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Archive for the ‘Cats’ Category

SOUNDTRACK: BORIS-tears e.p. (2019).

Boris tends toward being a very heavy band.  Their two recently albums D.E.A.R. and NO are some intense heavy metal.  They also do a lot of noise and heavy drone.  But they are not afraid of melody.  And they are not at all afraid to make pretty, dancey music.

There are five songs.  The first song “どうしてもあなたをゆるせない (doushitemoanataoyurusenai)” is on the disc twice.  The first version of this song is a remix by Narasaki under his name “Sadesper.”  It opens with a grooving bass line and some pretty guitars.  The drums are metronomic and there’s a sprinkling of keys.  I’m not sure who sings, but there’s a lot of falsetto. I love how just before the chorus there’s some orchestra hits.  It’s pretty much a full on dance song and it suits them perfectly.  You’d never guess it was Boris, but it makes sense once you realize it.  It even ends with a nifty guitar solo that sadly fades out.

“u fu fu” opens with a fast simple guitar chugging riff.  After a good ol’ “Whoo!” from Atsuo, the song pulses forward on the insistent grunted  “ooh ah” that works as a foundation to the song.  There’s a lots of great backing vocals in each ear. With about a minute to go, the bass takes over with a fast, heavy rumble before the harmonizing vocals kick in.

Up next is a fantastic cover of a Coaltar of the Deepers song “To the Beach.”  I didn’t know Coaltar of the Deepers before this release, but I have listened to them a bunch since and they are a terrific Japanese band unknown in the States.  I’m not sure how much this differs from the original , but this version is fantastic–slow and moody with lots of build and release.  The song starts with a pretty guitar melody and then a series of crashing chords and cymbals while Wata’s guitar soars.  The verses are slow with a whispered vocal.  But the choruses resume the crashing chords to punctuate things perfectly.  In the middle of the song as the vocals overlap and blend, it sounds magnificent.

“Peaches” comes next, it’s a 2 minute song sung by Wata.  A pulsing bass line propels the song forward as Wata chants the the word “peaches” over and over with an occasional “la la la” fleshes things out.  A repeating piano is added for a bit and then a shift to a kind o funky bass line that leads to the end of the songs.  It’s only two minutes long and kind of goofy but I wish it was longer.

The disc ends with an instrumental version of “どうしてもあなたをゆるせない.”  The song is so catchy and wonderful that hearing it a second time in the EP is a great thing.  It’s one of the few instrumentals that I think might sound better than the original because you can really hear what the musicians are doing–and its some great stuff.

[READ: October 29, 2020] The Ten Loves of Nishino

I have a stack of books waist high next to my desk which I intend to read.  And yet, I continue to find new (to me) books that I jump in and read first.  This book was recommended by the most recent Tiny Desk Contest winner Linda Diaz.  Why on earth would I read a book recommended by a person I’d never heard of before?  She said it was her favorite book ever (which seems weird since it only came out in English last year, but whatever).  It was also pretty short.  So I decided to check it out.

I have enjoyed many of the Japanese writers that I’ve read, so I was intrigued to read a contemporary female author (this book was translated by Allison Markin Powell).

So this book is written in ten chapters–each one written by a lover of Nishino, an enigmatic figure whom we only learn about from the women writing about him.

There is something strangely seductive about Nishino that these women find hard to resist.  He is aloof and puzzling, but that seems to make women want him even more.  But he is perpetually with women (more than these ten, it would appear). (more…)

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SOUNDTRACK: THE FLAMING LIPS-“Flowers of Neptune 6” (2020).

After a series of much harsher, darker albums, The Flaming Lips’ new record, American Head (due out next month) promises a much brighter, warmer experience.  Perhaps one indication of the change is that the guest singer on this song is Kacey Musgraves.  Sadly, she is barely audible at all and doesn’t really add any of her own flare to the song.

“Flowers of Neptune 6” opens with a quiet piano melody.  There’s slow (albeit loud) drums and acoustic guitars–it’s a Flaming Lips ballad.  This one feels almost sixties-like with the echoing voices and the primary melody.  Not to mention the content:

doing acid and watching the light bugs glow -oh oh oh
like tiny spaceships in a row-oh oh oh

The chorus is slow but catchy and the end of the song is a minute of instrumental fade out with slide guitars, choruses of voices of a moment for Kacey to hum a solo.

