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Archive for the ‘Advice’ Category

1979SOUNDTRACK: HAPPYNESS-Tiny Desk Concert #468 (September 4, 2015).

happynessHappyness are a trio from London: Benji Compston (guitar), Jonny Allan (bass) and Ash Cooper Drums).  They play mellow Britpop with rather clever lyrics.

The first song “Montreal Rock Band Somewhere” opens with a steady bass line and smatterings of guitar chords.  And when the guys  sing, Benji sings into a normal mic in a kind of deep whisper and the Jonny sings into a processed mic to make his voice sound kind of tinny (in harmony).  And the lyrics are great.  I like when the second chorus comes in and the processed vocals go up an octave for a really cool harmony effect.  And I mentioned the lyrics.  Here’s an interesting verse:

I’m wearing Win Butler’s hair / There’s a scalpless singer of a Montreal rock band somewhere / And he’s all right

Before the second song starts, they have a bit of fun while Benji tunes his guitar.  Everyone is standing around awkwardly and Benji tells Jonny to tell his whale joke.  Jonny says no and that it’s not his whale joke he took it off the internet and would like to put it back.

For the second song, “It’s On You” the guys switch places (it  was suave, kind of Bob Fosse-ish).  Benji sings into the processed microphone. The song also has some busy basslines but the guitar is more pronounced.  Hearing him sing in that processed tinny voice is really interesting.  More interesting lyrics: “You said I’m an anarchist, communist, feminist phlebotomist.”

Before the final song, they switch places again.  Benji says he’s “not the most flexible boy in this collection of people.”  “Who is?”  “Definitely [the bassist].”  Bob asks, “Who tells the best jokes?”  “Unintentionally [the drummer]  Jonny says to the drummer: “You could do the whale joke… don’t do the whale joke.”

The final song, “Weird Little Birthday Girl” is nearly 8 minutes long.  It opens with a cool bass riff and some lovely overlapping guitars.  There’s a nearly three-minute instrumental opening and when Jonny starts singing it has a distinctly Wilco quality (partly because oft he processing on his voice but also his delicate singing).  There’s a nice shout out to Prefab Sprout in the lyrics:

Its so easy to replace it / some things hurt more much more than cars and girls / an evening in an iron maiden / a morning in your funny little world.

I really enjoyed this set a lot and I’m intrigued that their album (on bandcamp) has some really short songs too.   I wonder if their sound is different on the record.  Guess I’ll have to give it a listen.

[READ: July 12, 2016] The Complete Peanuts 1979-1980

I foolishly thought that this book would play up the idea of moving into a new decade. But as I should have learned from years past, Schulz doesn’t really care about when it is.  His strip is mostly timeless.  There are of course references to time passing, but they are very minor.  So, on New Years when it  turns 1980, the strip heading says 1980, but there’s no other mention of it.

It’s also interesting how some things that he’s talked about in the past cycle again–many many years later.  In January 1979 Peppermint Patty is on a quest for a library card (we saw Sally get one like 5 years ago).  She says that once she gets one she wont leave home without it.  Marcie says Karl Malden will be happy to hear it. This is a reference to a an American Express card commercial that I remember hearing all the time when I was a kid (although I had o idea it was Malden doing it).  She also get a very funny line about junk food: “Life is more than carrot sticks, Marcie…what is a stomach that’s expecting a chocolate bar going to say when it gets a carrot stick?”

The World War I Flying Ace never really went away, but it seems to be making a resurgence in this year, with Snoopy wandering around speaking French and then later German to all the young ladies. (more…)

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rollerSOUNDTRACK: SARAH NEUFELD-Hero Brother [CST095] (2013).

heroroSarah Neufeld is best known as the violinist for Arcade Fire. I wanted to like this disc more than I did.  There’s a lot of really good music and ideas, but the whole album felt a little lacking in excitement.

This solo album was recorded in Berlin by pianist and producer Nils Frahm, with Neufeld’s performances captured in a number of locations with site-specific acoustics, including an abandoned geodesic dome, an underground parking garage, and the legendary Studio P4 orchestral recording hall at the broadcast complex of the former GDR.

On track with a * you can hear the echo of the surroundings (although I’m not sure which is which).

