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Archive for the ‘Authors’ Category

 nothing canSOUNDTRACK: DJANGO DJANGO-Django Django (2011).

220px-Django_Django_Album_CoverI heard about this band when “Default” became a kind of alt rock standard.  It got a little overplayed, but there was something so catchy and yet so slightly odd about it that I really wanted to hear more.  So when I heard how catchy and fun “Hail Bop” proved to be, I knew it was time to check out the whole album.

And the album is full of quirky, delightful songs.  In fact, despite how weird the album cover art is, it actually represents the sounds of the album pretty well.  It’s a kind of arid looking desert but with a futuristic weird alien thing scampering amidst it.  Thus, there are acoustic twangy guitars underpinning the songs that are liberally sprinkled with oddball sci-fi sounds and tweaks of gloriously fun synths.

The album has a completely cohesive feel (which I believe comes from the sunny vibe and the beautiful harmonies), and yet there is a great amount of diversity in the music.  Many of the songs are synth heavy and catchy, but not dance rock at all.  “Waveforms” is a strange song with synths being manipulated over a heavy drum beat.  But it’s those vocals (especially in the chorus) that elevate the song above the mechanical nature of the music.  “Zumm Zumm” is even weirder with the kind of sci-fi effects that get thrown around, and yet that chorus once again is really pretty.  And “Default” sounds like it is skittering and repeating as it pounds away–a strange and infectious single.

But for all the weirdness, “Hail Bop” is a supremely catchy sweet song.  And “Firewater” is propelled by a low bass with acoustic guitars on top.   Reference points for me include Super Furry Animals and The Soundtrack of Our Lives, neither one glaringly obvious sign posts but they have that same harmony filled vibe.  See especially “Love’s Dart” another catchy song with a fun twangy Western feels.  There’s mellow guitar on “Hand of Man” and there’s a surf guitar stomper in “Wor” and more stomping drums in “Storm.”

My album contains some extra remixes.  I’m not a big fan of remixes so these are needless additions (and add about 20 minutes  to the total running time).  But that’s got little to do with the album itself, which is really a treat for fans of poppy quirky rock.

[READ: August 2014] Nothing Can Possibly Go Wrong

Sarah gave me this book for my birthday because we both like Faith Erin Hicks (and we both like First Second books).  And I was not disappointed.

Obviously, a title like this leads you to conclude that everything will go wrong, and it pretty much does.  The cover image doesn’t quite convey what’s at stake in the story, although closer inspection reveals a kind of geeks (the ones with glasses) and cheerleader (the ones in uniforms) vibe.  Which this story certainly has.

Nate and Charlie are old friends.  Charlie is the captain of the basketball team and Nate is the president of the robotics club.  But unlike a typical pairing of these two types, Charlie is laid back and totally mellow while Nate is neurotic and angry with a huge chip on his shoulder.

As the story opens, Charlie has just been dumped by his girlfriend, the head cheerleader. Charlie doesn’t seem so upset by it but Nate is furious (as usual).  Of course, he is mostly furious because he thinks that Charlie is still with Holly and because the cheerleaders have declared war on the robotics team.  Specifically, they are trying to take the science funding to use for new uniforms (can this actually happen in school?  It happens in fictional schools all the time).  Obviously there’s nothing that Charlie can do about it, so he just goes home, allowing Nate to stew.

But mellow Charlie also has a dark storyline.  There’s a note from his dad telling him to call his mom to which he says “Yeah, that’s not happening.”  We learn a smattering of information about why Charlie is mad at his mom, and it is clear that their feud is going to build to a head before the story ends.  So tension is definitely present in the story. (more…)

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jun9SOUNDTRACK: FOXYGEN-We Are the 21st Century Ambassadors of Peace & Magic (2013).

foxyI had no idea this was Foxygen’s third album (they have a new album out this week as well).  I had only heard of this because of NPR.  And I was delighted with the band’s utterly retro feel and sound–so much retro that it is almost too much.  But they do it with such flair that it works.  Indeed, the whole feeling of this album is one of sampling all of recent music history–with elements thrown in haphazardly (but effectively) and really celebrating a whole 60s/70s vibe with a sprinkling of modern technology.