[READ: August 1, 2020] “My Widow”

This story is broken into shorter sections as the dead narrator relates a story about his living widow.

First we learn that his widow is a cat person.  Or, perhaps more correctly, a crazy cat lady.  She has about thirty.  She feeds them and cares for them, but really doesn’t care about anything else.  So when the roof develops a leak, she ignores it and allows the water to drip right onto her bed.

It doesn’t seem like much is going to happen in this story. She ignores the roof until she can’t any longer and then calls a roofer in to repair it. But nothing much happens with that.

The scene shifts to shopping.  “In her day, my widow was a champion shopper.”  She has a collection of antique jewelry, glassware, china figures and the like” which the deceased says would be truly valuable if she took care of the house. (more…)

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SOUNDTRACK: TOKYO JIHEN [東京事変]-“The Scarlet Alibi” (永遠の不在証明 Eien no Fuzai Shoumei) (2020).

220px-Tokyo-Jihen-News-EP-cover-artRingo Sheena formed Tokyo Jihen (which means Tokyo Incidents) in 2003.  They put out five albums and disbanded them in 2012.

Then she surprised everyone by reforming the band in 2020 (with the same people who played with her in 2012).  They have released a new EP, News.

永遠の不在証明 which translates more or less as “Eternal Alibi” is the final song on the EP and the only one that Ringo Sheena wrote the music for.

It starts like a kind of James Bond theme (and it is indeed a theme for Detective Conan: The Scarlet Bullet).  It’s got a noir piano, but the bass is really fat and fuzzy.

The chorus gets big while the piano stays prominent and the bass does some really fancy fretwork.  Then in th emiddle of the song there’s an instrumental break.

Seiji Kameda (亀田 誠治Kameda Seiji) gets a wicked bass solo followed by a ripping guitar solo from Ukigumo (浮雲The Drifting Cloud) and a soaring keyboard solo from Ichiyō Izawa (伊澤 一葉Izawa Ichiyō).  Everyone gets a moment to shine except drummer Toshiki Hata (刄田 綴色Hata Toshiki)–but his playing throughout is stellar.

The song halts at 3 and half minutes, but there’s a jazzy jamming coda (lots of piano and guitar solos) that runs for about a minute as the song concludes.

Although I just discovered the band this week, it’s nice to have them back.

[READ: July 1, 2020] Fuku Fuku 2

This is Konami Kanata’s second and final collection of FukuFuku stories.  After all of the Chi stories, it was probably for the best to limit FukuFuku to just two volumes.

It allows the story to go out on a high note.

The framing device of the series is an older woman looking at pictures of her cat FukuFuku when she was a kitten.   I was pleased that this book ends the framing device with FukuFuku as an older cat–the flashback is complete.

This volume is less about FukuFuku exploring new things and more about her owner’s expectations of her. (more…)

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SOUNDTRACK: RINGO SHEENA [椎名 林檎]-Shōso Strip [勝訴ストリップ] (or Shouso Strip or Winning Strip) (2000) 

Yumiko Shiina (椎名 裕美子Shiina Yumiko, is known by her stage name Ringo Sheena (椎名 林檎Shiina Ringo). She later fronted the band Tokyo Jihan.

I’m not exactly sure how I discovered this album.  I think I had been reading about psychedelic Japanese bands and this album came up as a must-listen.

I found a copy on eBay (it’s also streaming) and, wow–it’s my favorite album in a long time.  Ringo Sheena flirts with just about every genre of music throughout her career.  Often times, including several genres in one song.  But throughout this album, it’s her singing and songwriting that really stand out.

Plus, I absolutely love the sound that she gets from her bassist.  I have included all of the credits from the album below because my copy of the album is entirely in Japanese. The “official” Wikipedia entry is first, but the Google Translated version is second.  I’m not sure what is going on with the Google Translated version, but for most of the songs the bass is described as “Bombshell base” which is totally accurate.  Interestingly, sometimes the guitar is described as “Oxygen deficient guitar” which I think just means electric, but I love that description.

So the overall feel of this album is grungy.  There’s a lot of distortion among the guitars and the drums.  None of the songs would be described as metal, but there are definitely some heavier rocking elements.  But there is an underpining of J-Pop throughout.  Both in her catchy choruses and the way her voice soars as she sings.

