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Archive for the ‘Authors’ Category

harperioctSOUNDTRACK: RHEOSTATICS-Centennial Square, Victoria, BC (July 18 2001).

victoriaThis concert was a free outdoor show outside of City Hall in Victoria.  It was in the afternoon and the band also played a paid show later that night.  How interesting.  They even joke at the end wondering if anyone will be coming to their show that night.  Someone asks if it will be the same songs and Dave says yes, and same sweat too.  They have a good rapport with the audience (the fact that it is outside makes the crowd sound really tiny although I imagine it wasn’t).

It’s also the first show (online anyhow) to feature Michael Phillip Wojewoda on drums.

The sound is a little odd here, even though it is a soundboard recording.  Maybe it’s because of the outdoor atmosphere of the location–perhaps they mixed it differently?  I have no idea.

They play most of the songs from, NotSS, but there’s also a few classics like “Stolen Car” and “Saskatchewan.”  They even play a great rendition of “Junction Foil Ball” which Dave says reveals was on their Nightlines record but that they re-recorded for the new one (which was not out yet).  Martin explains that the origin of the story is about a guy who collects the tin foil from cigarette wrappers and makes a ball out of them.

In “CCYPA” there’s along part with no singing—it seems as if something went wrong.  The volume also rises and falls a bit which is weird.  There’s a similar pause in “I Fab Thee” where Martin resumes singing ooh ooh ooh.  He explains that “P.I.N.” is played on a tenor guitar.  And then later they joke that they were going to name their album Kid, Eh?

This may be the first time they’ve played “In It Now” at least that I know of.  I love when they play “Satan is the Whistler” but they never seem to get the end right—this one is no exception.

The end, “Saskatchewan” is amazing—a very slow dramatic rendition.  It’s a nice show and as Lucky says in the notes, “Always a treat to see the Rheos twice in one day!”

[READ: April 15, 2015] “The House on Bony Lake”

Boswell crams a novel’s worth of information into this long short story.  It begins as Paul wakes in his Airstream. He is next to Melinda and they are talking about old TV.  She is naked and asks if he wants to have sex again.  He says he’s too sleepy.

Then we get some back story.   Paul’s marriage is over and since that happened he has slept with several women in the area–none of them resemble his wife.

And then we go further back–“In the whole of the twentieth century, the Iris clan floated just two offspring to the shores of adulthood.”  And floated is a good choice of words, because the family, all those generations had lived near Bony Lake the whole time.

His grandfather was Colman Sheelin Iris (there’s an amusing story about their last name).  He built the house that Paul grew up in but he refused any changes to it–no electricity, no upgrades–during his life time.  And during his lifetime his wife bore four children.  Only one, Sean, survived to adulthood. (more…)

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julySOUNDTRACK: JESSIE WARE-Tiny Desk Concert #434 (April 20, 2015).

jessieI don’t know Jessie Ware.  She is one of those singers who has a beautiful singing voice which totally masks the fact that her speaking voice has a hugely pronounced British accent (have you heard Adele speak?).  Ware’s speaking voice sounds a bit like Tracey Ullman, which I find charming.

She sings three songs.  They feature her and an electric guitar (played by Joe Newman) and they are soulful and pretty.  On the first song “Say You Love Me,” she is accompanied by her opening act Jesse Boykins III (meaning that this post features a Jess, a Jessie and a Jesse).

The other two songs are “Wildest Moments” and “Champagne Kisses.”

The blurb says that her shows are usually pretty big nightclub dramatic events (which is hard to imagine given how sweet she is).  I can see her really belting out these songs.  She sounds very good in this subdued setting, although it’s not my kind of music at all.

You can watch Jesse and Jessie here.

[READ: April 13, 2015] “To the Corner”

I didn’t really enjoy the other two items in this month’s Harper’s and I was a little disappointed with the way this story started out.  Interestingly, I checked and I didn’t like the way the last story of Walter’s that I wrote about started either.

This story starts with a bunch of kids–shirtless, pants hanging low, standing on a street corner. They are being tough, watching as the girl from their bus walks by.  And I just thought–yawn.

