Feeds:
Posts
Comments

Archive for the ‘Nell Zink’ Category

SOUNDTRACK: MILCK-Tiny Desk (Home) Concert #19 (May 7, 2020).

I only know of MILCK from NPR. They talked about her “movement-defining anthem ‘Quiet'” which she played in 2017 at the Women’s March.  It was powerful and very moving.

Aside from that song, though, I hadn’t heard anything else from her.

And now, here she is at home singing “her most recent singles, ‘Gold’ and ‘If I Ruled The World.’  She also plays an unreleased song, “Double Sided” which she says is her most personal yet.

Many artists are sincere, but MILCK might be the most sincere performer I’ve ever seen.  That sincerity comes across as she speaks between songs, but also in her lyrics.  I love this couplet from “Gold.”

Don’t mistake my confidence for arrogance / don’t mistake my self-respect for disrespect.

Then she moves on to the brand new song

For this deeply moving Tiny Desk (home) set, recorded at her home in Los Angeles, MILCK performs those two recent singles, along with an unreleased track called “Double Sided,” a gorgeous tearjerker about the necessity of loving one another regardless of our faults and weaknesses. MILCK’s songs of empowerment, unity and understanding have never resonated more.

“Double Sided” is a powerful song and she is definitely moved by the end.

For the final song, “If I Ruled The World” she introduces it by quoting Gloria Steinem.

Gloria Steinem said that dreaming is a form of planning and this song is dreaming and imagining what our world could look like.

The song a capella for the first verses.  This is significant because so far every song of hers that I’ve heard has been about the lyrics.  But it’s here that you fully realize what a great voice she has.

Having said that, the lyrics are pretty great, too.  As I said, they are very sincere.  But it’s wonderful that there are serious ideas coupled with more lighthearted ones

Jenny wouldn’t hate her figure when she’s small, or when she’s bigger
She’d be kissin’ on the mirror, and the WiFi would be quicker
Everybody would recycle, fewer cars, and more bicycles
No more fighting for survival, you would hear this song on vinyl

You’d see a doctor if you’re sick, Mary, don’t you worry ’bout it
‘Cause there’d be no crazy bill, no more thousand dollar pills

All the sexist, racist, bandits would be sent off for rehabbin’
And instead of feeding fear, we’d be feeding half the planet, damn it

If I ruled, it would be less about me, more about you

As the blurb says,

I can always count on MILCK for a good cry. … the Los Angeles-based singer digs into and bares the ugliest sides of human nature, but leaves you feeling nothing but gratitude and awe at just how beautiful life really is.

If you’re not moved by these songs, you’re not really listening.

[READ: May 8, 2020] “Why Birds Matter”

At one point I subscribed to the print edition of National Geographic.  There are so many magazines that I like but which I never have enough time to give attention to.  National Geographic was one of them.  Each issue is packed with amazing pictures and fascinating stories that go along with them.  And every once in a while I would see a dozen or so yellow spines staring at me, accusingly.

I remember when this issue came in and there was a cover story from Jonathan Franzen, which I was excited to read.  I didn’t have the time to read it when it came in.  Later, when I remembered that I wanted to read this cover story I honestly couldn’t remember what magazine it came from.  I was sure it as Harper’s, but searches proved otherwise.

Finally I did a search on his articles and this came up and that was it!

I found an online copy of the magazine through my library (it has since been published in a book) and finally got around to reading it.  So imagine my surprise when it was actually quite short.  There’s an accompanying (amazing) photo essay that makes the entire “article” some twenty pages.  But his text is barely five picture-heavy pages.

Nevertheless, he makes so many point better than I could and better than I could even try to summarize that I’m quoting extensively because I think it’s that important.

(more…)

Read Full Post »

SOUNDTRACK: THE LUMINEERS-Tiny Desk Concert #966 (April 6, 2020).

When The Lumineers first came on the scene they were the band that sounded like Mumford and Sons.  It now seems likely that The Lumineers are more popular than Mumford.

