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Archive for the ‘Deb Olin Unferth’ Category

3000030,000 views may not be a milestone for many blogs. But, for a blog like this which was intended mostly as a record of what I’ve read, the fact that I’ve had 30,000 views is pretty exciting. And it seems appropriate to let you, the readers know what you the other readers have been reading here. So, here is the top ten most read posts on I Just Read About That… with a director’s commentary tacked on.

1. 819 views
Gordon Korman–Son of the Mob (2002)
SOUNDTRACK: GORDON LIGHTFOOT-The Complete Greatest Hits
I’m pretty much 100% certain that Gordon Lightfoot is NOT the attraction that made this post my highest one. Son of the Mob is usually a summer reading book. However, I get hits on this throughout the year.  I’m guessing it’s just a popular book.

(more…)

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SOUNDTRACK: KING’S X-Please Come Home Mr Bulbous (2000).

I’ve always loved the silly side of King’s X, especially when it comes to titles.  And here we have yet another bizarro album title.  And King’s X’s 8th disc actually lives up to the title.  Well, sort of.  But it is one of the band’s most unusual records musically.  They experiment with many different sounds and textures.  There’s a lot of really spare sections, where Doug’s bass is not the heavy, smooth sound we’ve become used to, but rather, single notes (or sometimes two notes at once) played staccato.  There’s also a lot of different styles within one song–King’s X have always experimented with sounds, but it was usually one style per song.  This one mixes things up tremendously.

“Fishbowl Man” has the rather unique distinction of being a chunky heavy guitar riff with vocals by Doug, a pretty, softish chorus sung by Ty and, even weirder, a spoken word center.  “Julia” follows with several different parts: a rather mellow opening, with a harmony-filled chorus, a suddenly heavy heavy post-chorus, and a little psychedelia thrown in for good measure.  “She’s Gone Away”‘s catchy chorus sounds an awful lot like one of King’s X catchy Ty ballads, but musically it’s quite different. There’s some two-notes-at-once bass playing, and–despite the soaring harmonies of the chorus–the guitar work is much heavier and darker for a Ty-sung song.  The solo also has an unusual part in which the bass and drums are very sparse while Ty noodles away.

“Marsh Mellow Field” sounds like a typical King’s X song, but there’s new stuff added: Doug singing a call and response chorus to himself, Ty and Doug splitting vocals in the verse, but it all comes back to a catchy chorus.  “When You’re Scared” has a really weird (for King’s X) recording sound that sounds like they’re in a huge, empty field.  But it works really well with the gentle harmonious chorus.

Consistently the highlight for most listeners is “Charlie Sheen.”  It is upbeat and pretty and what the hell it has to do with Charlie Sheen no one knows.  There’s great vocal interplay on this, and it ranks pretty high on the Ty ballad list.  And, somewhat unusually for this disc, there’s nothing unusual about it.

“Smudge” contains some of the darkest lyrics I can think of for King’s X.  Doug even sings of breaking a rosary.  Evidently the backlash from the Christian community was pretty strong.  “Bitter Sweet” has a loping bass that plays nicely over this tender, short ballad.  And the disc ends with 11 minutes of the sweet “Move Me (Parts 1 and 2)”.  Despite the oddities at the beginning of the album, the bulk of the disc is pretty conventional King’s X.  And they’ve still got it.

One other unusual thing: between some tracks on the CD there are tongue twisters in Dutch and Japanese. (I lifted this from Wikipedia, by the way)

* At the end of track 1: Acht-en-Tachtig-Prachtige-Grachten
This is Dutch for “88 (achtentachtig) beautiful (prachtige) canals (grachten).”
* At the end of track 3: Tonari no kyaku wa yoku kaki kuu kyaku da
This is a Japanese tongue twister (hayakuchi kotoba) meaning “The adjacent (tonari) customer (kyaku) eats (kuu) persimmons (kaki) often (yoku).”
* At the end of track 4: Zes-en-Zestig-Sinaas-Appel-Schillen
This is again Dutch and means “66 (zesenzestig) orange (sinaasappel) peels (schillen).”
* At the end of track 5: Hottentotten-Tenten-Tentoonstellingen
Dutch tongue twister meaning “(an) exhibition of tents made by the Hottentots.”
* At the end of track 6: Chikushō, nante hidee sandoicchi da
Japanese meaning “Damn (chikushō)! How awful (hidee) this sandwich (sandoicchi) is!”
* At the end of track 10: Acht-en-Tachtig-Prachtige-Grachten
See first tongue twister.

[READ: October 1, 2008] Vacation

I received this book in the mail as part of my McSweeney’s Book Club.  I tend to put new books at the bottom of my pile, but I decided to break it up and read this one right away.  It sounded really interesting, I liked Unferth’s flash fiction, and it was fairly short itself (216 pages).  I would say that aside from Harry Potter, this may be my fastest turnaround on a book coming out and me reading it.

But enough about me.  This book is about Myers and his wife, Gray and his daughter, Claire and the Untrainer, and Spoke and Sexy Woman in Bikini.

