowd.

“High Time” is a fairly conventional country song.  It’s not as funny as some of the others and it has a real slide guitar thing going on.

“Family Is Family” is the first song I’d heard by her and I loved the words then and I still love them.  They are funny without being novelty.

“Late To The Party” is a more traditional song.  It’s a sweet ballad.

“Pageant Material” is another funny song, mocking the conventions of pageantry and poise and beauty.

Bob asks for a suit (they light up!) and she says okay but we’ve never actually seen him in one….  We also learn that the bassist plays the spoons and the spoons that he uses are ones that he whittled himself.

On the day that Musgraves played, the Supreme Court had legalized gay marriage across America mere hours earlier.  She played “Follow Your Arrow,” the most anthemic go-your-own-way jam on Musgraves’ 2013 debut album She says that her sister had called her earlier that day just ugly crying out of happiness.  Everyone gets into the song in the office.  It was a feel good moment of the year.

[READ: June 21, 2015] Chiggers

I’ve enjoyed Larson’s work in the past, and I was happy to read this book too.

It’s set at summer camp and while it deals with jealousy and other teenage problems, there is a supernatural element well, which is pretty cool.

Abby is excited to go back to summer camp.  She can’t wait to see her camp friend Rose and some of her other bunkmates from last year.

But this year Rose is a Cabin Assistant.  And while she is the CA for Abby’s cabin, it is also means that Rose is really busy with real things (and had less time for chatting).  Some of the other girls seem to have grown up too.  One has a boyfriend and she is getting her ears pierced (like the woman in the band Spite Storm).  She and her boyfriend are even going to start their own band Glittergloom.

Suddenly Abby doesn’t feel as cool as she did last year.  And she has trouble falling asleep at night.

Then it turns out that one of the girls in her dorm has to go home–and the rumor is that she got chiggers! (more…)

Read Full Post »

1963SOUNDTRACK: RESTORATIONS-Tiny Desk Concert #462 (August 14, 2015).

restor I don’t know Restorations, although I understand that they usually play pretty big loud guitar rock.   For the Tiny Desk they are stripped down (I guess) to the three guitars, but no drums or bass.  Lead singer Jon Loudon has a powerful and excellent voice.  On “Separate Songs” there are two guitars and a keyboard and wonderful harmonies.  The keyboardist sings backing vocals in the beginning of the song, so that when the lead guitarist joins in later, it’s even more impressive.

The guys are very friendly and funny.  The joke about the “desk” and about their constant tuning needs.

For “Tiny Prayers” all three play guitars and there some wonderful melodies that they play together.  The Future” is the slowest song of the three, but it contains all of the same elements–cool guitar sounds and wonderful harmonies.

The band has a great sense of melody.  And yet for all that I liked t his set, there was nothing that really stood out for me about the band.  They are simply a good rock band, and that’s not a bad thing.

[READ: November 29, 2015] The Complete Peanuts 1963-1964

The drawing style of Peanuts that I most associate with the strip has been pretty consistent by this point.  And most of the characters look “right” (although Snoopy will continue to morph over the years).

Why does Charlie Brown keep going?  Despite all of the abuse Charlie gets, this one strip seems to sum up his strengths: “adversity is what makes you mature…the growing soul is watered best by tears of sadness.”

I feel like Schulz was either looking up facts to write about for some of this year.  Because we get things like this: Lucy: “You have to have [a note excusing you from school] otherwise the school can’t collect its state-aid money.”  Is that true or has Lucy hoodwinked Linus and me?  Later Charlie tells Lucy “when cranes and herons stand on one leg they can’t be injured by ground lightning.”  Later, Linus tells Sally that birds “have muscles in their feet which automatically contract when they fall asleep (which is how they sleep on a limb without falling off).  He then says the same principle applies with Snoopy’s ears.  Is this true?

In July 1963, there must have been an eclipse as the strip spends several days telling everyone how to safely watch it.

Linus’ blanket continues to occupy a lot of attention, with Lucy continually yelling at him about it.  His blanket hating grandma returns and even takes it away (she gives him a dollar bill which he tries to snuggle with).

Linus is full of ambition in these years.  He wants to be a rancher for several weeks in 1963.  Although, horror of horrors, he doesn’t make the honor roll in March of 1963.  But that doesn’t stop him.  And in a big surprise in 1964, he runs for school president (and has but one failing…and it’s not his blanket).

Schroeder continues to dismiss Lucy, this time even saying the chances are a googol to one (and then writing out how many zeros that is) of them getting married.  In July 1963 she complains that Beethoven never made it on any bubble gum cards.  Later when Lucy asks him why he doesn’t like her, Schroeder gives a very simple answer.  She replies, “I hate reasons.”

Rachel Carson returns in Feb 1964 with Lucy saying “we girls need our heroines.”  Of course Lucy also gets this quotable moment: “The crabby little girls of today are the crabby old women of tomorrow.”