The disc opens with “I Am a Liar” (虚言症 Kyogen-shō) 5:26 [“False” from Google Translate].  A funky slap bass and some flutes introduce this song that has a great mix of alt rock and J-Pop.  Sheena Ringo has a great voice that can sing low but also soars nicely when needed. The chorus of this is instantly catchy with a great melody disco flourishes and her fantastic vocals.

“Bathroom” (浴室 Yokushitsu) 4:15 [bathroom] is a wild song (and one that she has apparently performed in very different styles over the years).  A ripping funky bass and synth lead to a great pulsing ear worm of a melody.  The chorus is warm and inviting and fantastic.  “Excuse Debussy” (弁解ドビュッシー Benkai Dobyusshii) 3:16 [Excuse Debussy] is another propulsive rocker with a great fat bass sound.

Things slow down for “Gips” (ギブス Gibusu)  (which apparently means “orthopedic cast”) 5:38 [Gibbs] but it has a huge soaring chorus that is partially in in English “don’t you think I wanna be with you….”  It’s about the catchiest peppiest thing and it is awesome.  The songs is quite long–over five minutes–and the last few minutes feature a great guitar line that repeats and repeats until it breaks apart with chaotic confusion.

Things slow down even further for the gorgeous strig opening of “A Driving Rain in Darkness” (闇に降る雨 Yami ni Furu Ame) 5:03 [Rain in the Darkness].  Interesting electronic sounds and some electronic percussion mask the beauty of the stirrings and then after 45 second the strings turn pizzicato and pop song structure stars with a loping bass that plays some funky high parts.  It’s a pretty song that segues nicely to the scorcher that is “Identity” (アイデンティティ Aidentiti) 3:05 [Identity].  It opens with a ripping guitar and Sheena screaming like the best of them.  This song hits pretty standard metal sounds and is a total rocking freak out with her singing syllables as the guitars and drums just go bananas.  Her band is really fantastic.

“Crime and Punishment” (罪と罰 Tsumi to Batsu) 5:32 [Crime and Punishment] plays like a torch song ballad, but it’s accompanied by a heavy guitar and a big fat bass that keeps it in the alt-rock arena.  The juxtaposition is great.  There’s a lengthy jamming coda as well.

“Stoicism” (ストイシズム Sutoishizumu) 1:46 [Stoicism] is a short interlude.  Her voice is manipulated while she’s singing a simple melody as bouncy synths underscore the whole thing.  It flows into “A Broken Man and Moonlight” (月に負け犬 Tsuki ni Makeinu[3]) 4:14 [Lose dog on the moon] which sounds like a grunge version of “Closing Time” until the loud distorted bass crashes in and upends everything. The end totally rocks out.

“Tidbits” (サカナ Sakana[4]) 3:43 [Fish] opens with a harpsichord and the makings of a bubblegum pop song.  But as the verses come in it feels kind of noirish with horns and a great catchy chorus.  The end of the song features that noir bass and a piano.

“Sickbed Public” (病床パブリック Byōshō Public) 3:16 [Patient Public] has super distorted drums and a heavy bass rumbling underneath her whispered vocals until it switches to a bright J-Pop chorus.  “Instinct” (本能 Honnō) 4:14 [Instinct] has a menacing opening of sound effects and turntables that meld into a super catchy poppy melody with wild bass.  The verses slow to a slinky sound, but that chorus is undeniable–especially when the whole song shifts up a note midway through.

The disc ends with fun watery sounds that bloop and blip for the opening of  “I Am an Addict” (依存症 Izon-shō) 6:23 [Dependence].   The song begins with a delicate synth but there’s a fun fun soaring chorus (of course) that you can’t stop humming.  The song and disc end with ends with three minutes of everyone jamming at the end of a show when the star has left the stage and the band is just going to keep playing until they can’t anymore.

I haven’t really looked into much more by her–although I did enjoy the one Tokyo Jihen song I heard.  This album is so good I’m afraid to explore anything else for the time being.  So I’ll just enjoy this one.

[READ: July 1, 2020] Fuku Fuku 1

Konami Kanata wrote the wonderful manga Chi’s Sweet Home about a family who adopts a cat.  It’s wonderful and is apparently one of many manga about cats.  Even though it’s sweet and adorable there are occasionally weird thing that make it seem more adult than it seems to be (the word pissing is in one of them, which seems a little odd for a cute book).

The framing device of the book is an older woman looking at pictures of her cat FukuFuku when she was a kitten.   FukuFuku wants to see them too, which means lying on them, of course.