*”Tower” is a repeat of three notes quickly bowed with an echoed ghostly voice floating over the top of the melody. Its lasts but 2 minutes and then disappears.  “Hero Brother” has repeated low notes flanked by high notes until the main fast riff spirals out.  About a minute in, a stomping drum comes in and her playing sounds a bit more folksy. It’s an interesting twist on the more formal earlier style.  I love that it ends almost starkly in the middle, allowing those last notes to resonate.

*”Dirt” begins with high pitches notes that seem to echo and resonate forever.  And then she switches to a spritely somewhat upbeat melody of quick notes. The third part of the song luxuriates in slow bowing—long notes that linger.  “You are the Field”  begins slowly with some bending notes that descend and then ascend.  It’s interesting to hear her slide up and down the neck while some of the main notes remain the same.

*”Breathing Black Ground” has slow echoed note, but about mid way through a low note anchors the pieces as the high notes play a melancholy melody while Nils Frahm plays the harmonium.  “They Live On” is primarily plucked strings until her echoed voice sails over the top. This piece is more pretty than the others but is still rather stark.

“Wrong Thought” has a kind of sci-fi sound as it opens.  A kind of piercing high note is resolved into some lowers notes and then a cool melody.  The ending few notes are a pretty series that rise from the darkness of the main piece.  “Right Through” is a series of three notes played in different location on the fret. It is lonely sounding until some higher notes begin to appear as well.  And then Sarah’s ghostly voice emerges from the background with a kind of haunted phrasing.  It’s quite lovely and then things become quite raucous with some very fast fiddling.

“Forcelessness” opens with a series of three high pitches notes that are quite breathtaking. The notes descend slowly through the melody as a piano plays long held notes to accent the descent. It’s by far my favorite on the disc.  The disc ends with *”Below” which is slow and melancholy with her voice echoing in.

I guess I was expecting there to be more virtuoso pieces rather than a kind of moody ambient record.  Most of the melodies are pretty, but  there’s not a lot of diversity.

[READ: February 12, 2016] Rollergirl

Oh boy, did I love this story.  And not just because it’ about roller derby (although that is quite a lot of it).  I loved it because it had a protagonist who felt she didn’t have a personality or a “thing” and managed to not only get one, but to get an unsuaul one–and to make friends doing it

This story is a bout Astrid Vazquez (an unlikely name if ever there was).  Astrid’s mom always wants her and her best friend, Nicole, to do cultural things.  So they go to museums, to the opera, poetry readings, that sort of thing.  It’s not always fun.  But on this night she takes them to a warehouse where the see a roller derby match!

Astrid (who loves to wear black and is the tomboy of the two) is hooked immediately.  Nicole, who is more prissy and does ballet, is interested but a little freaked out.  And when they discover that there is a roller derby camp for the summer. Astrid assumes they will both sign up and become derby superstars like their new heroine Rainbow Bite (is there anything better than roller derby names?).

But Nicole quietly informs her that she is not doing that.  Not only doesn’t she want to but she actually wants to go to ballet camp this summer.  So there.

And that’s when the opening scene where Nicole is with the horrible, awful, super mean Rachel.  Rachel is the one who came up with the nickname Ass-turd (which maybe makes this not so much a children’s book, but it’s the only bad part). (more…)

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muashSOUNDTRACK: BRANDY CLARK-Tiny Desk Concert #542 (June 20, 2016).

brandyCountry is pretty much the only genre I really don’t like, and, sadly for me, the genre seems to be seeping over into areas that I like (such as what happened in the alt-country movement in the 90s).  The one saving grace, (and actually major draw), of a lot of this new country is that the songwriters are exploring new lyrical territory.  And in particular, the women are writing sassy, funny, ass-kicking songs.

Brandy Clark (in black leather pants no less) has written for many other singers and finally decided to do her own stuff.

The entire lyric of “Daughter” is hilarious.  It’s an awesome revenge fantasy which, as the blurb suggests, “knows that fate is likely to do more damage to a cad than a key would ever do to his car’s glossy paint job.”

It’s got the great chorus:

I hope you have a daughter and I hope that she’s a fox / Daddy’s little girl just as sweet as she is hot / she can’t help to love them boys who love to love and leave them just like her father / Yes karma’s a bitch so I hope you have a daughter.