Attacks on consumerism continue with a shoddy baseball about which Charlie says “this is what is called ‘planned obsolescence.'”

Speaking of baseball, there’s plenty of it.  I enjoyed the Sunday strip where Charlie using Snoopy to show how to break up a double play.  In 1964, Charlie suffers from Little Leaguer’s Elbow (and the team does great without him).  And when Lucy hurts her elbow (and refuses to call it Washerwoman’s elbow) she says she’ll sue Babe Ruth, Ty Cobb and Willard Mullin (Mullin was a sports cartoonist).

In August 1963, we see the first mention of Charlie Brown’s baseball hero Joe Shlabotnik (and the very distressing moment when Lucy won’t give let Charlie have his card).

I got a real kick out of Schulz returning to the McCovey joke from last year (in January!) saying “or why couldn’t McCovey have hit the ball even two feet higher?”

In 1963’s National Library week, Sally gets her library card this time and she is even more excited than Linus was.  She even has the line: “Happiness is having your own library card.”

Sally also addresses helicopter parents of 1963: “My mother is watching me out of the window.  Mothers feel secure when they see a child of theirs playing in a sandbox.  Sigh.  She’s secure and I’m bored to death.”

The little red-haired girl is obsessed over from time to time. Especially during Charlie’s lonely lunches.

Frieda has definitely dwindled by now–even if she never really did much.  She does abuse Snoopy about chasing rabbits but in one strip, we seem him playing with bunnies and four sleeping on his stomach on top of his doghouse.  This seems to set in motion Snoopy’s love of all other animals.

Later, there’s a really funny strip with Snoopy trying to fill his water bowl from a tap.  Then it rains on him.  The punchline “That’s one I’m going to have to think about for a while” is hilarious.

And…Snoopy goes to the hospital for a couple weeks! (nothing serious).  Charlie says he has a private room “he has a health insurance policy that pays forty dollars a day!”

In September of 1963, there’s a joke about ZIP Codes (Snoopy forgets his) and then shortly after a new character named 5 is introduced.  He explains, “My dad says we have so many numbers these days we’re all losing our identity.  He’s decided that everyone in our family should have a number instead of a name.”  His sisters 3 and 4 look like Peppermint Patty (who hasn’t arrived yet).  ZIP codes were introduced in 1963.

At Halloween in 1963 Linus slips about the Great Pumpkin and says “if he comes” (like in the TV show).  He’s doomed!

In February of 1964 a whole set of strips focuses on the existence of the humane society.

And in May of 1964 we get the classic bit from the movie when Charlie puts a coin in Lucy’s can and she sings “Boy what a sound.  How I love to hear that ol’ money plink!  That beautiful sound of cold hard cash!  Nickels! Nickels! Nickels!”

In June of 1964 there is a very touching Father’s Day strip.  (Although it wasn’t officially recognized until 1966 and signed into law as a official day by Nixon in 1972).

I really enjoyed the series of strips where they clean out Snoopy’s house and the dimensions (which we never see) are enormous!  There’s stairs, a pool table and all kinds of cool things.

For years now, Peanut has had strips where charters hold up signs–sometimes for Beethoven’s birthday, or national library week.  But in Sept 1964 it gets a bit more surreal with a bird holding a sign that has  ! on it.  Later another bird’s sign says ; and ?   A fight breaks out about it.  It’s very funny.

And in October 1964 Lucy pulls away the football despite given Charlie a signed document… “it was never notarized.”

And the year ends with something of cliffhanger.  Charlie has to do a report on Gulliver’s Travels over his holiday break, but he keeps putting it off… what will happen in 1965?

The foreword was written by Bill Melendez.  Melendez first met Schulz when they collaborated on an animated commercial for the Ford Falcon in 1960.  In 1963, they worked together on a documentary about Schulz using more animation.  Then in 1965 Coca Cola contacted him to see if Schulz would like to make a Christmas special.  They had 5 days to write the outline.  They used the kids from the Ford commercial as the voices. And they had six months to make the move.  It first aired on December 9, 1965.

Melendez raves about their work (rightfully) and then talks about the many other specials the made together–a Veterans’ Day one called What Have We Learned, Charlie Brown, and a show about cancer called Why Charlie Brown, Why?   In total they made fifty network specials and 4 feature films.  He talks about how great it was that they found Vince Guaraldi for the music and that they used real kids and no laugh track.  It’s hard to believe that special is so old!

Read Full Post »

ktelkSOUNDTRACK: NICK BUZZ-Lula Lounge, Toronto ,ON (Mar 23 2011).

NickBuzz-23Mar2011-1There is only one Nick Buzz concert at Rheostaticslive (although there are a number of videos online from an earlier show (from Dec 9, 2010) which could be turned into an audio download, I’m sure.

