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Archive for the ‘Canadian Music’ Category

Lawrence Hill–“Meet You at the Door” (The Walrus, January/February 2011)

Posted in Canadian Content, Canadian Music, Death, Demons, Lawrence Hill, Racism, Short Story, The Dears, The Walrus on February 4, 2011| Leave a Comment »

SOUNDTRACK: THE DEARS-Live on QTV (2008).

The Dears are a wonderful band from Montreal. They create epochal noise, make concerts that are unholy messes (and yet totally amazing) and they seem perpetually about to self-destruct.   Murray Lightburn, the singer and song writer of the band is has an amazing voice and great songwriting skills.  They create full blown orchestral rock, but they’re not afraid to totally rock out (see the 20-minute live version of “Pinned Together Falling Apart” on their live album.)

These three tracks are acoustic and totally stripped down.  It’s just Murray on guitar and his bandmate (and wife) Natalia singing backing vocals.  These three songs come from the album Missiles.  Although I am partial to their over the top renditions, these stripped down version showcase how great the songs themselves are.

“Dream Job” is a slow track with limited backing vocals.  “Lights Out” is a bit faster with some really great chord changes.  And finally, “Money Babies” is an amazing duet, really letting Natalia harmonize brilliantly.

You can hear more songs from The Dears at All Songs Considered.

[READ: January 11, 2011] “Meet You at the Door”

This is easily my favorite story in The Walrus in years, possibly ever.  It’s also one of my favorite stories that I’ve read in a long, long time.  It has so much to recommend it: it is wonderfully paced and it is really engaging.

The basic story is of a twenty-something black man who must travel to Gull Lake, Saskatchewan to start a job at a railroad junction house.  But that simple plot doesn’t do any justice to the multifaceted aspects of the story’s construction.

First, the position requires excellence in typing (relays that come from the main train location must be typed on an old manual typewriter in carbon.  With no typos.  And they must be typed fast!  Split second decisions must be made and any errors could be fatal.  So the employee must be smart and skilled (there’s a 75% failure rate on the test).

When the narrator passes the test he must ship off to Gull Lake that night.  And, this being “in the age of dinosaurs” the narrator is carrying his portable typewriter, a guitar and a huge afro.  And he needs a place to stay.  Fast.

He’s obviously not well received at first, until we meet the lady who will take him in.  And she is the second great aspect of this story.  She is a wonderful character (and could easily have many more pages written about her, but Hill is concise which really moves the story along).  She sizes him up, deems him worthy, and lets him have the spare room. (more…)

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Deborah Willis–“Hard Currency” (The Walrus, December 2010)

Posted in Books about music, Canadian Content, Canadian Music, Culture Shock, Deborah Willis, Drinking, Prostitution, Russia, Sarah Harmer, Short Story, The Walrus, Weeping Tile on February 3, 2011| Leave a Comment »

SOUNDTRACK: WEEPING TILE-eePee (1995).

Canadian singer Sarah Harmer was originally in the band Weeping Tile.  As far as I knew, they had only released this cleverly titled EP.  Further research at Sarah’s site proves this to be incorrect.  They released two albums and this EP, all of which are available at her site (and elsewhere).  There’s also mention of something called Secret Sessions although there is no evidence of its physical existence on the net.

So this EP is 7 tracks and features two songs that were recorded later on Sarah’s solo discs.

The opener, “Anyone” opens with a nice R.E.M. type guitar sound, but jumps into an uptempo alt rocker.  It’s a very satisfying opening and seems like it should have been a hit.  Interestingly, the next song, “Basement Apt” was a hit…six years later on Sarah’s solo disc.  This version is rawer and feels slower even though it is the same overall length.  The big difference is that Sarah’s solo version has a louder and faster drum track that really makes the song fly.  This version feels more aching though.

“Dogs and Thunder” introduces a more country sound (folk guitar and strings) that Harmer would experiment with off and on for years.    It’s followed by a great cover of Neil Young’s “Don’t Let It Bring You Down.”