The second song is a sentimental song about her dead father.  The melody is very pretty, but I don’t need to hear songs like this.

But it’s back to the funny with the really sassy “Girl Next Door.”  It takes to task another cheating man:

If you want the girl next store then go next door… [much faster] and go right now and don’t look back and don’t turn around don’t call me when you get bored, yeah if you want the girl next door then go next door.

It’s a genius line and I really like the tone of her voice in this song (less twangy and more angry).  It could make me like country more.

[READ: April 1, 2016] Mush!

The title of this book promised a very funny story.  I really didn’t expect the “issues” to be quite so existential.

This book is broken into 10 chapters, with the first one opening on a man and his sled dogs mushing across the frozen tundra (actually Alaska).  We are introduced to The Boss and his Mate and the six dogs (from the dog’s perspective).  And then we see the dogs talking to each other. The crux of their conversation is that they are bored and wish they were running.  The lead dog, Dolly, loves to run, although she is unsure is she is qualified to lead the other dogs.

For some reason Buddy has a really big nose and is rather dumb.

Then we jump inside the house and see some intense friction.  The man of the house is a loner, a rebel, Dottie.  He hates society and doesn’t even like going into the city to get supplies.  His mate, meanwhile, loves him and wants to be with him–she knows the risks and troubles of doing it off the grid, but she also likes to go into town from time to time.  And she misses apricots.  Frankly, he is such a dick that I can’t imagine why she stays with him. (more…)

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522016 SOUNDTRACK: SISTER SPARROW & THE DIRTY BIRDS-Tiny Desk Concert #525 (April 25, 2016).

sistersparrowI was intrigued by the name of this band, but I was so disappointed to find out that they were another soul/blues band fronted by a woman who sounds like Bonnie Raitt.  Between Bonnie Raitt’s new album, Tedeschi Trucks Band, Lake Street Dive and now this band there’s just too much of this music that is basically the same.  And then there’s the song titles: “Sugar” “Catch Me if You Can” and “Mama Said.”

I also had to laugh at the men in the band each one of the six has a beard.  And I got  a big kick out of the harmonica player who looks like he’s trying to be bad ass, but it’s really hard to look like a bad ass when you are blowing harmonica. And the lead singer does all of those bluesy things that drive me nuts—”sing it with me, “can you play that thing for your mama, now,” etc.

Having gotten that out of the way, the band is really quite good.  The sax player has some great solos and the trumpet player sounds good too.  And, while I mocked the harmonica player, he is really good—especially on the second and third songs where he plays an electric harmonica and really wails (he is also the brother of the lead singer).  Speaking of the lead singer, her voice is great.  She’s a tiny little thing but man can she belt out notes.  And she’s got the great ability to “sing” mmm hmmms and have them be really loud—a good bluesy front woman.  The lead guitarist is really good too whether he’s playing with a slide or doing some lengthy solos, the band really rocks.  Frankly you’d have to be a corpse not to tap your foot along to the rhythm or smile at this skinny redhead belting out these notes.

But I would never be able to tell them apart from the other bands I mentioned earlier.

[READ: June 10, 2016] “Choking Victim”

This was the second story in a row that I found hard to believe (and which I didn’t understand the title of).

Karen is in her mid-thirties and has recently had a baby.  She is depressed and doesn’t understand why everything is so different in her life.

The thing that I couldn’t quite get in this story was whether or not all of the people who gave her dirty looks (and there a lot) were in her head or in reality.  I simply don’t believe that so many people would give her a dirty look just as she walks down the street: “When she pushed her baby through the park in a bulky red stroller, people watched her with curiosity and pity.”

Her husband was away for two weeks and she had a hard time with the baby.  It was especially disconcerting to Karen because at six months old her baby wasn’t really talking–hardly even babbling. (more…)

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rulingSOUNDTRACK: THE RED RIVER-Tiny Desk Concert #97 (December 13, 2010).

redriverThe Red River are a ten piece band (whom I have never heard of).  They have two keyboardists, a drummer, a violist, a french horn player and guitars and vocals.  But in this Tiny Desk, the band decided to remove all of their instruments, save for the guitar, and to sing four of their songs more or less a capella (such is the coolness of the Tiny Desk).