Anyhow, this show occurred nearly two years before the release of the (thus far) final Nick Buzz album.  It’s interesting that there are some songs that will appear on that album performed here (and there is no mention of it, of course).

As with many of the Tielli solo shows, the band plays songs from Nick Buzz, from Tielli’s solo albums, and even two Rheostatics albums.  But this is primarily a Nick Buzz performance (with Tielli, Goldsmith, Marsh and Piltch).  What I find interesting is that I believe that Martin is only singing (maybe a guitar here or there?) with Pitch on guitar, Goldsmith on piano and Marsh on violin and effects.  It’s a very different dynamic (no drummer!) and really changes the nature of some of these songs.

“Just Because” is a beautiful ballad.  It’s sightly more raucous than on the record, but still sounds beautiful.  Tielli’s solo song “I’ll Never Tear You Apart” sounds very different from the record–the awesome guitar line has been simplified and there’s a piano now.  In fact, piano is the main instrument for most of these songs, which is quite different.

The band then plays three of the four songs from the Arnold Schoenberg record (Martin says he should put on gloves as this is forensic music that’s over 100 years old).  They also sound great–I love they way they can recreate the weirdness from that short album.

When he introduces “Eliza” he says the music is by Schubert, although I don’t believe that is the case (unless the intro is).

In explaining “Milchig” he says that it’s about a dwarf-like creature who taught him “the relax.”  “The relax” is how they describe it in Italy (he wishes he had learned more Italian as a kid but he was too obstinate).

“Spilling the Wonderful” is not as dramatic as on the record–it’s a bit smoother but still really good.  And for “That’s What You Get for Having Fun,” a song which he has played in almost every solo concert, they really pare it down–it’s nowhere near as raucous.

The band goes for a cigarette break for 15 minutes and then comes back with “Beauty On” and the funny moment where Martin sings the intro, “I hate you all.”  When he gets to the “Are you with me Cincinnati are you ready to rock?” rather than singing it, he slurs it.  It’s a great effect.

The only song not on another album is “Now That I’m a Railroad Boy” which was done by John Southwith.  It’s a pretty ballad that fits in perfectly with the other songs.  “The House with Laughing Windows” and “Uncle Bumbo’s Christmas’ sound fanatic live.  And then they play the fourth Schoenberg song “Galathea” which Martin says is his favorite.

“Farmer in the city” has been my least favorite Tielli recording, but this version is fantastic.  It starts on piano and has melodies provided by the violin. Rather than being elliptical and standoffish, this new arrangement really brings you in with some lovely Marsh melodies.  Then the play “Love Streams.”  Martin says that their take on the record was the first time they played it.  It’s gorgeous!  This version is quite different with more violin up front.

“Sane, So Sane” adds a drum machine which is a surprise but a very welcomed one. It really picks up the tempo of the show and creates wonderful new textures.

For their last song Martin says “we’re going to confound you with this one.”  It’s a Jacques Brel song, “If You Go Away.”  It’s not unlike on the future record–slow and pretty.

When they come back out for the encore, Martin says they have played their entire repertoire.  He seems at a loss for what to play so they play a lovely version of “Take Me in Your Hand,” and a shockingly different version of “Shaved Head.”

Check it out here.

The setlist for that 2010 YouTube show is quite similar: Spilling the Wonderful, That’s What You Get For Having Fun, Just Because, Gigerlette, Persian Kitty, Boom, Hymn to the Situation, Milchig, Eliza, L’astronaut [a hilarious explanation of what the song is about], The House with the Laughing Windows, Sane So Sane, Love Streams, Uncle Bumbo [Martin on bass], If You Go Away

[READ: July 12, 2015] Mr Kiss and Tell

I loved Veronica Mars.  The show was great.  We supported the Kickstarter.  And I was pretty psyched when the first post TV show novel came out.  But I never actually read it.  It is still sitting on my shelf (Sarah really liked it).

Well, Sarah got this one from the library and since it was due back soon I decided to push it to the front.  The good news vis a vis the previous book is that they are unrelated.  The better news is that this book follows up the events of the movie!  And it has a new mystery as well.

The new mystery involves a man who has raped a woman and left her for dead. As with any good mystery there are dozens of twists and turns.  And Veronica is not willing to let go.  Unlike the TV show, this mystery lasts for months.  She is fairly certain she has a suspect and even manages to get some DNA but his “confession” reveals a whole new twist to the story that Veronica was not expecting and which really undermines her case. (more…)

Read Full Post »

blueblue SOUNDTRACK: NICK BUZZ-A Quiet Evening at Home (2013).

quietIt seemed like Martin Tielli was done making music after his (so far) final solo album in 2009.  He has been focusing on (gorgeous) visual arts since then.  But then in 2013, Tielli along with Jonathan Goldsmith, Hugh Marsh and Rob Piltch recorded another Nick Buzz album (cover painting by Tielli)–possibly their last as well, but who knows.