But after a few paragraphs, the perspective shifts to an old man who is watching the kids.  The man has lived in this house for nigh on fifty years.  He has been through boom and bust and bust and bust.  His siblings have all moved away and their houses are worth a fortune, but he remained, and his neighborhood has gotten worse.  He looks at the boys and their whole attitude offends him.  He, Leonard, worked hard all of his life: Korea, G.I. Bill, Junior College, marriage, kids.  And his kids are successes (even the one who listens to right-wing talk radio).  But look at these layabouts. (more…)

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augustSOUNDTRACK: EDMAR CASTANEDA-Tiny Desk Concert #46 (February 8, 2010).

edmarOne thing that’s awesome about the Tiny Desk Concerts is that they give me an intimate look at a band I love.  The second awesome thing is when you get to see an artist who is truly amazing, but whom you realistically would never encounter anywhere else.

Edmar Casteneda plays the Colombian harp.  And he plays the harp like no one else I have ever heard.  His genre is Latin jazz He uses the bass strings for rhythm and the high strings like a guitar.  And most interestingly is the way he uses his hands like a percussive addition on the strings.  I’ve never seen anyone else play the harp (usually an ethereal instrument) so aggressively before.  He sounds like several people playing at once.

Between songs he explains traditional Colombian harp playing and improvisation.  He demonstrates the way his version is different from the traditional way of playing.  And then he explains the fretboard on the harp which allows him to create sharps (which is pretty cool).

He only plays two songs, but the set is 15 minutes, so these are long songs.  And they are really gorgeous.  I prefer the first song, “Entre Cuerdas” to the slightly more new agey sounds of “Jesus de Nazareth,” although they are both mesmerizing.  At around 10 minutes, his hands are simply a blur–how does he know what strings he is hitting?

It’s kind of a shame that the dominant camera angle is face on because you really can’t see what he’s doing all that well, and his hands are really marvelous.  But it’s a small quibble with such an enjoyable performance.

Without a doubt check this out.

[READ: April 4, 2015] “Bounty”

This story begins with a flood and a dead body.  And very few other people left alive.

We have been watching The Last Man on Earth on Fox and this idea of the last person on earth is being explored on that show.  Interestingly, in this story, things are different. The owner of the house isn’t the last man on earth.  In fact, while he is safe on his mountain top house (while water levels are rising), people keep coming to his door asking for food or water.  And he is pissed about it.  He slams the door in their faces and yells at them to get lost.

I don’t think I’ve ever read a story about the end times in which someone was so unpleasant.

There’s a house on another hill not far from him.  And that house is absolutely full of refugees.  This is the main character’s neighbor–and they don’t like each other.  This generosity gives the protagonist even more reason not to like his neighbor. (more…)

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august SOUNDTRACK: DAVE RAWLINGS MACHINE & GILLIAN WELCH-Tiny Desk Concert #45 (February 1, 2010).

daveI had never heard of Dave Rawlings (although I have heard of Gillian Welch). He is evidently a producer and session musician.  And the recording of this Tiny Desk Concert is timed with the release of his first album.

Rawlings and Welch (who sang on a number of tracks on the album) play a mix of country and alt-country/folk.  And while their voices work great together, I think it’s Rawlings’ guitar playing that really sets this Concert apart.

They play four songs, and if the blurb is correct, the first was a warm up that sounded great so they kept it.  That first song is Bill Monroe’s “I’m on My Way Back to the Old Home” a rollicking whirlwind of guitar fun with heavy country flavors.  The second song they play is the lead track on the album.  “Ruby” is a mellow ballad which reminds me of two other songs (see if you think the same).

The third song they introduce as “a depressing song.”  It is minor key and slow.  The melody is surprisingly catchy.  Although when it shifts to Neil Young’s “Cortez the Killer,” it’s not because the songs sound alike but because they have the same spirit.  Rawlings’ voice doesn’t sound like Young’s at all, but he sounds great with this great song (and Welch’s harmonies are perfect).

The final song “Sweet Tooth” is a very country (sill country) song.  What I like about it is that Rawlings puts his capo on the 10th fret!  It’s no a song I’d listen to, but it’s cool to know they can play it.