The first song “Milk n’ Honey” is completely a capella and they kind of make each other laugh at a few moments (where maybe their instruments might have covered up some unsightly notes).

“Morning Routine” begins with just guitar and duet vocals.  Again, they seem to be trying to make each other laugh when after the line “the kitten cries,” the lead singer makes some kitten noises.  The chorus of backing vocals sounds wonderful here.

For “St. Bernard’s Lily” the nine players all do body percussion to provide the beat while Bill Roberts plays guitar and sings.  The band does some great backing vocals (especially in the do do do do do doooos).  The final song “Dirty Dave” is dedicated to him.  Roberts says they miss him very much then quickly points out that he’s not dead, he just couldn’t make it on that tour.  The song has a pretty melody and when the band sings the chorus together its really beautiful.
Lyrically the songs are about the mundane, which is what makes them rather interesting. I can’t quite imagine what their full band sounds like given this stripped down version.

[READ: November 12, 2015] The Secrets to Ruling the School

I saw this book when I was in Chapters Bookstore in Toronto.  I was happy to see it again in my library, so I checked it out.

The premise of the book is familiar–getting by in Middle School–although this book takes it a few steps further.  Not just getting by in Middle School, but actually ruling it.

And the structure is cool.  You are the person who will soon rule Middle School.  And you will be tutored by Max Corrigan.  Max meets you on your first day.  He’s a clean cut kid with a binder full of information.  He is the school’s Welcoming Committee.  But as soon as you open his Official New Student packet, you see that Page 2 describes the school as The Worst Place in the Entire World.  And that Max will help you survive bullies, tests, hall passes, psycho teachers and even ditching class.

And his plan is simple–makes friends with every clique in school as quickly as possible. (more…)

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axe3SOUNDTRACK: SPIRITS OF THE RED CITY-“Halfway Poem” (Tiny Desk Contest Runner-Up 2015).

spiirtdLast week, a Tiny Desk Contest winner was announced. This week, All Songs Considered posted ten runners up that they especially liked.  And I want to draw extra attention to a couple of them.

I know very little about these bands, but I assume that this folkie collective uses this kind of instrumentation all the time, although I have to suggest that two upright basses and a viola seems excessive.  The beginning of this video shows an early aborted attempt with different instruments (accordion, banjo, flute, drum and ukulele), so that sounds promising–and honestly the overload of large strings doesn’t sound bad at all in the final product.

It’s interesting that bands with lots of members are a kind of trend–it’s so impractical.  And yet when done well, it’s quite lovely.  And when these seven folks starts singing along near the end of the song it’s really pretty.

The story of this video is also interesting.  They had planned to film their video outside.  But on the day of their video shoot it was 33 degrees below zero (in Minnesota).  They have some brief footage at the beginning and then the video switches to them inside a quite cozy cabin.

It’s hard to tell from just this one song what kind of folk collective Spirits of the Red City is, but I enjoyed this song quite a bit.

[READ: February 20, 2015] Axe Cop Volume 3

Axe Cop Volume 3 returns to the format of Volume 1 (the one I liked better) with a mix of shorter comics and the return of Ask Axe Cop!

The first comic we see features the return of Bat Warthog Man and features the practical science of Chemist M (whom Axe Cop buys for ten dollars). It also has a chihuahua who was a soldier that was turned into a chihuahua when the soldier’s dog bit him (Malachai’s understanding of how transformations work makes me hope he never gets bitten by anything).  The dog can turn back into a man “only when I am not ready to fight…which is almost never.”  There’ also a hilarious scene where Axe Cop is inside the imagination of a mouse which is in color and is “full of unicorns and cheese.”