“In the Darkness” is a 2 minute piano heavy track with horns, big swelling vocals chorals and all kinds of joy.  “No Destruction” though is where the retro sound really shines.  Sounding like a Velvet Underground track with a sweeter singer (who is no less blase).  Except that the chorus rises into a glorious hippie happiness.  It also features funny lines like the deadpan, “There’s no need to be an assshole you’re not in Brooklyn anymore.”

“On Blue Mountain” opens with a kind of Flaming Lips vibe (deep morphing voices counting down), but Sam France has a much higher pitched voice as he sings the slow intro.  Once the song kicks in faster, the real hippy vibe (combined with some Rolling Stones and some girlie backing vocals) kick in.  There’s even a big friendly chorus (that reminds me of “Suspicious Minds”).  After almost 4 minutes, the song shifts gears entirely into a raucous sing along  (with what sounds like a children’s choir).

After the manic intensity of “Mountain,” “San Francisco” emerges as a sweet delicate flute filled hippie song.  This was the first song I heard by them and I loved it immediately–the simple melody, the delicate (funny) female responses, the swelling strings. it was delightful.  “Bowling Trophies” is a weird little less than two-minute instrumental that leads to the glorious “Shuggie.”  “Shuggie” is the least hippie song on the album and screams more of a kind of French disco pop, with some wonderful lyrics.  The chorus is just a rollicking good time and the wah wah synth solo is terrific.  At three and a half minutes the song is just way too short, although it seems that anything that last longer than 4 minutes will shift gears into something else eventually anyway.

“Oh Yeah” brings in a staggered kind of sound, with some interesting breaks and stops.  It also inserts some doo-wop into it.  I love how the end once again shifts gears into a “freak out” with a wild guitar solo and fast drums.  The title song is fuzzy and distorted (the vocals are nearly inaudible).  It’s fast paced but still very retro sounding (Jefferson Airplane?) except for the modern electronic and guitar breaks.  And of course, the last minute is entirely different from the rest of the song, as well.

The album ends with “Oh No 2,” a five-minute track that begins as a slow swelling almost soundtrack song.  Indeed, when the spoken word part (“I was standing on the bed, birds were landing on my head”) emerges later on, it comes close to The Rocky Horror Picture Show (which is not a bad thing), including the piano outro (with slightly out of tune voice).

This whole album could just be an obnoxious rip off of old timey sounds, but instead it’s more like a fun reference point for those who know the music and just a fun good time for those who don’t.  And at something like 35 minutes, it never overstays its welcome.

[READ: September 17, 2014] “The Bad Graft”

This year’s Summer Fiction issue of the New Yorker was subtitled Love Stories.  In addition to all of the shorter pieces that were included in this issue, there were also four fiction contributions.

This was the final story in this issue and, sadly for me, it was the one I liked least.  It has three sections: I. Germination; II. Emergence; III. Establishment.  And while I enjoyed (mostly) section I., I really didn’t enjoy the turn the story took once it entered section II and the “plot” emerged.

The story opens with two young (actually not that young) lovers traveling towards Joshua Tree.  This couple is madly in love and are basically eloping.  Except, of course, that they don’t want to ever get married, so it is a symbolic elopement.  On their first date they had decided to run away together.  They left their homes in Pennsylvania more or less unannounced, took all their money and drove to the desert.

Andy and Angie, for that is what their names are, prepared well with Andy having, among other things a large knife (note to Chekovians).  After a few days they are startled to discover how expensive this road trip is.  But they are undaunted because they are in love.  Of course, they are also exhausted and perhaps a little on edge.

When they arrive at Joshua Tree, it is 106 degrees.  The park ranger informs them that they have arrived in time to see the yucca moths do their magic with the trees.  he calls it, the ‘pulse event.”  The entire range of Joshuas is in bloom and the moths are smitten.  This sounds exciting but it is also sad, as the Joshua Teees may be on the brink of extinction and this massive blossoming is like a distress call.

With all of this set up, it is a total surprise when half way through the section, the story informs is that “This is where the bad graft occurs.” (more…)

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jun9SOUNDTRACK: NICOTINE-“Yesterday” (2005).

dudeSince this story is about a guy making up words to “Yesterday,” I thought I’d find a cover of it.  Evidently there are several hundred covers to choose from, so I chose this one, from a band I didn’t know.

As you might judge by the cover, this is a punk version of the song.  But what a little research tells me is that Nicotine is a Japanese punk pop band.  And you can hear in Howie’s vocals that although his English is quite good, his accent shows up at certain moments.