And so there are 24 short pieces about kitten FukuFuku’s introduction to living with this woman.  I understand that the book is translated, so I don’t know if the cat sounds are translated as well, but I love that when she tries to pick up the kitten for the first time, it says “Mii?”  And when she grabs for it it says “Mya”

The translator also has a lot of fun with the kittens’ action words: Skoot, Bound, Dash, etc. (more…)

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okSOUNDTRACK: PJ-Tiny Desk (Home) Concert #33 (June 12, 2020).

pjI understand that coming up with a stage name has to be tough, but there’s too many artists who try to go by one name when t hat name isn’t unique enough.  I mean, the rapper Dave?  C’mon.  PJ is another one.  That is such a common nickname there’s really no way you can claim it.

However PJ (whose real name is Paris Jones) has apparently made a name for herself.  Usher, Wiz Khalifa and more.  These songs come from her debut EP–I’m fascinated by the people who write hits and then eventually decide to sing.  Why did they give their songs away instead of singing them?  Is it a good way to establish your cred and make some money?  Probably.

Anyhow, I expected these songs to be much more pop-friendly and hook-filled.  Rather, they are pretty songs and PJ’s voice is really nice as well, but they aren’t earworms.

Backed by Drin Elliot on the keys, the Los Angeles-based North Carolina native breezes through two tracks off of her new EP, Waiting on Paris, from quarantine digs complete with mannequins, floral arrangements and radiant artwork.

I like the sound that Elliott gets from the simple setup (but I guess you can program synths to do a ton of stuff at the press of a button).

PJ is now the third singer in a row to have a song on the soundtrack for HBO’s Insecure.  I am now really surprised that I haven’t heard of it, even in ads.

For the final song and with the biggest grin on her face she “switches vibes” with the upbeat and anthemic “Element,” from this season of HBO’s Insecure. Here, her energy is nearly impossible to harness as she exclaims “quarantined but in my element!”

Strangely, I don’t find this song all that anthemic.  It’s kind of catchy, but then I haven’t found any of the Insecure songs to be all that super catchy.  Maybe it’s an understated soundtrack.

[READ: June 19, 2020] The Okay Witch

This graphic novel was wonderful.

Set in Founder’s Bluff, Massachusetts, this story is about witches (duh).  But there’s a fun twist with a mother-daughter/generational issue that definitely goes beyond witchcraft.

Middle schooler Moth (no explanation given for the name) lives with her mom, Calendula.  They own a second hand shop that was once owned by a nice old Jewish man named Joe Laslo.  (The Jewish part is relevant only because of what happens later–it’s funny).

As the story opens we learn that Founder’s Bluff has a long, beloved history of witch persecution.  Judge Nathaniel Kramer made the witches leave the town.  In 1692, women were accused of bewitching Kramer’s son Peter, and they all “disappeared,” taking Peter with them.  Kramers have been in charge ever since (the Mayor is a descendant). (more…)

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20000000SOUNDTRACK: KAWABATA MAKOTO [河端一]-I’m in Your Inner Most (2001).

a3548319280_16Recently, Kawabata Makoto [河端一], mastermind behind Acid Mothers Temple, revealed a new bandcamp site for some newer releases.

This is Kawabata Makoto’s minimal music works by his own ensemble reissued in 2002 with a bonus track.

This album is in fact two parts of the same song (technically). And they’re the first of his solo works to predominantly feature organ.  It also features artwork by Kawabata Sachiko

“I’m In Your Inner Most Part.1″ (19.11)  starts with a repeated organ riff and (the inevitable) high-pitched feedback sounds.  This one also has the voice of Audrey Ginestet repeating one word (drift? drip? something in French?).  Every few measure a new item is added and repeated–mostly organ notes in a pattern or a scale.  The last five minutes or so feels like a two note siren as the high notes soar around the top.”

I’m In Your Inner Most Part.2″  (20.24)  opens with that repeated word.  This piece feels a biot more like an improv with organ and the tambura rotating through.

Kawabata Makoto is credited with electric organ, electric harpsichord, violin, tambura, percussion, electronics and electric guitar on this release.

The bonus track is called “Osculation (remix version)”  (15.32).  I can’t tell exactly what it is remixing as it sounds like parts of both songs are melded together.  There is a lot of church organ sounds and repeating motifs.  But around 11 minutes a grinding noise comes into the song and start to take over until the end is just all noise.

