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Archive for the ‘Keith Thompson’ Category

SOUNDTRACK: GIVĒON–Tiny Desk (Home) Concert #166 (January 28, 2021).

GIVĒON is a pretty classic R&B crooner.  He seems pretty grateful to have gotten where he is.

“Just bear with me while I just enjoy this and soak in it,” GIVĒON admits with a laugh.

He plays three songs.

“The Beach” opens with gentle guitar chords from James Murray and a slow bass line from Ivan Chatman.  Then GIVĒON and RaVaughn Brown sing together.

After the song, he says he’s pretty excited to play in February.

“Any moment to do this would be special,” he says between songs, “but I think Black History Month … just celebrating Black culture for this month, I’m really excited to get to do this on this platform.”

He also notes that he is a Pisces.  “Pisces are emotional, maybe that’s why I make songs like this.”  “Like I Want You” opens with a simple drum intro from Andre Montgomery and a slow bass line.  Deondre Ellis plays a keyboard melody that matches the vocal melody at the beginning each line–it’s a nice touch.  Murray plays a pretty ripping guitar solo, too.

Before the final song, “Stuck on You,” he says, “I can’t wait to watch this with my mom and see what she thinks because she likes to nitpick sometimes.”  It’s a bit of a faster song and when there’s about a minute left, GIVĒON walks off to let the band jam out the set.  The mark of an old school singer already.

[READ: February 20, 2021] Goliath

The final book of this trilogy was as exciting as the rest of the series.

Everyone is back aboard the Leviathan and they are heading toward the Arctic.  They have an exciting and dangerous mission up ahead–they are going to lower Leviathan as low as she can go so that they can retrieve some cargo from the back of a polar bear beastie.

Deryn and Newkirk are on a small platform swinging madly through the air as they try to secure this very large parcel from the back of a moving bear.  It’s something that’s been done before, but never with something this large (usually just mail bags).  This is a massive time saver, but if they miss, it means a several hours before they can turn around an try again.

The package is a huge amount of supplies both for the Leviathan and for the special guest who they are going to meet in the Wilderness. Things don’t go as smoothly as promised because the package weighs more than was promised–the danger is pretty great and the scene is very exciting.

When they open up the packages in the ships hold, they discover that in addition to the various supplies there is a massive Clanker gadget that needs assembling.  It is good that Alek and his men are on board to help assemble the Clanker contraption.  He’s also happy to have gainful employ for a time–it’s the happiest he’s been in a while.

The device proves to be a portable metal detector–a powerful one designed to be used almost like a giant magnet. But there’s no explanation for why it’s here.

The ship continues on its mission further up towards Greenland.  Then the watchman sends a message: Trees All Down Ahead.  It doesn’t make sense until they see a clearing up ahead and indeed all of the trees are destroyed–knocked over as of by the world’s largest hurricane. Worse yet, there are gigantic bones littering the place–as if a whale beastie was eaten. (more…)

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SOUNDTRACKFUTURE ISLANDS-Tiny Desk (Home) Concert #158 (January 25, 2021).

I’m not a huge fan of Future Islands.  I like some of their songs, and I think singer Sam Herring’s voice is really interesting.  The biggest thing I remember about them is NPR’s fascination with singer Sam herring’s dancing.  Herring does some dancing here, but saves most of it until the final song.

Future Islands’ four members are gathered not too far from their Baltimore base in Carroll Baldwin Memorial Hall, sans desk. “We lost the desk,” singer Sam Herring tells us with a smile. With drummer Michael Lowry on the tiny stage, the rest of the band — including bassist William Cashion and Gerrit Welmers on electronics — took to the floor, allowing Sam Herring to make his moves and sing his heart out. This music is clearly for the head and the feet.

The first three songs are from

their sixth and very recent album, As Long As You Are. 

“Hit the Coast” is an upbeat song musically.  The notable thing about Future Islands is that their music is primarily keyboard based, but there’s something about having a bassist that brings an organic element to the music.

Along with themes of loneliness and love, we also hear songs about race, which is most evident in “The Painter,” a song about how we can all look at the same thing and see it so differently.

He continues, “Art is subjective but they way we think about people and the way we treat human lives shouldn’t be.”

My favorite part of this very precise song comes mid-song when Cashion scratches up the strings a bit to add some chaotic distortion.