The guitar starts out nicely, in a non-punk way.  Then when the vocals kicks in, you will either love it or hate it camp.  Howie’s voice is kind of whiny/bratty sounding, making the song either funny or irritating depending.

After the first verse, the band turns into the kind of fast pop punk that NOFX does–speedy drums, heavy guitars, etc.  Interestingly, his voice doesn’t speed up for the verses which makes the contrast all the more striking.

The album pictured above is indeed a full album of Beatles covers (the band seems to do a lot of covers), most of which are entertaining enough to listen to more than once.

[READ: September 17, 2014] “Yesterday”

As this story opens the narrator says

As far as I know, the only person to put Japanese lyrics to the Beatles song “Yesterday” (and to do so in the distinctive Kansai dialect, no less) was a guy named Kitaru.  He used to belt out his own version when he was taking a bath:

Yesterday
Is two days before tomorrow
The day after two days ago.

While “Yesterday” features prominently in the story, it is really a story of love and romance and friendship.  The narrator met Kitaru at the coffee shop where they worked.  There is a great deal of emphasis placed on Kitaru’s use of the Kansai dialect (which I know little about except to know that it is not the dialect of Tokyo).  The strange thing about Kitaru (well, one of the strange things) is that he was born in Tokyo.  But he adopted the Kansai dialect because he was a fan of the Hanshin Tigers.  He was such a big fan that he learned their dialect to be able to communicate with the fans when he went to the games.  (Learning Kansai is apparently like learning another language).  He was so into it, that he spoke it all the time.

The narrator, on the other hand, grew up speaking Kansai but after living in Tokyo for a month, he became fluent in Tokyo Standard (which also shows how odd it for Kitaru to do this).

This is mostly set up to show how odd Kitaru is.  Kitaru is a super nice guy and is clearly smart (if he learned the dialect), and yet he has failed his college entrance exam twice.  This is a problem because his girlfriend, the very pretty Erika, got into college on her first try, and he says he can’t date her properly unless he is also in college.  He and Erika have known each other for ever and are romantic without actually “doing ” anything.  He admits that he thinks of her almost like a sister and can’t imagine touching her in that way.  They are super close, and he considers her his girlfriend, but that’s it. (more…)

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jun9SOUNDTRACK: THE PEANUT BUTTER CONSPIRACY-“It’s a Happening Thing” (1967).

pncWho would have guessed that a band from 1967 would come up with a name that seems relevant in 2014 (what with all the peanut allergies).  But they didn’t have that on their minds when they named the band.

I’m not sure that I knew of this band (they are mentioned in this story–although I had heard of the Flamin’ Groovies, also mentioned), although by now they seem like an obvious touchstone.  Because this is a major hippie band.  Indeed, this song seems almost quintessentially hippie.  The title, obviously.  But also the (sixties) fuzzy guitar, the super funky bass, the group vocals (very Jefferson Airplane).  The wild solo with even more fuzz on the guitar.  I especially enjoy the descending vocal line at the end of the chorus.

It’s a fun song, although kind of forgettable (possibly because of the lyrics).  After the chorus, the most repeated line is “Love is the grooviest thing up til now in the world.”  Up til now?

A little research says that the production on their second album is less obviously hippie, but this seems to be their most notable song.

Peace Man.

[READ: September 17, 2014] “Here’s the Story”

This year’s Summer Fiction issue of the New Yorker was subtitled Love Stories.  In addition to all of the shorter pieces that were included in this issue, there were also four fiction contributions.

This story takes a look at an already extant story and finds a story beneath it.  I didn’t realize this until about two paragraphs from the end of the story when it all came clear.  And then in retrospect I realized that there were a lot of hints thrown into the story and either I should have figured that out or, more likely, Gilbert made the hints minor and casual so that, like me, a reader might realize what he or she missed at the end of the story.

I’m not going to give anything away about the story; however, at the end of this post I’m going to put some of the hints that made me tilt my head at the story which proved to pay off in the end).

But without that information, the story was compelling but also frustrating.  Gilbert starts out the story so that you know there will be a sad ending: “It ends with his right hand griping her left…the plane is on final approach.”  The two people, both married meet and think about having an affair.  Both of them are pretty unhappily married with children and living in California.  But the story is told as an impartial report: “we also know that seven weeks earlier the Los Angeles Dodgers played their final game of the season.” (more…)

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jun9SOUNDTRACK: JOHN GRANT-“GMF” (live on The Late Show with David Letterman) (2014).

grantI was introduced to John Grant with this song.  And since the G stands for Greatest and the MF stands for what you think it does, I was really surprised to hear that he played this live on Letterman (Grant’s network TV debut, no less).