The Ask Axe Cops are more intense in these later variations, like the one that asks if he ever got in trouble (he got in trouble with his mom when he chopped the head off a rabbit who was not following rabbit rules).  We also see the introduction of head trash–a place where all the heads that axe cop has removed are disposed.  There’s dating advice (very sound); a jumping competition and a hilarious bit about Halloween (where he gets 1,051 candies to share with his friends, but the bad guys have poisoned 1,040 pieces of it.  There is also Axe Cop’s strangely violent generosity on Thanksgiving (yipes).  (more…)

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11SOUNDTRACK: BASIA BULAT-“Tall Tall Shadow” and “It Can’t Be You” live at Polaris Music Prize (2014).

basiaSwinging to the other side of the musical world from Tanya Tagaq, Basia Bulat also performed at the 2014 Polaris.  I like Bulat a lot, she comes across as a sweet singer (no idea if she is actually sweet).  And I love that she can make really complex songs out of such random instruments (she plays autoharp, hammered dulcimer and others).

In this performance, she is fairly traditional for “Tall Tall Shadow” on the piano (although the french horn accompaniment is a nice twist), but “It Can’t Be You” on charango really highlights just what you can do with, essentially, a souped up ukulele.

“Shadow” highlights her voice which she holds for some quite long notes.  The song is really pretty with a great chorus.  “It Can’t Be You” is just her and the charango (which looks like a ten string ukulele but is Andean in origin).  It’s quite a song–her voice and that instrument are lovely.

[READ: February 4, 2015] Grantland #11

I enjoyed this issue quite a lot, even if I didn’t know who half of the people profiled were (and won’t remember them in two days time).

I am very curious why Grantland is just so obsessed with basketball than other sports.  It’s a little crazy how one sided these books tend to be.  They obviously love all sports but the preponderance of NBA articles is really staggering.

I do wish there’d be a bit more about TV and movies (and even more about the shows that I watch), but it is a fun way to learn about shows I would never watch.  And maybe that’s why I like these books so much, it’s my chance to vicariously enjoy sports without having to care about any of it (especially since it is all a year old, I never know if anything they talk about actually came to fruition or not).

This issue covers January-March 2014 (it’s fun reading about things almost exactly a year apart–to read about Oscars and Super Bowl stuff but have it be last year’s Super Bowl (especially since it too had the Seahawks) was very trippy indeed).

(more…)

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writeSOUNDTRACK: THE MINIONS-“Banana” (2014).

Ibanan really enjoyed both Despicable Me movies, and the minions crack me up.  So how did I not know that bananas are a big deal for them?  At Universal Studios, bananas are a huge part of the Minion gear that they sell, but I had no idea why.  When we watched Despicable Me recently, I saw them fighting over a banana, but it seemed like a minor thing.

Well, anyhow, the minions have done a cover of “Barbara Ann” as… well, you get the point.

And man, is it irritating, especially in the two hour version I present you with below.

I honestly can’t wait for the next movie though.

[READ: November 9, 2014] Write This Book

I’ve had this book on my shelf for a while.  I didn’t want to read it until I finished the Secret series.  And since I did, I decided to read this right away.  (You don’t need to read the Secret series to enjoy this book–especially for the h ow-to elements which are outstanding whether you know his work or not)

I wasn’t really sure how this would work–there was an excerpt at the back of the You Have to Stop This paperback.  He sets up the story for us and has us finish it, was it just going to be blank pages?  No, it is not.

Indeed, it is a very clever book because it accomplishes two things very well.

1) It creates a simple yet compelling mystery (with Bosch’s typical flair for twisting things around on their heads) and

2) It teaches young writers a ton about how to write.  In fact, I hope Clark reads this soon, because I think it will really help him with his storytelling. (more…)

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10SOUNDTRACK: FATHER JOHN MISTY-Fear Fun (2012).

fjmI can’t get over how much I’ve been enjoying this album for the last two years.  Father John Misty is J Tillman from Fleet Foxes.

This disc is a gentle folk album with vaguely country leanings.  The arrangements are spare and yet the verses and choruses are so great to sing along to. “Funtimes in Babylon” has this infectious chorus: “I would like to abuse my lungs, smoke everything in sight with every girl I’ve ever loved.  Ride around the wreckage on a horse knee deep in mud.  Look out, Hollywood, here I come.”  “Nancy from Now On” has a great propulsive chorus with oohs and tinkling bells and pianos and Misty’s engaging falsetto.