Like most of Kawabata’s solo album, this one feels improvised and off the cuff.  The inclusion of the organ however, makes this one solitary in his vast catalog.

[READ: June 13, 2020] “Man-Eating Cats”

Twenty years apart, Murakami has two surreal stories about animals. Actually, this one is far less surreal than the monkey story, but there is a supernatural component for sure.

The story opens with the narrator reading to Izumi from the newspaper.  The article is about a woman who died and her cats ate her–they had been alone in the apartment for about a week with no food.

Izumi wants to know what happened to the cats, but the paper doesn’t say.  She wonders if he were the town’s mayor or chief of police, would he have the cats put down?  He suggests reforming them into vegetarians, but Izumi didn’t laugh at that. (more…)

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SOUNDTRACK: THE BANANA SPLITS-“The Tra La La Song (One Banana, Two Banana)” (1968).

traOf all the bubblegum pop songs, this is probably the one I know the best.

I was surprised to discover that the song and TV show were from 1968, because I used to watch it all the time.

But I see that the series originally ran from September 7, 1968 to September 5, 1970, but then it was in syndication from 1971 to 1982, which is when I watched it.  Amazingly, it was in syndication for 11 years and there were only 31 episodes made.

Is there anything catchier than a bunch of people singing tra la la, la la la la?

And then the lyrics couldn’t be simpler:

One banana, two banana, three banana, four
Four bananas make a bunch and so do many more
Over hill and highway the banana buggies go
Coming on to bring you the Banana Splits show
Making up a mess of fun
Making up a mess of fun
Lots of fun for everyone
Four banana, three banana, two banana, one
All bananas playing in the bright warm sun
Flipping like a pancake, popping like a cork
Fleegle, Bingo, Drooper and Snork

This was the theme song for the TV show.  It was a minute and a half and is insanely catchy.

The Dickies did a punk cover in the 1970s, which doesn’t sound very different from the original, expect that instead of bright keyboards, the music is all guitars and drums.  It is faster-paced and yet longer because of a guitar solo and some extra sing along parts.

For those unfamiliar with the show, the Banana Splits were:

  • Fleegle — A greenish-brown dog wearing a large red bow tie, black buttons, brownish-orange chucks, with his tongue is always sticking out. He plays a guitar and sings.
  • Bingo — A nasal-voiced orange gorilla wearing white glasses and a yellow vest, featuring a toothy grin. He plays drums and sings.
  • Drooper — A lion with a very long tail wearing yellowish-orange glasses, spats on his feet, and speaks with a Southern drawl. He plays a bass guitar and sings.
  • Snorky — A mute furry elephant wearing pink glasses. He becomes a regular elephant in season 2, wearing a green vest with yellow stripes. He communicates through honking sounds akin to a clown horn, and one of the other Splits would translate what he is saying. He plays a keyboard.

What a great time to be a kid.

[READ: June 8, 2020] Bubblegum Week 5

Over at the Infinite Zombies site, there was talk of doing a Quarantine book read.  After debating a few books, we decided to write about a new book, not a book that everyone (or some people) had read already.  This new book would be Bubblegum by Adam Levin.  Many of us had read Levin’s massive The Instructions which was not especially challenging, although it was a complex meta-fictional story of books within books.  It was kind of disturbing, but also rather funny and very entertaining.

So I’ll be posting weekly ideas on this schedule

Date Through Page
May 11 81
May 18 176
May 25 282
June 1 377
June 8 476
June 15 583
June 22 660
June 29 767

A Fistful of Fists is a Handful

After the academia and “high brow” thoughts of Triple J’s essays, this week’s transcription of Triple J’s film A Fistful of Fists: A Documentary Collage is rather tough reading.  It reminded me of reading something like David Foster Wallace’s Brief Interviews with Hideous Men or Roberto Bolaño’s 2666 (The Part About the Crimes) in that there’s some really horrible things to witness but their inclusion serves to prove a point and even to further the plot and fill in some gaps.

A Fistful of Fists is a collage of twenty-seven short films all about the joy of killing cures.  The transcription is a print version of what is seen on the videos, sometimes in graphic detail.  Scenes of it reminded me of some of the “torture porn” stories that were trendy a while back. (more…)

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SOUNDTRACK: LANG LANG-Tiny Desk (Home) Concert #11 (April 17, 2020).