He sounds great live (his voice is rather gentle for such a song title).  He has a full band but the song is primarily acoustic guitar with swells of keys.  The backing vocals on the later verses really flesh out the song.  And it is immensely catchy.  I’ve been singing it to myself for days.

But the best part of course are the lyrics.

In the first chorus of this version he dares to sing the dreaded MF words, which get silenced (sophisticated recording keeps the music playing though).  The rest of the choruses he changes it to “I am the greatest living creature” which I find funny and possibly even better.  I also love the way the percentage of laughing you could be doing decreasing as the song ends.

They edited down the song (the original over 5 minutes), removing a middle section that adds dimension to the song, but is not missed in this version.

Even Letterman enjoyed it, saying those same bleeped words at the end of the song.  It’s a great live performance

[READ: September 17, 2014] “You Can Find Love Now”

This year’s Summer Fiction issue of the New Yorker was subtitled Love Stories.  In addition to all of the shorter pieces that were included in this issue, there were also four fiction contributions.

Interestingly, this one was very short as well (possibly shorter than some of the essays).

This story actually reads like a Shouts & Murmurs piece.  It is a funny conceit dragged to its logical ends.  In this case, the story pokes fun at online dating.

The story opens with a pitch from the dating company saying that after creating a profile, within 24 hours “you’ll be on your way to eternal happiness.”  The first joke comes when the profile creator writes, “Find me at cyclops15.  Cyclops 1-14 were taken.”  Then in his second typed section we learn that, indeed, he is really a cyclops: “I am eight feel tall and I have one giant eye.” (more…)

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30SOUNDTRACK: PLACEBO-B3EP (2012).

b3Placebo went away for a time and now (well, 2012) they’re back with an EP and an album.  This EP has 5 songs and it returns their sound to days of old (although their sound hasn’t changed all that much, honestly, but their last album seemed less…something).  This returns to noisy days of yore.  “B3” has a sleazy kind of synth, big rocking guitars and drums, and of course Brian Molko’s voice (they wouldn’t be Placebo without his voice).

The second track is a cover of a Minux song “I Know You Want to Stop” and it falls right in with the placebo sound.  I actually thought it was one of their own.

“The Extra” slows down the craziness of the EP, but it sounds very much like a Placebo ballad.  Rather than a love ballad it is a creepy ballad.   The theme is summed up”If I am an extra in the film of my own life, will someone please turn off the camera.”  There’s great guitar sound on “I.K.W.Y.L.” with Molko’s keening voice adding tension.

And the final song, “Time is Money” is one of Molko’s aching slow song.  “Time is Money bastard, so like Jesus, give it all away.”  Somehow he turns that sentiment into a love song.  And I love Molko for that.

For an EP, this is a really solid collection of songs–no throwaway tracks here.  Let’s hope the full length is as good.

 [READ: September 18, 2014] “Stepping Out”

In this piece, I can’t decide if Sedaris is messing with us or not.  This essay is all about his love affair with the Fitbit.

In my head, Sedaris is a pampered homebody who only goes out when he has to.  While I would never say he was unfit, I just can’t picture him exercising, even if that exercise is walking. On the other hand, I know that he is rather obsessive, so I can see him taking to something like this and really running (or walking) with it.

Sedaris’ friend Lesley explained the pedometer to him.  “The goal is to take ten thousand steps per day and, once you do, it vibrates.”  He asks, “Hard?”  She says “No, it’s just a tingle.”  So he bought one.  And he quickly learns that 10,000 steps is a little more than 4 miles for him.

He says he can achieve that easily in a day, especially since he has people coming to his door all the time, “wanting you to accept a package or give them directions or just listen patiently as they talk about birds, which happens from time to time when I’m home in West Sussex….” (more…)

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10SOUNDTRACK: FATHER JOHN MISTY-Fear Fun (2012).

fjmI can’t get over how much I’ve been enjoying this album for the last two years.  Father John Misty is J Tillman from Fleet Foxes.