Check it out here.

[READ: April 4, 2015] “The Basement”

Ocampo was an Argentinian poet and short story writer.  This is a short story from Ocampo’s Thus Were Their Faces. which was translated by Daniel Balderston.

I didn’t really get this story.  It is essentially about a woman living in a basement apartment.  She says it is very cold in winter but an Eden in the hot summer months. She has very few things with her and no electricity or running water, but she is very clean.  And she doesn’t have to pay rent.  The lady upstairs feeds her (and she has candy, as well).

This entire excerpt is one very long paragraph and as the paragraph moves along she beings talking about the mice who share her place with her (they are preferable to the flies that are so prevalent in Buenos Aires). (more…)

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julySOUNDTRACK: ROSA DíAZ-Tiny Desk Concert #433 (April 17, 2015).

rossaI find Díaz’ voice a little unsettling. This surprises me because I usually like voices that are unconventional.   But I find her singing to be perhaps too vibrato filled?  Too emphatic maybe? It is especially harsh when set off against the beautiful backing vocal of cellist Daniel de Jesús.

I like the sentiments in Díaz’ songs, like “Beware Of Men Who Don’t Remember Their Dreams” but I don’t like the way she sings it–especially the end.  The second song is sung in Spanish.  “Lloronsito” is a term of endearment usually used for women, but says she dedicates it to the male crybaby.  I prefer this song, perhaps because it feels more natural in Spanish?

“Daddy Said” has a more bouncy melody.  Again there’s some great lyrics, but Díaz really lets loose.  The notes say that she is passionate and that’s clear, although I fear that she kind of goes overboard.  Maybe it would sound better if there were more musicians to really get into it with her?  But it’s not like her voice is bad.  At a few points she and Daniel harmonize beautifully.

I just didn’t love this set.

[READ: April 11, 2015] “As Flies to Wanton Boys”

This is an excerpt from Kunkel’s play Buzz.

In the excerpt there are three characters: a college girl (who is conducting an interview), Tom (the playwright being interviewed) and Tom’s wife who we hear on the answering machine.

The college girl wants Tom to talk about his thoughts about the state of American drama. But she notices that he seems preoccupied.  And he is.  He is very upset about the flies in his house (his wife called the exterminator and she will be mad that there are still so many in the house).  Well, actually she is not legally his wife.

He says he’s not a fascinating subject today.  She keeps trying to drag information out of him.  He wants to know why people will listen to long boring interviews on the radio but not plays. Even the girl says she doesn’t go to plays. (more…)

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sistersSOUNDTRACK: DANIEL LANOIS-Tiny Desk Concert #415 (January 13, 2015).

lanoisI don’t really know very much about Daniel Lanois. I know he’s a great producer.  I know that he’s worked with Brian Eno on an umber of projects. I even know that he has at least one album out of his own.  But other than that he’s an enigma to me.

And he remains so here.

He and his bassist Jim Wilson and drummer Brian Blade, play three instrumentals that are more or less improvised.

Lanois stands with his back to the audience, facing the other two guys. And aside from some closeups of his gear, the only interesting thing visually that happens is that the drummer knocks over an LP during a song and picks it up.

Lanois’ gear is totally perplexing to me—there’s knobs and buttons but no keyboards, so I don’t know where the sounds are coming from.  The bassist keeps a steady rhythm while Lanois turns and spins and slides things. Musically it’s not all that interesting—it’s sort of mellow background electronica.

The best part of the whole deal is the drummer. He plays some amazing fills and runs on that snare and hi hat.  It’s amazing the complexity he is able to achieve with just a bass, snare and hi hat. He also smiles a lot which is nice to see from these rather dour men.

Lanois doesn’t say a thing during the set, not even when it’s over.  You can see it here.

[READ: February 10, 2015] Sisters

I really enjoyed Smile, although I found out about Smile when Sisters came out.  So this is a sequel to Smile (although Raina still has her braces on during the book, so I guess it’s more of a concurrent story).