Lang Lang is a superstar pianist whom I have never heard of.  But I agree with the blurb that it’s neat to see a fantastic pianist playing at home.  He seems relaxed and loose.  And the camera angle allows us to see his fingers (and his whole swaying body) pretty clearly.

Here’s something unique: a chance to eavesdrop on the superstar pianist Lang Lang at home.

The 37-year-old pianist, who typically plays sold-out shows to thousands, says he’s taking his recent solitary time to learn new repertoire at home in Shanghai, China. And home is where he thinks we should all be.

He opens with Chopin’s calming “Nocturne No. 20 in C-sharp minor.”  I loved watching him slowly and deliberately play that last note.  It seems like he holds his finger above it for minutes, but it fits in perfectly.

Lang Lang’s latest passion is Bach – specifically the Goldberg Variations, a 75-minute-long cycle of immense complexity grounded in the composer’s durable beauty. Lang Lang offers the “18th and 19th variations,” pieces that in turn represent the strength of logic and the joy of the dance. It’s music, Lang Lang says, that “always brings me to play in another level of artistic thinking.”

These pieces are just magical.  Even if I don;t know them well, I can tell pretty immediately that they are Bach.  Lang Lang’s fluidity is wonderful, as is the way his whole body seems to be absorbing the music as he plays.

[READ: April 11, 2020]: Carnet de Voyage

From March 5 thru May 14, 2004 Craig Thompson was on an international book tour celebrating the success of his (fantastic) book Blankets.

This journal was his visual diary (no cameras were used, only his memory) of his trip.  His editors thought it would be interesting for him to document his trip (and it is).

He flies into Paris then a 2 hour plane trip to Lyon.  He draws pictures of where he has been and the people he has met (and some of their fascinating stories).  There’s some wonderful sketches of rooftops from hotel windows.

He does interviews for radio and magazines. He laughs that one of the photos shoots was in the streets of Paris, where he is all dressed up.  But really he’s a county bumpkin from Wisconsin. The drawing of himself as a glamorous guy and his bumpkin alter ego together is pretty hilarious.

On March 15 he left for Marrakesh, Morocco and this exotic location rally sets the stage for most of his artwork and what is sort of the only “plot” in the book.

He had also just broken up with his girlfriend which weighs on his mind quite a lot on the tour. (more…)

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SOUNDTRACK: JESCA HOOP-Tiny Desk Concert #965 (April 3, 2020).

I really liked the Tiny Desk Concert that features Sam Beam and Jesca Hoop.  So much so that I bought the CD and it made me want to see both of them live.

Jesca Hoop last appeared at the Tiny Desk as a duet with Sam Beam (Iron & Wine) in the spring of 2016. They sang songs from their collaborative record Love Letters For Fire.

This time it is just Jesca and I have realized that I liked her more as an accompanist rather than a lead singer.  Actually, that’s not exactly right.  Her voice is lovely.  I just find the songs a little meandering.

This time around, Jesca Hoop came to the Tiny Desk with just her guitars, her lovely voice, and brilliant poetic songs. She has a magical way with words, and she opened her set with “Pegasi,” a beautiful song about the wild ride that is love, from her 2017 album Memories Are Now.

“Pegasi” is nice to watch her play the fairly complex guitar melodies–she uses all of the neck.  The utterly amazing thing about “Pegasi” though comes at the end of the song when she sings an amazing note (high and long) that represents a dying star.

She wanted to sing it today so it could live on Tiny Desk.

The two songs that follow are from her latest album, Stonechild, the album that captured my heart in 2019, and the reason I reached out to invite her to perform at my desk.

“All Time Low” is a song, she says, for the “existential underdog.”  She switches guitars (to an electric) and once again, most of the melody takes place on the high notes of the guitar.  Her melodies are fascinating.  And the lyrics are interesting too:

“Michael on the outside, always looking in
A dog in the fight but his dog never wins
If he works that much harder, his ship might come in
He gives it the old heave-ho.”

After the song, she says, I’m going to tune my guitar, but I’m not going to talk so it doesn’t take as long. If you were at my show, I’d be talking the whole time and it would take a long time.

And for her final tune, she plays “Shoulder Charge.” It’s a song that features a word that Jesca stumbled upon online: “sonder,” which you won’t find in the dictionary. She tells the NPR crowd “sonder” is the realization “that every person that you come across is living a life as rich and complex as your own.” And that realization takes you out of the center of things, something that is at the heart of “Shoulder Charge” and quite a potent moment in this deeply reflective and personal Tiny Desk concert.