I’ve known them since “Hey Ho” but I’ve never seen them I guess because sinegr Wesley Schultz doesn’t look anything like I thought he would (I’m not sure what I thought, but that’s not it).

Much of The Lumineers’ Tiny Desk comes from the band’s third LP, III, which tells a story of addiction in three acts.  They began with gut-wrenching renditions of “Gloria” and “Leader Of The Landslide.”

I’ve heard “Gloria” a million times, but it was nice to see it live.  I especially enjoyed  when violinist Lauren Jacobson joined in on the high notes of the piano while Stelth Ulvang played the low parts.  Byron Isaacs plays some interesting bass lines (That I’ve never noticed before) and adds nice backing vocals.

“Leader of the Landslide” has a very sad introductory tale.  Stelth Ulvang switches to accordion.  It is “accompanied by a cassette recording of crickets made on iPhones and dubbed to play on a boombox.”  It’s a quiet song, unlike what I think of them as playing.

The third track is also from III, but was an assignment from director M. Night Shyamalan. He tasked Schultz and his suspender-clad writing partner, Jeremiah Fraites, with composing a song for the end credits of a film. “Jer and I worked really hard on that, and then he didn’t need it,” Schultz confessed. The results are the stark and haunting “April” and “Salt And The Sea,”which strikes a different chord than any other song they’ve written.

“April (instrumental)” is a one-minute instrumental that segues into “Salt And The Sea” Drummer Jeremiah Fraites plays piano while percussionist Brandon Miller switches to drums. but he’s mostly playing cool atmospheric percussion (my new favorite thing of scraping drumsticks on cymbals).

It wouldn’t be a Lumineers show without a foot-stompin’ sing-along to end the set, which came with their crowd-pleasing hit “Stubborn Love”. Stelth Ulvang demonstrated a level of barefoot acrobatics unrivaled at the desk thus far, not an easy feat (or should I say, feet).

I never knew the name of “Stubborn Love” but I’ve certainly wanted to “Hey oh, oh oh oh) along with it.  And yes, Ulvang jumps on Bob’s desk to get everyone to sing along–I hope he didn’t step on anything (and that his feet were clean).

I’ve never thought about seeing them live, but I’ll bet their show would be a lot of fun. However, since they are now playing to 20,000 people, I can probably give that a miss.

[READ: April 25, 2020] “The Bird Angle”

Nell Zink and Jonathan Franzen are intricately linked.  As she writes in this essay

All I wanted when I first wrote to Jonathan Franzen–a birder who moonlights as a journalist–in 2011 was some attention for a bird-obsessed NGO.  With his help I debuted as a novelist five years ago at age fifty.

Her fifth book comes out this year.  She now has some money and wondered what to do with it.  Franzen recommended birding in Peru.

So this is the first non-fiction piece of hers that I have read.  It’s also the first piece about birds (aside from her novel the The Wallcreeper which has a bird prominently in it).

She was going to Cuzco, Peru for thee days.  First she toured churches (seventeenth century Jesuits made Christ look especially gruesome).  The next morning she hiked to Sacsayhuamán, an Incan ruin made of exceptionally large rocks.

She imagined Peru would feel like a hot night in New York when the A/C broke.  But she only got two mosquito bites the whole time she was there (both on her ass from peeing outside). (more…)

Read Full Post »

SOUNDTRACK: NICK HAKIM-Tiny Desk (Home) Concert #12 (April 22, 2020).

I had a mixed reaction to Nick Hakim”s Tony Desk, although the blurb writer says he loved it.

Whenever I’m asked to name my favorite Tiny Desk concerts, Nick Hakim’s 2018 performance sits near the very top. He and his four bandmates reset the bar for intimacy at the Desk with their hushed groove.

Hakim plays three songs from his upcoming album WILL THIS MAKE ME GOOD

from the corner of his dark bedroom with a keyboard, guitar and stacks of audio components.