I was introduced to this album by “Hollywood Forever Cemetery Sings” which opens with the super catchy line, “Jeeeeesus Christ, girl.”  I love the big crashing drum sound he has here.  “I’m Writing a Novel” is a fun romp, with the great line “I’m writing a novel because it’s never been done before.”  “O I Long to Feel Your Arms Around Me” introduces a great organ sound.  It’s a full song at only 2 and a half minutes.

“Misty’s Nightmares 1 & 2” opens with a slide guitar and turns into a stomping song with more Ooohs and a great chorus.  “Only Son of the Ladiesman” has a great chorus with the fun couple: “I’m a steady hand, I’m a Dodgers fan.”  “This is Sally Hatchet” has cool guitar blasts and a great bridge.

“Well You Can Do It Without Me” is a countrified 2 minute stomper.  “Tee Pees 1-12” is a big stompin’ honkey tonk song with fiddles and slide guitar.  The disc ends with “Everyman Needs a Companion” a slow ballad with a great piano melody and a fun to sing along with verse and chorus.

I love the lyrics on this album, especially the song “Now I’m Learning to Love the War” a slow ballad with a great story:

Try not to think so much about
The truly staggering amount of oil that it takes to make a record
All the shipping, the vinyl, the cellophane lining, the high gloss
The tape and the gear

Try not to become too consumed
With what’s a criminal volume of oil that it takes to paint a portrait
The acrylic, the varnish, aluminum tubes filled with latex
The solvents and dye

Lets just call this what it is
The gentler side of mankind’s death wish
When it’s my time to go
Gonna leave behind things that won’t decompose

In addition to all of the great music on here, the CD packaging is fantastic with that great cover, done in a cardboard gatefold sleeve including two huge books full of words and drawings and lyrics and everything.  I’m really looking forward to his next release.

[READ: September 14, 2014] Grantland #10

Despite my being in the middle of reading several other things, I was looking for a short article to read the other night and grabbed my Grantland 10.  And, of course, once I started, I couldn’t stop. I put everything else on hold and blasted through this issue.

And so all of my loves and hates are the same with this issue.  I never know how anything they talk about nearly a year ago turned out, which stinks.  And yet I get so wrapped up in the writing that I don’t care.  I’m not sure what it is about the writing for Grantland that i enjoy so much.  It is casual but knowledgeable.  Often funny but not obnoxiously silly. And I suppose that now I feel like I’m in on all of the secret stuff they talk about so I’m part of the club.  I fear that if I were to ever go to the website I would get sucked into a black hole and never emerge.

I often wonder how they choose what goes into the book.  This issue has some new writers and the surprising absence of some regulars.  I wonder what went on there.  And as always, the book could use some editing and maybe actually listing the urls of the links that were once in the online version.  But I think I’m talking to deaf ears on that one.

This issue covers October-December 2013 (that’s ten-twelve months ago!  Some of this stuff feels ancient!)

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reySOUNDTRACK: ECHO & THE BUNNYMEN-“The Cutter” (1983).

echoI’ve never been a huge Echo & The Bunnymen fan, but I do like their greatest hits.  This is one of them, and it’s a song I’ve liked from pretty much the minute I heard it.  Ian McCullough has a Jim Morrison vibe in his vocals, and there are interesting Eastern melodies and pieces thrown into the song (like in the intro).  These give it an unconventional feel, even though the main melody is pretty straightforward.

I have no idea what the song is about–I sing along without really thinking about it.  And the “spare us the cutter” chorus, complete with screechy guitar chord is pretty dynamic.  As is the loud drum change during the “drop in the ocean” part.

By the end of the song the drums seem to sound bigger, and the fills really propel the song to the end.  It’s a fine song by a band that I’m not sure I need to hear more of.

[READ: August 25, 2014] Pale Summer Week 7 (§46-§47)

After the pile of small chapters that last week gave us, this week offers just two.  One is a very lengthy discussion between two characters.  The other is another piece of the Toni Ware puzzle.  I enjoy the way the first of these sections balances the medical, the emotional and the supernatural.  And it makes me laugh that Drinion’s supernatural bit is never addressed directly in any way–it just is–as assuredly as Rand’s psychological problems just are.  But I do find it interesting that more people have talked about Rand’s problems than Drinion’s (even though his is as fascinating as he himself is dull).
(more…)

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