Another highlight is “Westray” a very stark almost a capella track which highlights Sarah’s raw voice.  It’s very affecting.  And the disc concludes with “King Lion,” a great song that is back to guitar basics.  The chorus is wonderfully catchy.

This is a great EP from a short-lived Canadian band.  Sarah Harmer has always had great songwriting chops and it’s fun to hear her in her more youthful rock version here.

[READ: January 11, 2011] “Hard Currency”

This is one of the longest stories in The Walrus that I can remember.  It’s set in Russia and concerns Alexei, a Russian writer who now lives in America.  He has had great success internationally (and won a Pulitzer) for his novels, all of which were set in Russia.

And yet, for all of his connections to his motherland, he doesn’t really like Russia very much.  He has been back there several times but he is never treated with respect. In fact, he is never even treated as a Russian–despite his birth, people look at him and know that he’s not a Russian anymore.

The plot of the story is about prostitutes.  [I am pretty surprised at the proliferation of prostitutes in stories…do authors frequent prostitutes more than other people?].  When the story opens, we learn that Alexei’s very first sexual experience was with a prostitute.  And now, twenty-eight years later, after much success and a failed marriage, he has returned to Russia and has called upon another prostitute. (more…)

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Eden Robinson–“Minnows” (The Walrus, October 2010)

Posted in Canadian Content, Canadian Music, Death, Demons, Eden Robinson, Fears, Funny (strange), Jian Ghomeshi, Lights, The Walrus, Violence on February 2, 2011| Leave a Comment »

SOUNDTRACK: LIGHTS-“February Air” (2006).

Lights is a Canadian singer who is managed by Jian Ghomeshi.  She is a young cute pop singer and this was her second hit (I think–Wikipedia says it was used in an Old Navy ad).  I admit that I’d never heard of her before seeing her on Jian’s page.

I think of everything that Jian touches to be unique and always interesting.  And although this is certainly poppy and catchy, it’s only mildly  interesting and is kind of indistinguishable from a lot of other poppy catchy songs (the middle section stands out a bit, admittedly).

She’s received a number of accolades (best new artist at the 2009 Junos), so good for her (and Jian).  But I think I’ll be passing on her discs.

[READ: January 10, 2001] “Minnows”

This very short story (two pages) is dark and quite twisted.  Both in content and in structure.

The story opens with a woman seeing her daughter at the door.  We quickly learn that the daughter is not happy, but when the visit turns violent it’s unclear whether the older woman is crazy or hallucinating or if the violence is really happening.

Then we get some background story about their relationship.  Which sets things straight (sort of). (more…)

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Cory Doctorow–Down and Out in the Magic Kingdom (2003)

Posted in Canadian Content, Canadian Music, Cory Doctorow, Death, Destroyer, Drugs, Huh?, Neko Case, Sci-fi, Short Books, Technology, The Future, The New Pornographers, Threats, Walt Disney World on February 1, 2011| Leave a Comment »

SOUNDTRACK: NEW PORNOGRAPHERS-Together (2010).

I enjoyed The New Pornographers’ debut album Mass Romantic, but I didn’t bother getting their later discs.  In the ensuing years, I’ve grown appreciative of both Neko Case solo and Dan Bejar’s Destroyer.  And, while I intend to get the NP’s middle discs, in the meantime, I am totally enamored of this one.

Their first disc sounded like a group of great songwriters doing their own thing.  This disc (their fifth) sounds like a group of great songwriters working together.  The album sounds cohesive and, frankly, wonderful.  It’s hard for me to pick a favorite song, because when the disc is over I find myself singing bits and pieces from so many of them.

The songs work well together, with different vocalists coming to the fore.  But there’s an overall cohesiveness to the disc.  Even the Dan Bejar songs (three on this disc), which sound very distinctly Bejar, act like a change of pace but retain the album’s style, rather than sounding like Bejar solo songs.