His vocals on all three tracks are quiet and echoing, as if he is whispering down a long hall.  In fact all of the music sounds muted and soft, with a feeling of hazy smoke floating around,.

“QADIR,” is a haunting dedication to a fallen friend.  He plays guitar–mostly slow muted echoing guitar chords.  When the song ends, he activates a mini applause effect box which is pretty funny.

He takes a few loud slurps from his drink and gives a big “ahhh,” before starting the next song. For “GODS DIRTY WORK” he switches to the keys.  His singing style is exactly the same, although the song may be a little slower.

He adds a little more fake applause and then a somewhat creepy echoing laughter as he switches the drum beat for “CRUMPY.”

Honestly, all three songs sound a lot alike and seems really slow and hazy. It’s weird how upbeat and smiling he is, in contrast to the music.  I wonder how he makes everything seem so quiet.

[READ: April 15, 2020] Nicotine

I really enjoyed Nell Zink’s two other novels, but somehow I missed this one entirely when it came out.  I couldn’t imagine what it was about with that title and boy I never expected it to go where it did.

I actually had a slightly hard time getting into the book. That may have been because it was Quarantine and it was hard to ficus or it was because the opening of the book was so puzzling.  And yet by the end I was totally hooked.  But the beginning:

A thirteen year old girl stands in a landscape made almost entirely of garbage, screaming at a common domestic sow.

Then a white man comes and takes the girl away.  Her name is Amalia. (more…)

Read Full Post »

SOUNDTRACK: FRENCH, FRITH, KAISER, THOMPSON-“Bird in God’s Garden/Lost and Found” (1987).

The words are a poem by Rumi.   It is a slow droney song that is primarily drums from John French.  Thompson sings in his quieter style.

There are several different versions of this song. There’s an earlier unreleased version with Richard & Linda Thompson that is much quieter.  I especially like this version because after every other verse they brighten things up with a dramatic five note string riff (or maybe it’s Kaiser on the sanshin) that seems to come out of nowhere.

They spice up the middle of the song with a rollicking traditional Irish sounding fiddle melody from Fred Frith’s “Lost and Found.”  (Frith plays violin).  It adds a bit of zing to an otherwise dirgey song.

After about three minutes of the slow thumping there’s a wonderfully rocking instrumental section complete with fiddles and bass playing some wild melodies.

It was recorded on the album Live, Love, Larf and Loaf and also appears on Thompson’s collection Watching the Dark (1993).

[READ: September 1, 2019] “Nell Zink’s Satire Raises the Stakes”

I have really enjoyed the Nell Zink books that I’ve read. I’ve even read an excerpt from Doxology, the book that’s reviewed in this essay.

What I like about this essay though is the summations of her writing and her earlier books.

Schwartz says that Zink looks at life from the fringes.  She then summarizes her three impossible to summarize books in simple and amusing fashion: (more…)

Read Full Post »

SOUNDTRACK: TRAGIC MULATTO-“Freddy” (1987)

I knew of Tragic Mulatto because they were on Alternative Tentacles records (home to Dead Kennedys).  But I’d actually never heard them before, I don’t think. I knew they were a noise rock band, but I had no idea they were quite so explicit.

The main band members were singer Flatula Lee Roth (Gail Coulson), guitarist Richard Skidmark (Tim Carroll) and bassist Reverend Elvister Shanksley aka Lance Boyle (Alistair Shanks).

This five minute song starts like a deranged circus with a swirling saxophone and  a muddled guitar and drum stomp.  Once the music establishes itself, the vocals come in, a deep growly evil spokenish rhyme that I can’t exactly make out.

Around 1:45 Flatuta takes over, singing a refrain of

“Don’t let him cum in your … butt … ear … rear … head … bed … feet … all over your sheets.” etc. that runs for the rest of the song. It’s surprisingly catchy, but you’d not want to sing it at the dinner table.

Fascinatingly, this album is described as featuring more tightly structured music that emphasized melody was less satirical and more serious.