This word, sonder, came to my attention back in 2016 when Kishi Bashi first discovered it and named his album Sonderlust for it.

The song is like the others, slow and quite with a pretty melody that doesn’t really go anywhere.

I found that after three listens, I started to enjoy the songs more, so maybe she just writes songs that you need to hear a few times to really appreciate.

[READ: March 2020] Ducks, Newburyport

I heard about this book because the folks on the David Foster Wallace newsgroup were discussing it.  I knew nothing about it but when I read someone describe the book like this:

1 Woman’s internal monologue.  8 Sentences. 1040 pages

I was instantly intrigued.

Then my friend Daryl said that he was really enjoying it, so I knew I had to check it out.

That one line  is technically (almost) accurate but not really accurate.

The story (well, 95% of it) is told through one woman’s stream of consciousness interior monologue.  She is a mother living in Ohio.  She has four children and she is overwhelmed by them.  Actually she is overwhelmed by a lot and she can’t stop thinking about these things.

She used to teach at a small college but felt that the job was terrible and that she was not cut out for it.  So now she bakes at home and sells her goods locally.  She specializes in tarte tatin.  This is why she spends so much time with her thoughts–she works alone at home.  Her husband travels for work.  Whether she is actually making money for the family is a valid but moot question.

So for most of the book not much happens, exactly.  We just see her mind as she thinks of all the things going on around her.  I assume she’s reading the internet (news items come and go in a flash).  She is quite funny in her assessment of the world (how much she hates trump).  While I was reading this and more and more stupid things happened in the real world, I couldn’t help but imagine her reaction to them).  She’s not a total liberal (she didn’t trust Hillary), but she is no conservative either (having lived in Massachusetts and New York).  In fact, she feels she does not fit in locally at all. (more…)

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SOUNDTRACK: ALLEN STONE-Tiny Desk Concert #964 (March 30, 2020).

What’s worse?  Liking someone’s personality and disliking their music or liking their music and thinking they are a bad person?

In this Tiny Desk Concert, I learned that Allen Stone is a super nice guy, sweet and funny.  But boy do I dislike his music–and his singing voice.

Clearly I do not share the popular opinion about that.

His three graceful background singers L-r: Moorea Masa, Jessica Childress, Raquel Rodriguez) and piano player ( Michael Elson) provided the perfect compliment, but this set proved undoubtedly that his voice belongs right up front.

And yet, lyrically, “American Privilege,” which addresses his internal guilt about everything from materialism to being born white, is really powerful.

Between songs he is a delightful sweetheart.  He says that playing Tiny Desk is a, “breath of fresh air that this is how people want to hear music.  It’s not pyrotechnics, its stripped down songs in their purity.”

After this song he played

a trilogy of Building Balance songs dedicated to his wife (who he said he’s “face first in love” with)

He says he got married a year and a half ago.  And he is still married, which is great.

“Give You Blue” (I don’t quite understand the metaphor) is played on an acoustic guitar with gentle piano and the backing singers providing a lot of the backing sounds.

He says say that being so in love has meant that he got a lot of great tunes out of it.  Although “Brown Eyed Lover” seems a questionable title given the Van Morrison classic.  Plus, it seems odd to dedicate a song to your wife that goes, “I’ve got a brown-eyed lover on the other side of town.”

I acknowledge that Stone has a strong, powerful voice–his vibrato is impressive.  I just don’t care for it.

But again, he is so nice between songs.  He says playing a big room is fun and so much energy but with ear monitors in your head you feel isolated.  However, the best part of music is the people and this is so much fun for musicians.

He wrote “Consider Me” before he asked his wife to marry him.  It’s a sweet song, but I’m surprised that a sweet, romantic song has this verse

If you’re looking for somebody who
Will put up with your shit

[READ: April 1, 2020] Hilo: Book 5

Book 5, the army is more intent than ever on finding Hilo. But because he is a child (and not from here) they can’t find any matches in any database.

It will also be hard to find Hilo because he has returned to his home planet Jannus (along with DJ who put on Hilo’s suit and ran through the portal at the least second).

Their absence means that Izzy needs to create replicas of the two of them.  Which she does easily, although the first attempts are way too smart (hilariously so).

Meanwhile Gina has been practicing her magic and accidentally opens a a portal to let two giant dogs in the room.  And they are not friendly dogs. (more…)

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