And I like the Bejar songs quite a lot (“Silver Jenny Dollar” is always in my head), but it’s the Newman songs (those sung by Neko Case and otherwise) which rise into the pop stratosphere.  The gorgeous delayed chorus of “Up in the Dark,” the beautiful cello of “Moves.”  Even a song like “Valkyrie in the Roller Disco” which opens a little quietly compared to the rest of the disc, pulls out a stunning chorus.

“A Bite Out of My Bed” is weird and wonderful and, of course, those first 6 songs are amazing.  “My Shepherd” is a stunning song and “Your Hands (Together)” is a catchy rocker which should have been a huge single.  Just when you think that “As a Rule” couldn’t possibly get any catchier, along comes a whistle solo.  Fabulous. And the album closer, “We End Up Together” has great group vocals and a nice return to those catchy strings from the opening.  It’s a great release from start to finish.

[READ: January 24, 2011] Down and Out in the Magic Kingdom

I loved Doctorow’s Little Brother.  And when I recently said I would be going to Disney, an astute reader said I should read Down and Out in the Magic Kingdom (which I’d never heard of).

Knowing what I know about Doctorow (this and all of his books are published under a Creative Commons license and if you go to his site, you can download the entire book for free), I expected that this book might bash Disney (the main source for our current copyright extension laws–see The Copyright Extension Act also known as The Mickey Mouse Protection Act).  The title also hinted at is as well.  But in fact, this book does not bash Disney World in any way.

Rather, it embraces the Magic Kingdom as a sort of traditional refuge, something that should be immune to technological update.  Of course, since it is a science fiction novel, it is also futuristic, full of bizarre technologies and lots and lots of behavior control.

The book opens in the undetermined future (although later in the book we learn that it’s probably sometime around 2069).  The Prologue is full of words that won’t be defined until later in the book (if at all):  “Deadhead” as a verb, “Bitchun Society,” and this whole sentence: “I took a moment to conjure a HUD with his Whuffie score on it.”

So, we know that this is not a typical story.  And it stays atypical.  Chapter One opens:

My girlfriend was 15 percent of my age, and I was old-fashioned enough that it bugged me. Her name was Lil, and she was second-generation Disney World, her parents being among the original ad-hocracy that took over the management of Liberty Square and Tom Sawyer Island. She was, quite literally, raised in Walt Disney World and it showed.

The story is set in Disney World.  Julius, the narrator who is 100+ years old but has been rebooted several times and appears 40, is dating Lil, who was 19 or so when they met.  And despite her youth and apparent airheadedness, they really hit it off.

As stated, her parents were more in less in charge of portions of Disney.  So, when they decide to deadhead, it puts Lil (and by proxy Julius) in charge.  Lil’s domain is the Hall of Presidents (and there’s fun insider knowledge about the Hall, and Lil is often seen with her head inside Abraham Lincoln).  Julius, meanwhile, loves loves loves The Haunted Mansion (and the story of his first time(s) there is really great).  And he works behind the scenes there now, constantly trying to make it better (shave a few seconds off here, make this part a little scarier, etc).

And all is great until Julius is killed. (more…)

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Jim Gavin–“Costello” (New Yorker, December 6, 2010)

Posted in All Songs Considered, Ô Paon, Canadian Music, Drinking, Godspeed You Black Emperor, Jim Gavin, Marriage (Happy), Marriage Trouble, New Yorker, Work on January 22, 2011| Leave a Comment »

SOUNDTRACK: Ô PAON-“Courses” (2010).

This album, Sainte Patronne De Rien Pantoutemade ranked #7 on Viking’s Top Ten list and it is very different from the other albums on the list.

This is a simple song with a gentle guitar motif repeated over and over.  There also appears to be some looped vocals.  The singer, Geneviéve Castrée, sings in Quebecois-French and is assisted by Godspeed You Black Emperor mainstay Thierry Amar.

As with many of the songs on this list, the song builds and builds as it repeats itself.  But unlike the other songs, this one never grows menacing or dark.  Rather, it builds, layer upon layer of instrument or voice until the song (whatever it’s about) reaches its climax.