It sounds like Tragic Mulatto, and especially Gail Coulson, (who is said to have possessed a simply astonishing vocals range) were really ahead of their time.

[READ: July 10, 2019] “Marmalade Sky”

I love Nell Zink’s writing and was pretty excited to see that she had a new story.  This is an excerpt from her new book Doxology.

It is 1990, Pam went over to Joe’s place to listen to records.

Joe let Pam in and introduced her to a man holding a piece of black plastic.  His name was Daniel Scoboda and he was holding the Sassy Sonic youth flexi.

Joe said he subscribed to the magazine as soon as he heard about it. But Pam, who introduced herself as Pam Diaphragm, said the magazine wasn’t long for the world.  Whats the demographic? Thirteen year-old girls who fuck?  Advertisers really go for that.

Joe said he’s a Sonic Youth completist. The only thing he doesn’t have is the single “I Killed Christgau with My Big Fuckin’ Dick.”  Daniel said its not a real record, the editor of the magazine made it up.  [I love this Sonic Youth indie rock banter]. (more…)

Read Full Post »

SOUNDTRACK: RARE ESSENCE-Tiny Desk Concert #637 (July 19, 2017).

I have learned of go-go music exclusively from Tiny Desk Concerts:

Dominated by drive and momentum, heavy on percussion and bass, go-go music is all about the beat. Live, “songs” can continue on for half an hour, as the percussion continues to simmer and punctuate between and across different pieces. “That’s why we call it go-go, because it goes on and goes on and goes on,” as guitarist Andre Johnson put it in a documentary film.

This visit by Rare Essence perfectly encapsulated the genre’s incomparable meld of soul, R&B and, most importantly, funk (with a dash of Afro-Cuban influence).

So that’s go-go.  What about this band?

Rare Essence emerged not long after go-go itself did, beginning as a group in 1976 in Washington D.C. Ever since the group has kept a steady schedule playing around town and around the world.

The band plays seven–SEVEN–songs in sixteen minutes.  Many of them are just riffs that go on for a minute or so like “Down for My Niggas.”  Whereas “Rock This Party” is a bit more of a call and response piece–with some good congas.  “Freaky Deak” is pretty much a riff or two before they start talking to the audience.

They thank Suraya for arranging the show and there’s a lot of shouts outs and hand waving.  And then they start with one of their favorites, “One on One.”

All of the songs more or less flow into each other as one long jam.  There are multiple lead singers and everyone participates in the responses.

After a spell of their name (R-A-R, Double E, S-S-E-N, C-E) the lead guitarist sings lead on “Bad Bad” (he’s the oldest looking guy but he still has the power in his voice).

As they segue into “Lock It,” We apologize we could play this song for ever but I know everyone got to go back to work.  We’re gonna play the short version  We could play this for at least an hour.  They keys plays a nice Cuban sounding melody–almost like xylophones.

“After three minutes, he says this ant even the first part of the song–we still got about fifty more minutes.” Then they segue into “Overnight Scenario” which everyone sings along t o.

Anthony Andre “Whiteboy” Johnson (guitar, vocals); James “Funk” Thomas (vocals); Charles “Shorty Corleone” Garris (vocals); Leroy “RB” Battle, Jr. (keyboards); Calvin “Killer Cal” Henry (vocals); Michael Baker (bass); Kenneth “Quick” Gross (drums); Samuel “Smoke” Dews (congas); Kym Clarke (trumpet); Derryle Valentine (sax, flute)

[READ: July 23, 2017] “Bonebreaker”

I find Nell Zink’s stories to be weird but compelling.  She writes about strange things in unusual ways.  The people are often peculiar but compelling.

But this story was especially odd to me because the two characters seem really stupid

Both Jed and Laurie are fleeing the States.  As the story begins they go to the airport with a lot of cash.  But they knew that the TSA would be suspicious of that.  So when they see the “money sniffing” dogs, they know the TSA is on to them.  They leave their stuff at the airport and return home–which puts them on the no-fly list.