This album is almost entirely mellow, with beautiful slow pieces and delicate singing and instrumentation–with some exceptions.  The biggest exception is the first song and single (with video) “The Hens Lay Everyday.”  It is unlike anything else on the album.  It is a weird, electronic fast song with pulsing beats and funny lyrics (and a crazy video).  It’s kind of a shame that it’s on this album because I want more music like that.  But the rest of the album is also wonderful in a very different way.  This song just doesn’t fit.

Beginning with the second song, the album is a beautiful album of wonderful ballads.

“This is Not My World” is a delicate guitar song with simple keyboard washes.  Martin’s voice even sounds different on the song–I almost didn’t recognize him until the last few verses.  “Milchig” opens with a buzzy violin (that sounds almost like a fly).  Tielli did this song with The Art of Time Ensemble (it was called “Moglich”).  It has a gentle guitar and Tielli’s keening voice and spoken word–“he had given me ‘the relax.'”  There’s several sections in this song, and I especially like the slowly lurching middle section.

“Sea Monkeys” opens with some delicate chimes and underwatery sounds.  And once again, Tielli’s voice sounds different.  I love this peculiar song about ordering and “growing” sea monkeys.  He says he only wanted plankton or krill but during that evening, the sea monkeys started building their city, and after 4 and a half minutes, the song turns somewhat more sinister with a section about the Crustacean Monkey Queen.  The delicate music grows harsher and more mechanical sounding.  It’s pretty intense.  And it coincidentally relates to the book below.

“If You Go Away” has a vaguely Spanish guitar feel to it.  It’s a very delicate, slow ballad (I should have realized it was an old song written by Jacques Brel) with strummed guitar and gentle percussion.  It has a lounge feel as well (the romantic lyrics aid in that style).  It was recorded live with audience clapping at the end.

The mood picks up a little with the next song, “The Happy Matador.”  It’s played on acoustic guitar with flamenco-esque runs.  It’s a delightful song even if lyrically it’s a little dark.  “Eliza” is a darkly comic song with a kind of circusy feel.  It opens with accordion, adds a violin and basically makes fun of a woman named Eliza, with the great last line: “The only incredible thing about Eliza is the terrible terrible music she inspires.”

“A Quiet Evening at Home” opens with some strange noises like Circo did, but this is an older, more mellow album and they quickly give way to some pretty, delicate guitar chords.  About two and a half minutes of gentle chords are disrupted by a noisy saxophone and some manipulated spoken words.  This process repeats itself for about six minutes of mellow, slightly weird, but really enjoyable music.

“Uncle Bumbo’s Christmas” continues in that delicate vein, but this time with actual words.  It has gentle echoed guitar and some occasional strings.  It’s not exactly a Christmas song although the lyric “I love everything about Christmas, except Christmas” is decidedly ambiguous.  There’s beautiful overlays of vocals and guitar for the middle two minutes of the song before it resumes with a slightly more uptempo and much more catchy end section.  This song gets better with each listen.

“The House with the Laughing Windows” opens with a tinkling piano melody.  It hovers between ominous and dreamy.  I like the way the song gently, almost imperceptibly, builds over the course of its 4 and a half minutes.  And I love the way the guitars start playing louder as if the song is going to build to something bigger but it never quite does.  John Tielli plays theremin on this track.

“Aluminum Flies” is a slightly louder song which is much more meandering and ends with what I believe is the sound of windshield wipers.  The final song is the lovely “Birds of Lanark County.”  It opens with chickadees chirping and a beautiful delicate acoustic guitar melody from Martin.  Michele Williams sings lovely backing vocals.

It’s amazing how different this album is from Circo–same band members but an entirely different style, and a simply gorgeous collection of songs.

[READ: November 25, 2015] Blue on Blue

I had never heard of Quentin S. Crisp before (he’s not to be confused with Quentin Crisp, the British raconteur who died in 1999).  Except that I knew he contributed lyrics to the most recent Kodagain album.  But I received an advance copy of this book with Brendan Connell’s latest book (its publication date is December 15 (from Snuggly Books)).

This story was fantastic (in both senses of the word).

The story is told in 5 parts.  And what I loved about it was that the central part of the story is a fairly conventional story about love and loss, and yet the other four parts frame the story with an other-worldliness that is almost familiar, but not quite.

The story begins with the statement “I am a citizen of the ASAF, the Alternative State of the American Fifties.”  There’s a footnote attached which explains that the ASAF “ia an artificial history zone ‘reclaimed’ from sunken parallel time.”  This is a potentially worrisome beginning to a book to be sure, and yet the book does not go through any rabbit- or worm- hole, this is simply the set up for the story. (more…)

Read Full Post »

« Newer Posts - Older Posts »