The set up of the book caught my attention right away.  It begins with Claire’s story.  She sees a man on her train.  He looks familiar, but his head is oddly misshapen.  She finds it very unsettling.  The man walks off the train and out of her life.  And then we follow the man.  It reminded me of Slacker, where people’s lives intersect briefly and we follow the next person. (more…)

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145.jpgSOUNDTRACK: MOTHERHEAD BUG-Zambodia (1993).

zam.jpgMotherhead Bug is the creation of David Ouimet. David was my boss at Tower Records way back when. He has been in some other influential NYC bands like Swans and Cop Shoot Cop, and he’s worked with Foetus as well. He has since moved on to bigger and better things, including doing wonderfully creepy illustrations for YA books (like Cat in Glass and Double-Dare to Be Scared).

David was a founding member of Cop Shoot Cop, and then left to do other things. What I find most interesting about Zambodia is that it sounds fairly comparable to the band Firewater, a band that was created by Tod A, one of the other founders of Cop Shoot Cop. No idea if there was something in their collective water but it’s interetsing that they both pursued this bizarre hybrid of punk/industrial/klezmer/gypsy/circus rock.

If you know Firewater (and you should, they’re very good), Motherhead Bug would be something like a slightly more indie version of them (if you can imagine that). The unconventional aspects of the songs are more to the fore, and the instrumentataion is a little more peculiar. This is probably due to the fact that Ouimet is a trombonist and samplist (is that what you call a sampler player?). It is clear that his love of the horn section and freedom of samples allowed his creativity to run amock.

Ouimet’s vocals work in a gravelley context similar to Tom Waits, but less drunken-bluesman and more gothic spooky storyteller. The whole shebang sounds something like a Kurt Weillian nightmare. And yet, there is a great deal of humor involved. Having said all that, for all of its unconventiality, the songs are pretty standard verse chorus verse, 4 minutes long. It’s just what he does within those limits is pretty outlandish!

For a genre that has so many tentacles, Motherhead Bug fills a fun niche of industrial carnival music. If you like a chaotic noisy band, and you’re interested in unconventional instrumentation, then check out Motherhead Bug.

Hi David.

[READ: November 20, 2007] One Hundred and Forty-five Stories in a Small Box.

The format of these books is three books in a small box. Each book is a volume of short short stories or flash fiction. The books themselves are also small in size: slightly smaller than a mass paperback. So, when I say that a story is a page long, it is in fact, about a typical paragraph length. One of the tropes of the flash fiction movement is that you try and write a fully realized story in as short a space as possible. It is amazing how complete many of these stories turn out to be. Even though they are devoid of most of the trappings of a conventional story, they often convey a full range of emotion, and even some details. According to the Wikipedia entry, most flash-fiction pieces are between 250 and 1,000 words long. This should all give a sense for what’s in the box. (more…)

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18.jpgSOUNDTRACK: NADA SURF-High/Low (1996) & The Proximity Effect (1998).

high.jpgHigh/Low. This CD features the “novelty” hit “Popular” from some years back, you remember, the spoken word bit about trying to impress your high school sweetheart by washing your hair “every two weeks, once, every two weeks.” The song is pretty great, even after the novelty factor has worn off. However, you may feel that you got screwned (see What I Learned… (5)) if you thought the rest of the record would sound like that. For the most part High/Low is kind of forgettable, and a surprising lead off point to what are some really fine follow-up albums. Overall the sound is, not quite murky, but very samey. So that even the catchy parts sort of blend together. It was not until their next album that they start to show some great songwriting.

proximity.jpgThe Proximity Effect. As I understand it, when Nada Surf didn’t produce a hit like “Popular” for their second album, the label dropped them. Which is typically short-sighted because The Proximity Effect is a much better album. In fact, it contains a song akin to “Popular” called “Mother’s Day” but it is so much darker–almost the anti-“Popular.” It too has a spoken word type vocal, and yet the song is an anti-rape song. A dark subject to be sure, but the guitar riff is so great it stays in your head, and you wind up thinking even more about the song. The first four songs really break Nada Surf out of the sameyness of High/Low by introducing high notes! It really cracks through the grungy sound by including some contrast. However, it’s the next album, Let Go, that really shows Nada Surf taking off.

What’s so weird and awkward about talking about these records in this way is that looking back on the earlier ones with hindsight, its easy to see their flaws, and yet, if you could go back and revisit High/Low without the benefit of the later albums, I wonder if it would shine even brighter.

[READ: July 10, 2007] McSweeney’s #18.

After the utter weirdness of McSweeney’s #17, came this very calming volume. It is a simple paperback book, with a one color raised maze on the front. That’s it. This issue lets the stories take over, and it’s a nice change. (But a short lived one, once you check out #19). This volume also came with the first issue of Wholphin, the McSweeney’s produced DVD series, which I won’t be reviewing, except to say that the two or three videos I watched were really great, especially the one about Al Gore, and the one about the guy singing “Stairway to Heaven” backwards. (more…)

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mcs23.jpgSOUNDTRACK: WEAKERTHANSReconstruction Site (2003) & Watermark (single) (2001).

watermarkreconstruction.jpgI heard about the Weakerthans in, I think Esquire, of all places, in their Canadian Bands You Must Listen To article. They were described as more literate than The Decemberists, and even thought I have not actually included a Decemberists album yet, my love for them is pure. So I thought I’d check them out. Turns out the main Weakerthan used to be the main guy in Propagandhi, a fun, overly political punk band that I enjoyed when I was feeling overly political myself. I was very pleasantly surprised to see that the Weakerthans keep a similar musical sensibility: catchy pop punk stylings, yet they are less angry and more introspective. The music is not as brash as other pop punk bands, in fact there are even some quiet parts! (more…)

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