As the story opens, Raina (age 14) and her family (her mom and dad. her baby brother (6) and, grr, her sister (age 9)) are visiting relatives in Colorado.  Their dad has some work to attend to so he will be flying in a few days later, but everyone else is going to hop in the van and drive from Colorado to California and then back–so that’s basically two weeks in the car and one week in California.  Ugh.

The only saving grace is that their van has three rows of seats so each girl has a seat to herself while their brother rides shotgun.

Before they head out, we see that Raina and her sister Amara are on each other’s nerves constantly–with Raina ultimately shouting “Why did I ever ask for a sister?!”  Then we see flashback of Raina as a young girl desperately wanting a sister to play with.  And when Amara finally came–Raina was in love–until she realized that the baby would be sharing room with her.  There’s a joke about Amara meaning “immortal” in Sanskrit and “love” in Latin and her father muttering “it also means bitter one.”  And it turns out that Amara is a pretty cranky kid–especially where Raina is concerned. (more…)

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2015-05SOUNDTRACK: RHEOSTATICS-Ted’s Wrecking Yard Toronto, ON (May 30, 2001).

twyFor this final show with Don Kerr, the band played for what seems like ever.  Darrin says he edited out any quiet bits so the show could fit on two discs, which it does.  And even at that it’s still about 2 and a half hours long.

Only five songs are repeated from the previous night (and they are all from the new album, except “Stolen Car,” which Martin sings on this night) and “Take Me in Your Hand” which is pretty awesome.  There’s also no Kevin on this night, so the set is full of a few of the more rocking songs (as opposed to the Harmelodia stuff).

 After a rocking “Fat” they play two rarely played songs “Remain Calm” and “The Idiot.”  But the set list is just a perfect collection of the songs that I love most: “Aliens,” “King of the Past,” “Saskatchewan,” “California Dreamline,” “Fan Letter to Michael Jackson” and “Horses.”  Wow.

Some notes: “There’s an awkward introduction to “The Idiot” which they hadn’t played in a long time.  The “Aliens”/”King of the Past ” pair is great.  I also loved the way they run right into “Mumbletypeg” while Martin is still feed backing the previous song.  “Horses” has an angry chant from Dave (the “facts” chant) and you can really hear DB wailing on the acoustic guitar at the end of “Stolen Car.”

Don gives a nice thanks (he says he’s about to cry) and they open “Take Me in Your Hand” with a jaunty “Ob La Di” riff and lyrics about Don.

There’s a lot of banter, including an Ed the Sock joke (“Don Kerr fired by Ed the Sock.”)  It’s a wonderful ending to a wonderfully time with Don Kerr.  Incidentally, Ted’s closed in 2001 as well, and the band, who played many multinight sets there moved their Green Sprouts Week to The Horsehoe.

This is a great show, and the sound is outstanding.  And since Don is leaving to play with Ron Sexsmith, here’s a story by Jill Sexsmith (presumably unrelated).

[READ: April 25, 2015] “Airplanes Couldn’t Be Happier in Turbulence”

I enjoyed the way this story began with some very down to earth information and then ends in a preposterous and yet still strangely believable situation.  It’s about exasperation and the need to do something, anything, when everything feels out of control.

Madison (it’s hard to believe that there are grown women with that name) has wanted to scale the Empire State Building ever since she watched King Kong as a kid.  Her husband, Frank, is a grounded individual, an actuary who is full of facts and statistics.  When she says she want to go there, he says “There’s a 0.28 percent chance of getting pistol whipped” in New York City.  He also quips, I suppose you want a  pony, too.  She jokes that she does, although she is afraid of horses–especially ponies, the “kneecap biting form of the horse” (I can attest to this, having been bitten on the kneecap by my neighbors supposedly nice pony).

Madison has never taken a vacation from her job.  She is anxious at the thought of empty days in front of her.  Her boss and coworkers keep trying to get her to go.  This year for her birthday she and Frank are going to New York City.  Her boss throws a going away party even though two of the four days are on the weekend. (more…)

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walrusaprilSOUNDTRACK: RHEOSTATICS-Ted’s Wrecking Yard Toronto, ON (May 29 2001).

bye byeThey marked the final two nights that Don Kerr would play drums with the band (after six years) with two nights at Ted’s Wrecking Yard.  [Technically, they reveal at the end of the next show that there is a final show in a few days, but that somehow it doesn’t count].