Viking says that there are English liner notes on the disc, but you ‘ll have to buy the disc to get them.  I liked this track more with each listen, and would like to hear more from her.

[READ: January 4, 2011] “Costello”

This is a story of perseverance.  Costello is a middle-aged man with two kids.  When the story opens, we see him floating on a raft in his pool. The pool is overgrown with grossness and, down in the filter, there is a dead lizard.  But Costello seems, if not exactly content, then at least not unhappy.  He has everything he needs nearby: a newspaper, a Zippo and smokes.

Costello is a plumbing salesman, and he has been nominated as salesman of the year (you can read about it in Pipeline!).  It’s pretty much the only exciting news he’s received recently, especially since his beloved Dodgers are middling at best.  Although even he likes being able to watch the Disney fireworks from his roof.

Costello seems like a decent guy.  He also seems liked by others: his coworkers like him, his neighbor likes him (although Costello hasn’t accepted a dinner invitation from him in almost a year).  Through the course of the story we wonder why his wife isn’t there with him.  The answer to this is revealed slowly throughout the story. (more…)

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Scott Pilgrim vs the World (2010)

Posted in Beck, Broken Social Scene, Bryan Lee O'Malley, Canadian Content, Canadian Music, Dan the Automator, Death, Graphic Novel, Kid Koala, Metric, Michael Cera, Nigel Godrich, Scott Pilgrim vs. the World, Sex Bob-omb, Technology, Video Games, Violence, YA Books on January 8, 2011| Leave a Comment »

[WATCHED: December 17, 2010] Scott Pilgrim vs the World.

I was delighted to finally get to see Scott Pilgrim vs the World on DVD. And man, it did not disappoint.  I love Michael Cera, so even though he’s not who I pictured as Scott Pilgrim, he played the character quite wonderfully (although he was within the realm of the “Michael Cera” character, he had an air of the sinister about him which was quite captivating).

The movie did  great job at capturing the hyper real video game quality of the books (I love all the little extra details which were not cute comic book details (like the phones printing RIIIIIIIIING) but simply part of the world they lived in.

I thought that the compression of this long (but not too long) series was wonderfully done.  Although I missed some aspects of the book, I thought it was all handled very well.  Plus, I liked the increased presence of the awesome Wallace and I really liked the way they adjusted the Knives storyline so that it could conclude at the same time as Ramona’s.  That’s very different from the final book, and, while I think the book’s version is more elegant (and fitting a longer story), for the movie, that truncation worked very well and allowed for a fantastic conclusion.  The end was great thanks to the introduction of the cool video game that Scott and Knives play early in the movie–a game which was made up for the movie.

I’m also thrilled to finally know how to pronounced Sex Bob-omb and I’m also thrilled to hear how much they rocked (Beck did most of the band music and über-god Nigel Godrich made the score for the rest of the film. Other great bands on the soundtrack include Metric, Broken Social Scene, Dan the Automator and Kid Koala.  I sort of ignored the soundtrack when it came out but I think i may have to go check it out now.

So in the movie, Scott must battle Ramona’s seven evil exes to win her love.  As for the seven evil exes themselves, they were all fun (and nicely diverse).  I enjoyed seeing Ann Veal (her?) working with George Michael Bluth again and Jason Schwartzman was simply terrific as the evil Gideon.  Also terrific was Satya Bhabha as the over-the-top first evil ex and Chris Evans as the bad-ass actor boyfriend.  I was only bummed that the Katayanagi brothers were given kind of short shrift (but hey you can only have so many characters).  The fight scenes were really well executed and fun.

The only weakness I would say in the film is that I thought Ramona was a little flat.  It was hard to know just what was so compelling about her for Scott (aside from the act that she was in his mind-portal all that time).  The book gives more details that show their relationship build, but the movie left that out.  I’ve never seen her in anything else, so I don’t know whose fault that was.  This compromises the ending a little bit because the decision between Knives and Ramona is actually kind of difficult (where it really shouldn’t be).  And yet, I thought the ending was really well done, with Ellen Wong really stealing the show).