After a few more aborted attempts, they decide to take a barge–a real refugee situation. Not only do they not get where they are going, they lose a lot of money and are mostly miserable.

Why are they fleeing? (more…)

Read Full Post »

ttydwymSOUNDTRACK: THE HOLMES BROTHERS-Tiny Desk Concert #71 (August 2, 2010).

brosI’ve never heard of The Holmes Brothers.  So I was a little surprised to hear that they have been playing together for 30 years.

The trio consists of Sherman Holmes on bass, Wendell Holmes on guitar and Popsy Dixon on drums (in this case, just a snare and a lot of rim shots).

They play soul music steeped in Baptist hymns, blues and spirituals.  Wendell is a great guitarist, playing effortless solos–playing with the volume and creating interesting effects.  Sherman plays a fun bass with some cool bass lines (although felt he may have been a tad too loud in the mix).  And Dixon keeps the beat–nothing fancy, but he propels the song along and it would never sound as good without him.

They play three songs from their then new album.  Sherman sings lead on “Dark Cloud” while Wendell sings lead on “Pledging My Love” and “Feed My Soul.”  Especially noteworthy on the latter two tracks is Dixon’s falsetto which is really amazing (I thought they had a female backing vocalist hidden somewhere).  In fact, the three of them sound like there might be four or five people in the band.

They put on quite a show.

[READ: August 7, 2015] That Thing You Do with Your Mouth

I often don’t know what McSweeney’s books are about before I read them.  I had a vague inkling that this book was about sex (I’d read that Matthews did voice over for Italian porn), but I didn’t know that this was going to be a kind of biography of Matthews and her history of sexual abuse.

According to the introduction, Matthews told her story to David Shields (author and also Matthews’ cousin) who says that the interview garnered 700 pages worth of material.  Thank goodness he edited it.  I felt this book (which comes in at 113 large print pages) was way too long as it is.

Despite all of the accolades on the cover, Matthews is not a very compelling individual.  It’s strange to read personal incidents from a person that you’ve never heard of or, for that matter, was someone who hadn’t done anything terribly interesting. (more…)

Read Full Post »

zinkSOUNDTRACK: PAUL WELLER-Tiny Desk Concert #457 (July 28, 2015).

wellerPaul Weller is a highly regarded and well respected elder statesman of rock.  Some of his songs with The Jam are my favorite songs from the 80s.  Weller hops from genre to genre quite a lot, and I did not care for The Style Council at all.  So even though he’s been making music forever, I haven’t really paid him much attention.  In this tiny Desk, he brings a fairly large band (6 people (4 guitars!)) to sing an acoustic collection of songs. There’s a drums (just a snare) and a percussionist too. And everyone sings.

His voice sounds fantastic—older but still really strong.

They play four songs. Three are from his new album Saturns Pattern.  Like “Dusk Til Dawn” which is a delightful folk song.  The band sounds really loud, or not loud but big, like there are really 6 people out there.   This is especially true on “I’m Where I Should Be” which also has some great harmony vocals and percussive guitar techniques.  I love how much the harmonies contribute to the song and the general song structure is great.

“Out of the Sinking” goes back to Weller’s most popular album Stanley Road (which I don’t know). It’s a wonderful song.  It showcases Weller’s gruffer vocals and nice finger picking. There’s some more great harmonies from the bongo player.  And the song has a real nice campfire song feel (it reminds me a bit of Van Morrison’s folkier songs).

For “Going My Way” Weller switches to piano. It’s a simple song with some great backing vocals and harmonies, (and hand claps), although I prefer the middle two songs.

I hadn’t really given much thought to Weller in the last few decades, but this set was really enjoyable.

[READ: August 7, 2015] The Wallcreeper

This is Nell Zink’s first published novel (she has another novel, 1998’s Sailing Towards the Sunset by Avner Shats) which I read about that I would love to find, but I don’t think it has ever been published).