The two shows together are a simply fantastic collection of Rheostatics music.  Don created the setlists for both shows.  The one downside on this recording is that one of the guitars was recorded very low (although Darrin, the site’s commander, has remixed the show so you can barely tell).  On the plus side, it means that you can hear Dave’s amazing rhythm guitars very well.  Another major plus is that Kevin Hearn plays on this night, and the set list reflects Kevin’s keyboards and songwriting contributions to the band.  This means a bunch of stuff from Harmelodia (including “Home Again” and “Monkeybird” and “The Harmelodian Anthem.”

Don is leaving to tour with Ron Sexmith.  In the middle of the set Don says that he is leaving because Ron has better coke (Kevin chimes in and asks if he needs a keyboard player).

The band is also in great spirits and, to send off Don in a great way, they are really at the to of their game–having fun yes, but committing a fantastic set to tape (these shows were originally going to be released on disc but fifteen years later, that seems unlikely).

The whole show is great.  But some observations: “Four Little Songs” is actually “Five Little Songs” tonight with Kevin getting a verse.  They also ask him about Lou Reed, and Kevin tells a story about meeting Lou for pizza.  And they joke about hot knives.  Kevin eventually did tour with Lou in 2009.

The setlist is a wonderful selection of old and rare songs.  I barely even recognized “The Woods Are Full of Cuckoos” and can’t imagine when they played it last.  They also play “The Reward” which is an underplayed gem–they even remark that they forgot how to play it.

There’s a funny bit where Kevin starts a new song called “guitar changes” while one of the guitarists is yes, changing guitars.  It’s great to have an improv artist like Hearn in your show.  For a real surprise (and for reasons unspoken), Dave sings “Stolen Car,” something I’ve never heard before.  Since Martin’s voice is unique, it’s a very different performance–more melodic with fewer high notes.

They end the set with “The Pooby Song,” a piece of nonsense which is introduced with a long discussion of “pooby” for Kevin’s benefit.

It’s an amazing show.  At some point Dave says they are going to play for a long time–and someone tells him it’s already 1 AM. Wow..

[READ: March 17, 2015] “Changeling Girl”

The girl in the title is not actually a person in the story (which I was rather was looking forward to).  Rather, she is the title of a song by the punk band that this story is about (they are called The Changelings).

The first person story recounts the rise of the band.  And the opening pages are full of the excitement that loving a kind of music and really embracing it can bring.  It is described as a kind of montage as kids play The Clash and kids try to out punk each other with clothes or hair or names like Beamish Mingo, Helen Hopday and even Gash Ragged.

The impressive thing–especially given that I assume the time frame is the early 80s–is that the band is multigendered.

Once the story settles down into their first gig, though, it seems to lose some steam. After the initial rush wears off, we have to slow down–that middle slow section, right? (more…)

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harperioctSOUNDTRACK: BROOKLYN RIDER-Tiny Desk Concert #44 (January 26, 2010).

brooklynThis is one of the darkest Tiny Desk Concerts I’ve seen.  Meaning it is rather poorly lit.  I’m not sure why it is so dark in the office–oh, I see that it’s 4;30 PM.  But this string quarter isn’t hindered by it (although they do remark on it before the final song).

The notes state that the quartet (two violin, a viola and cello) loves Debussy and Brahms but they also write their own music and have teamed up with a Kurdish kamancheh player (or as the one player states, a Japanese shakuhachi player and an electronics musician).

The first song, “Vagharshabadi Dance” is an Armenian dance written by an Orthodox priest named Komitas. And they are quite animated as they play it.

In the introduction to the second piece called “Second Bounce” (which is a companion to a Debussy piece, which they play next). Colin Jacobsen (violin) says that he based it on the way a super ball’s first bounce is expected but the second can go anywhere.  And the notes they play are often unexpected (and bouncy).  They’re also quite hard (the viola player (Nicholas Cords) says the piece hurts his hand).  That piece is only a trio–they wanted to mix it up a bit.