This disc is a gentle folk album with vaguely country leanings.  The arrangements are spare and yet the verses and choruses are so great to sing along to. “Funtimes in Babylon” has this infectious chorus: “I would like to abuse my lungs, smoke everything in sight with every girl I’ve ever loved.  Ride around the wreckage on a horse knee deep in mud.  Look out, Hollywood, here I come.”  “Nancy from Now On” has a great propulsive chorus with oohs and tinkling bells and pianos and Misty’s engaging falsetto.

I was introduced to this album by “Hollywood Forever Cemetery Sings” which opens with the super catchy line, “Jeeeeesus Christ, girl.”  I love the big crashing drum sound he has here.  “I’m Writing a Novel” is a fun romp, with the great line “I’m writing a novel because it’s never been done before.”  “O I Long to Feel Your Arms Around Me” introduces a great organ sound.  It’s a full song at only 2 and a half minutes.

“Misty’s Nightmares 1 & 2” opens with a slide guitar and turns into a stomping song with more Ooohs and a great chorus.  “Only Son of the Ladiesman” has a great chorus with the fun couple: “I’m a steady hand, I’m a Dodgers fan.”  “This is Sally Hatchet” has cool guitar blasts and a great bridge.

“Well You Can Do It Without Me” is a countrified 2 minute stomper.  “Tee Pees 1-12” is a big stompin’ honkey tonk song with fiddles and slide guitar.  The disc ends with “Everyman Needs a Companion” a slow ballad with a great piano melody and a fun to sing along with verse and chorus.

I love the lyrics on this album, especially the song “Now I’m Learning to Love the War” a slow ballad with a great story:

Try not to think so much about
The truly staggering amount of oil that it takes to make a record
All the shipping, the vinyl, the cellophane lining, the high gloss
The tape and the gear

Try not to become too consumed
With what’s a criminal volume of oil that it takes to paint a portrait
The acrylic, the varnish, aluminum tubes filled with latex
The solvents and dye

Lets just call this what it is
The gentler side of mankind’s death wish
When it’s my time to go
Gonna leave behind things that won’t decompose

In addition to all of the great music on here, the CD packaging is fantastic with that great cover, done in a cardboard gatefold sleeve including two huge books full of words and drawings and lyrics and everything.  I’m really looking forward to his next release.

[READ: September 14, 2014] Grantland #10

Despite my being in the middle of reading several other things, I was looking for a short article to read the other night and grabbed my Grantland 10.  And, of course, once I started, I couldn’t stop. I put everything else on hold and blasted through this issue.

And so all of my loves and hates are the same with this issue.  I never know how anything they talk about nearly a year ago turned out, which stinks.  And yet I get so wrapped up in the writing that I don’t care.  I’m not sure what it is about the writing for Grantland that i enjoy so much.  It is casual but knowledgeable.  Often funny but not obnoxiously silly. And I suppose that now I feel like I’m in on all of the secret stuff they talk about so I’m part of the club.  I fear that if I were to ever go to the website I would get sucked into a black hole and never emerge.

I often wonder how they choose what goes into the book.  This issue has some new writers and the surprising absence of some regulars.  I wonder what went on there.  And as always, the book could use some editing and maybe actually listing the urls of the links that were once in the online version.  But I think I’m talking to deaf ears on that one.

This issue covers October-December 2013 (that’s ten-twelve months ago!  Some of this stuff feels ancient!)

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jun9SOUNDTRACK: DESTROY TOMORROW 666-“Distortasaur” (2005?).

6666Destroy Tomorrow 666 is a DJ project from Sloan’s Patrick Pentland.  I had never heard of it until reading about him recently (Sloan has a new album out).  It is Pentland’s Alternative / Electro / Punk outlet that he’s been doing since 2005.

Pentland is known for writing gorgeous pop songs with wonderful harmonies.  But he grew up listening to hardcore punk, so his musical tastes are all over the place.  This track (I love the name) is, like the others here, a distorted fuzzy “dance” song that is all instrumental and not poppy at all.

While I’ll stick with Sloan, I imagine this was a lot of fun to whip together.  And yes, I think it’s very good dark dance music.  Although surely if he was going to use 666 he could have turned Pentland into Pentagram.

You can check it out at ReverbNation.

[READ: June 17, 2014] “Stories”

This year’s Summer Fiction issue of the New Yorker was subtitled Love Stories.  In addition to the two graphic stories, we have a series of five personal essays which fall under the heading of “My Old Flame.”  I liked that all five writers have slight variations in how they deal with this topic.