“Thrill” is set in Greenville NC on the banks of the great greasy Tar River.  It’s about feeling isolated in your society, about self-isolating through substance abuse and about continuing to push forward as all the seething bubbles up inside of you like the great river.  It is a slow and moody song and yo can tell that its very personal to Herring.

We end with a song that came out shortly after visiting NPR in 2011 [Oh man, I miss my hair] called “Balance.” It’s one of those tunes that feels repurposed for the 2020s: “This is a song for anybody who’s struggling through their lives,” Sam Herring says, “and I know there are a lot of you all out there, just trying to get by, but it’s going to take a little bit more time.”

This is a fun dance song–the kind of earlier, faster song that I like from them.  Herring lets his dance shoes lose, with some impressive and wild moves.

[READ: March 1, 2021] Behemoth

Book two of this series was longer and more dangerous–as a sequel should be.

As this book opens, everyone is on board the Leviathan having just sailed to safety.   Alek is showing Deryn how to fence.  She is impatient and has no technical skill.  But it’s nice for her to be with Alek (who Deryn has admitted to herself that she fancies) and it’s nicer that he is saying things like “we” when he talks about the Leviathan.

But soon they see some enemy ships.  The ships look in bad shape and the Leviathan looks poised to destroy them.  Until one of them fires up what they learn is a Tesla tower–a generator that can shoot lightning across great distances.  No one has ever seen one before.  But Alek’s men piece together what it is.  Since they are the only ones who know how to fly Clanker engines, they are in charge of propulsion.  And they disobey orders by bringing the ship to a halt.  The Leviathan, being sentient, also senses what’s going on and starts to concur with the decision.

But disobeying orders is mutiny (except that Alek’s men aren’t technically part of the crew so they can’t be punished).

The Tesla cannon fires and grazes the Leviathan.  It doesn’t puncture the ship (it could literally blow it up if it got to any of the hydrogen), but it does mess with everything electrical.  It also leaves one of the men stranded on a Huxley–essentially electrocuted.

Deryn takes it into her hands to save her mate in an exciting an daring rescue. (more…)

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SOUNDTRACK: RHEOSTATICS-3rd Annual Green Sprouts Music Week Night 1 (Ultrasound Showbar, Toronto Ontario September 18 1995).

It has been a while since I’ve listened to a live Rheostatics show.  Darrin at Rheostatics Live has added a number of new shows in the last eight months.  Like this full week of shows from the Third Green Sprouts Music Week.

He writes:

Rheos had just come off of the 2nd Another Roadside Attraction tour with The Tragically Hip in July. The band would perform their Group Of 7 commission in Ottawa a month later and during this run were working on material for what would become The Blue Hysteria album. Some of the working titles are listed (Crescent II, Two Flights) as well as Drumheller which would end up as “Desert Island Poem” on Dave’s first Bidiniband album The Land Is Wild.

I don’t regret missing many shows that I’ve missed, but I do very much wish that i had been able to go to a few nights of a Green Sprouts Music Week.  Seeing them in a small club with them chatting away and experimenting seems like it would have been a wonderful experience.

As the tape starts on this first night, someone asks

“Are we going to play that song tonight?”
“What song?”
“The $1.79 song.”
“Of course it wouldn’t be a Green Sprouts…”

Never find out what that is.  But then Dave tells the audience

The plan is over the next 7 days to pay every song we know and even songs don’t know.  He says that it’s Roger the sound man’s first Green Sprouts week and he hasn’t caught Green Sprouts fever yet.  This is also Don Kerr’s first green sprouts, too.

We’ll lay a couple old ones to start.  Someone shouts “YAY!”  Dave: “Hey you haven’t even heard the new ones yet.”

They start with “Me & Stupid” which features the spoken part of the poem “Wilderness Gothic” by Al Purdy:  “Something is about to happen two shores away a man hammering the sky”

Dave: “The great thing about green sprouts is you forget different stuff each night.”

Up next is “another Southern Ontario song” “Fish Tailin’.”

Then Martin unveils his new (as yet unpainted double neck) guitar: “overcompensating for the lack of headstock for the last 6 years.  Now he’s got a guitar with two big ones.”

Tim gets the first new song with “All the Same Eyes,” a song that doesn’t change much between now and the record.

In what will be a theme for the week, they have a really hard time coordinating the opening countdown for “Four Little Songs.”  They have to start it three times.  And they mess up the 4321 at the end.  Martin’s verse seems different.