The Debussy piece “String Quartet in G Minor: 2nd Movement” is very nice.  It’s got a lot of pizzicato (from all the instruments) while the others play a cool riff.  Johnny Gandelsman (violin) sat out of “Second Bounce” but he gets some great “solos” in this one.  I don’t know all that much by Debussy, but I like this.

“Ascending Bird” is sort of their theme song–an arrangement of a Persian folk song.  It has some incredibly fast riffs (even from the cello (Eric Jacobsen)) and some interesting scratching on the strings.

Check them out here.

[READ: March 6, 2015] “The Monkey Did It”

I had just read a short story by Murakami, so I was interested to read this piece by Galchen, whose insights are, I think, spot on.

toricelliShe talks about Murakami’s latest book, Colorless Tsukuru Tazaki and His Years of Pilgrimage and she uses the simile  that Murakami’s works are like Torricelli’s Trumpet or Gabriel’s Horn–finite space with infinite surface area.  And while I wouldn’t say that I thought of that myself, I would say that I have often thought that his stories seem so simple (at least in plot) but there is so much more in them.

I like the way that she talks about his books as having a plot that sums up pretty easily, but within the plot several other new threads are opened.  And they are more metaphysical at the same time.

In the novel friends vanish, but that is not the main plot.  Rather, Tazaki is haunted by the fact that his friends abandoned him some time ago.  His girlfriend Sara tells him he needs to figure this out.  So he sets off on a kind of quest.  Galchen notes that the girlfriends in his stories are always encouraging the main characters to do these quests. (more…)

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2015_02_23SOUNDTRACK: THE LOW ANTHEM-Tiny Desk Concert #43 (January 20, 2010).

lowanthemThe Low Anthem grow more charming as the Tiny Desk goes on.  The first cool thing is the story that accompanies them. They played at the Newport Folk Festival and when Bob talked to the organizer about them, the organizer said that “Last year, they were volunteers at the festival, picking up trash.”

Then things get more interesting as each of the three songs introduces new instrumentation and ways of making music.  They brought a lot of gear to this Tiny Desk.

The first song, “Ghost Woman Blues” opens with strummed acoustic guitar and upright bass.  The first surprise comes with the clarinet solo (by harmony vocalist Jocie Adams).  Lead singer Ben Knox Miller has a voice not unlike Vic Chesnutt’s and these songs follow along his rather simple and spare style.

The biggest surprises come in the second song, “This God Damn House.”  Miller starts the song by playing a small bras horn (not sure what it is).  Adams plays more clarinet (in a very cool echoing style) and upright bassist Mat Davidson switches to an old-sounding organ.  But the coolest thing is when Miller takes out his cell phone (what!).  He has dialed another phone in the room which he then answers.  With both phones flipped open (it is 2010 after all), he begins whistling into them, playing with the feedback and echoes and creating a very cool sound to end the song.

It’s a shame there’s a cut to the next song, because I’m sure Bob asked him about that.  For the final song, “To the Ghosts Who Write History Books,” Miller switches to the organ (and harmonica, man that guy is talented). Davidson is back on bass and Adams plays a bunch of cymbals with a violin bow (I wish that was a little louder).

I generally don’t like super mellow music like this, but there’s something really captivating about The Low Anthem–the instrumentation, the voices–something, really elevates them.

There is a drum kit set up although no one uses it.  I can’t imagine it would have made a lot of difference.  Check them out here.

[READ: April 11, 2015] “Kino”

This longer story was a typically enigmatic one from Murakami.  In it, he does a great job of melding the real with the psychological, so that things that seem very surface level are actually much deeper.

Kino is a pretty simple man.  He was a runner until he pulled his Achilles tendon and could no longer run.  So he started working for a shoe company.  He sold the premium shoes to good runners.  The brand was not super popular, but it had a devoted following.  And Kino made decent money for him and his wife.

He was a salesman and often went on business trips.  As happens, he came home early one day to find his wife in bed with a fellow coworker.  He walked out and never went back. (more…)

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