Colm Tóibín is a prolific writer whom I know very little about.

In this essay, Tóibín flashes back to 1978 when he was 23 and living in Barcelona.  He had been there for a few months when he heard about a cheap charter flight back to Ireland.  So he packed up and got out of Barcelona and returned to his home.

He often wonders what would have happened had he stayed in Spain.  He most likely would have stayed with the guy he was seeing, spending days on the beach and nights in the boy’s apartment in the city.  He even thinks he might never have gone home.

After he left, they kept in touch for a time, then inevitably, they lost touch.  (more…)

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jun9SOUNDTRACK: BUDGIE-“Breadfan” (1973).

budgieI am pretty much wholly ignorant of Budgie. I know this song “Breadfan” because Metallica covered it back on one of their covers EPs. I really Metallica’s version, but since that was pre-internet, I was never able to explore Budgie more.  And then I forgot about them.

Well, just the other night, WXPN played “Breadfan” (as part of a 70s power trio segment) and I was shocked at how high-pitched Burke Shelley’s voice was (the comparisons to Rush are apt).  And I was also surprised at how heavy this song was.  While Black Sabbath had certainly been releasing heavy albums up until this time, this song introduced a much faster element.  And there were only three members in the band!

What’s also interesting is the prog rock leanings in some of their songs, like the middle of this one.  The fact that Roger Dean did this album cover and that they have a 10 minute song on this album seems to lean towards prog rock as well).

Time to dig deep in to the Welsh band’s catalog, I think.

[READ: June 17, 2014] “Beautiful Girl”

This year’s Summer Fiction issue of the New Yorker was subtitled Love Stories.  In addition to the two graphic stories, we have a series of five personal essays which fall under the heading of “My Old Flame.”  I like that all five writers have slight variations in how they deal with this topic.

Wolff surprises (me anyhow) by saying that when he was fifteen, he cut off the last joint of his left ring finger.  This piece of information just sort of lingers there until the end of the story.

Because he then talks about how he never really had a girlfriend.  In sixth grade he and his friend Terry would meet Terry’s cousin Patty and another girl in the movie theater and they would pair up and make out (clearly Terry did not make out with his cousin).   But they pairings were never seen in public and never went on a further date.

But later that winter his family moved to the Cascades, where the elementary school had all of four rooms.  There were ten kids in his class and nine were boys.  The one girl, Nevy, drove them all crazy. She favored one then the other but her real love was horses not boys. (more…)

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jun9SOUNDTRACK: SLOTHRUST-7:30AM (2011).

slothThis song is the opening theme to the FX show You’re the Worst, which I like very much.

The theme is only a few seconds long although the song (which has been around since at least 2011) is considerably longer (although it doesn’t reach 3 minutes).

Every time we’ve watched the show, I’ve tried to imagine who the guy is singing this song–he sounded strangely familiar.  Well, imagine my surprise to find out that the music from the band Slothrust is pretty much written and sung by a woman, Leah Wellbaum.  Well who would have guessed (it’s more evident in some of their other songs).

I love the simplicity of this song–repeated lyrics set to a ramshackle guitar which bursts forth into loud wailing in every repeated section.  There’s even a guitar solo (equally as uninhibited).  The band is a typically more punky than this folk song might hint, but you can feel all their glorious chaos in this one track.

 It’s funny and rather catchy.  Check out the song on bandcamp.

[READ: June 17, 2014] “Good Legs”

This year’s Summer Fiction issue of the New Yorker was subtitled Love Stories.  In addition to the two graphic stories, we have a series of five personal essays which fall under the heading of “My Old Flame.”  I liked that all five writers have slight variations in how they deal with this topic.

Joshia Ferris has written a number of things that I enjoyed.  This piece, which  found very peculiar, takes a very different approach than Kushner did.  Where Kushner focused on different people in her past, Ferris Ferris focuses on one old flame. Or is she?

He says he met her in the hallway of a dorm.  There’s this near-opening line that sets the tone: “I didn’t think much of her, but I was sure she had never seen anyone quite so handsome.”

It turns out that she was dating someone else anyhow.  And then she graduated, leaving him behind (perhaps unbeknownst to her).  He says, “I didn’t miss her,”  because he was “in this terrible on-off thing with Sisyphus, who kept dragging me up a pretty blond hill and hurtling me down.” (more…)

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