Kevin Hearn joins them for the next song.  Dave says they stole some part of “Four Little Songs” from [Kev’s “on patrol?  Cabs On patrol?   No idea].

Kevin plays on “Fan Letter” and in they chant “Farm Fresh” instead of Michael.

Over the course of the week we’ll get more details about the creation of “Sweet Rich Beautiful Mine.”  Onm this first night, Martin forgets the second verse.

Dave says that Neil Peart said that he preferred playing smaller places (meaning arenas) because he could hear himself (he preferred arenas to open air venues).  But in arenas there’s big speakers but it sounds small.  But it’s snugsville in here, boy.

It’s been a long time since we did this song (“Palomar”), which gets a good response.  After which “it’s the fall but we can still play summer music” (“Introducing Happiness”).

Dave says he saw Asleep at the Wheel and the last song everyone did a solo.  Then the lead singer had a guitar shaped like Texas, but instead of his solo, he picked up three balls by his feet and did some juggling. The last one he threw up in the air and it landed on the brim of his cowboy hat.  They’re working on that for later in the week.

They start the new “Connecting Flights” but can’t find a capo.  They do an improv “capo shortage,” a goofy bit a fun.  Up next is the new “Desert Island Poem,” which sounds great.

Then comes the popular section.  A rocking “California Dreamline” which segues into a lovely “Song of Flight” and right into “Fat.”

They haven’t played “Queer” in a while (which is a surprise).  As they start Dave says, “now there’s a little matter of the words.”  Someone recites them for him.

Dave is going to play “My First Rock Concert” every night this week and the and are kind of learning it on the fly.  In the middle of the song, some words are different.

Dave: “I sense something funky coming on (start of “Soul Glue”).

The last song before “our first encore” is a rocking version of Jane Siberry’s “One More Colour.”  I love their version.

Heading into the encore break Don says, “We just played 18 songs without a pee break.”

That reminds him of a gig they played in Pennsylvania: drinks were free until the first person has to pee.  It was a real classy establishment.  The most boring place on earth–Harrisburg, PA.  It’s a great place if you have a huge bladder.

Martin says “My assessment of tonight is that it started out very vague and hazy, like we haven’t played in six months or like we’re getting back together after a year breakup.  But it gelled together in the last three or four songs.”

Martin tries to remember the new song “A Midwinter Night’s Dream.”  He doesn’t go for the high note in the middle of the song–choosing a lower growl instead.  It works pretty well, but I love the high note.

Dave jokes: You don’t know what it was like touring in Platinum Blonde town after town having to play the hits with the drummer under the stage playing the parts for the fake drummer on the stage.

A delicate “Take Me in Your Hand” is followed by Don Kerr’s first time playing “Northern Wish.”  Martin gets the first line but missed the rest of the verse and starts the song again.

The first night ends with a ripping “Dope Fiends and Boozehounds.”  There’s a drum solo for Don and then martin ends the song with interesting guitar effects.

It’s a good start to a great week.

[READ: February 20, 2021] Leviathan

I signed C. up for a YA program at the library.  His subject was steampunk and they chose this book for him.  S. had read this series and loved it, so I decided to give it a read while it was still in the house.  I found it to be a fast and fun read.

The story is set in 1914, the dawn of World War I. But it’s an alternate reality–one where zeppelins and other hydrogen-based flying machines dominate the air  It also has a very cool component of animal/machine hybrids that are really quite impossible to explain except to say that the Leviathan is a living airship that is made out of whale–they are in side of a whale–but it’s also a machine.  Or something.  Best not to think too much about that.

It’s here that I should mention the drawings by Keith Thompson. They are wonderful pencil-looking drawings–dark but detailed.  They really help to get the visuals down of thes extradoridfanly machiens tah Westerfeld has createa.  I’m not always certain that I could picture the without the drawings.

The book opens on teenaged Prince Aleksander, the heir to the Austrian throne.  While he is playing with toy soldiers, imagining a war, two of his servants enter the room and tell him they are off to do some training in the dark–his father’s orders.

The machine that Aleks is being taken to is a Cyklop Stormwalker.  This is a giant machine that walks on two legs (Star Wars, yes). Alek has never piloted something this large before, but they tell him it’s important for his training. But Alek senses something is wrong and that’s when they tell him this is not a drill.  His parents, the King and Queen of Austria, were killed that very night. He is probably another target and they are trying to keep him safe. (more…)

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