I really enjoyed Zink’s Mislaid and wanted to see what her earlier work was about.  There was an article in the New Yorker which gave an interesting background to this story which involved a long correspondence with Jonathan Franzen and resulted in a book that I would suggest is not completely unlike something he might create–expect that it is way shorter and slightly more erratic.

Zink does not follow conventional story structure exactly.  This is not to say that the story is weird or avant garde, not at all.  She just doesn’t like to set things up conventionally.  For instance, the first sentence of the story is: “I was looking at the map when Stephen swerved, hit the rock, and occasioned the miscarriage.” (more…)

Read Full Post »

harp marchSOUNDTRACK: RHEOSTATICS-Ted’s Wrecking Yard Toronto, ON, (March 25, 2000).

tedsThis was the sixth and final night of Green Sprouts Music Week–the band’s annual residency at Ted’s Wrecking Yard.  Sadly this is the only night that is up on the site, but man, is it a good one.  The band played for over two and a half hours and they cover nearly every album.  There are guests galore, there’s on stage hijinks and a great sense of fun for band and fans alike.

 I don’t know what they played on other nights but there is a still a focus on Harmelodia. Things are a little different this night from previous shows on the tour.  “Song of the Garden” and “Sweet Rich Beautiful Mine” are really rocking. When they call in a female vocalist up, a fans shouts out “we could use a little estrogen” and they get it with her lead vocals.

Kevin Hearn joins them on keyboards.  He ges a verse in “Four Little Songs.”  He also adds piano to “Queer” which sounds extra jaunty  And he puts accordion in “I Fab Thee.”  There’s even the unexpected Kevin song “Yellow Days Under a Lemon Sun” which originally appears on the Group of 7 disc.

The most fun is had during “My First Rock Show, in which several “guests” appear during the song.  Meatloaf (Kevin) plays a bit of “Two Out of Three Ain’t Bad,” Geddy, Alex and Neil (Martin) show up to play a verse of “Closer to the Heart” with Martin screeching “salesmen!” There’s a brief jam of Walk This Way (although no one can remember the words).  And there’s some fun with Joe Jackson’s “Is She Really Goin Out with Him.”  Look over there.  Where?  That’s called a hook.  There’s also a funny joke about playing “Harvest X-1, Rush Never Sleeps.”

There’s some real guests too, Karmen from Sheks? sings “One More Colour” and sounds awful, like she can’t hear what the band is doing.  Julia Pietrus guests on “Home Again.”  She sings her verse in Polish (and is part of a Polish Rheos tribute band!).

There’s a drum solo (!) on “Dope Fiends and Booze Hounds.”  The set and the night ends with “A Midwinter Nights Dream.”  Martin sounds in great voice even if he cant hit all th ehigh notes which is undetsnable after nearly 2 and a half hours of playing

They also mention that their next show is Canada Day and that is our next show as well

[READ: March 4, 2015] “Make Me Live”

I am always intrigued by the fiction that appears in the front section of each Harper’s issue.  It is typically not an author I have heard of and is often a translation.  It’s also usually really short (often excerpted) so that if it’s not so good, you’re not stuck with a long read and if it is good it whets your appetite for a longer piece.

This excerpt is a definite appetite whetter.

I genuinely can’t imagine how long Mislaid (the full novel) is, because this story just seems to fly through time in a real hurry 9and feels rather complete).

It opens with Peggy Vaillancourt’s birth in 1948 in Virginia.  Her family was educated and rather reserved.  Her mother had hoped to send her to Bryn Mawr, but Peggy wanted to go to Stillwater, a former plantation and current finishing school.  It was considered a mecca for lesbians.

I’m confused about the transformative event in Peggy’s life in which a gym teacher, Miss Miller,  readjusts her gym shorts and Peggy assumes she was meant to be a boy.  The story seems to bulldoze forward whether you can keep up or not.  So I have no idea if an average female reader would “get” what happened here (it doesn’t seem to be sexual to me). It also seems odd that one incident should affect her so profoundly, but there ya go. (more…)

Read Full Post »