The DVD itself is pretty awesome and there are a ton of special features.  Although Scott Pilgrim vs the Bloopers was a major let-down.  The movie is so understated that none of the bloopers are over-the-top hilarious.  However, the trivia track that you can play during the movie (I watched about ten minutes of it) was very interesting.  I especially enjoyed reading how parts of the movie that were finished before the book actually made their way into the book because O’Malley liked them so much.

I’m also thrilled that they filmed the movie in Toronto.  The trivia track points out all kinds of interesting locations.  From The Torontoist:

The first thing Wright did when he met O’Malley here in 2005 was visit all the real-life locations.”Pretty much everything that was in the book, we shot the same place Bryan had drawn,” he says.

A perfect example is the house in which Scott and his pal Wallace live. In reality, O’Malley lived at 27 Alberta Avenue, though he thinly disguised it as “Albert Avenue.”

As any true fan knows, however, the drawings in the book are actually at number 65, down the street. So, that’s where they shot, turning the garage door into the apartment door.

And there’s plenty more details in that article.  Like that those romantic and perilous stairs are real stairs on Baldwin St.  (I love crap like that).

It’s a really enjoyable romp of a film, unjustly ignored in the theaters.  And perhaps best of all…in no way is it setting itself up for a sequel!  A movie that just ends….how novel!

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Jonathan Franzen–“Emptying the Skies” (New Yorker, July 26, 2010)

Posted in Birds, Canadian Music, Culture Shock, Death, Essays, Futility, Jonathan Franzen, Nature, New Yorker, Tokyo Police Club on December 24, 2010| Leave a Comment »

SOUNDTRACK: TOKYO POLICE CLUB-“Bambi” (2010).

I loved the first couple of Tokyo Police Club albums, but I missed this one when it came out.  My friend Al said it was one of his favorite albums of the year and that this song was one of his favorite songs.

I was disconcerted when I started listening to this because TPC is all about short, heavy, punk blasts of music.  And this song starts with…keyboards.

But it’s clear that this is still TPC, just with new bits and pieces added.  The keyboards are strangely out of pitch–they sound off somehow–and they add these bizarre little accents to this super catchy song.  The aggressive punk guitars are gone, but the attitude remains and this is a fantastic tune. One that I’ll listen to a lot more.

[READ: December 8, 2010] “Emptying the Skies”

I didn’t think it would happen, but I reached my Franzen saturation point with this article.  This is his third article about the disappearance of birds.  Originally, these articles came several years apart, so they wouldn’t seem so overwhelming.  But reading them all within a few days of each other, I’ve about had it with the doom and gloom.

These articles are devoid of Franzen’s usually charm and wit.  Obviously, a story about the disappearance of the earth’s birds should not have charm and wit, so he did his job well.  But man, I’m overwhelmed by the devastation of Europe’s migration paths.

The essay looks at three Mediterranean countries and their (reprehensible) attitudes towards birds: Cyprus, Malta and Italy. (more…)

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Jeffrey Eugenides–”The Oracular Vulva” (New Yorker, June 21 & 28, 1999)

Posted in 20 Under 40, Canadian Music, Culture Shock, Funny (ha ha), Funny (strange), Jeffrey Eugenides, LGBTQ, Nature, New Yorker, Research, Rush, Scholarship, Sex, Short Story on November 6, 2010| Leave a Comment »

SOUNDTRACK: RUSH-“BU2B” (2010).

I’m a little freaked out that Rush has a song that is just initials (it’s so text message-y).  And, listening to the lyrics tells me that the 2 is for “to.”  That is no way for 50-some year-old men to behave!

Of course, neither is the pounding heavy song that is “Bu2B.”  Like “Caravan,” the song opens with a dark and dirty riff.  The song is not as complex as “Caravan” although it also features a quieter section.  After the verse, the quiet bridge comes as a more natural progression (and it, too has some strong bass stuff going on).

What’s fascinating about the song is that despite its heaviness, it is layered with some really delicate keyboards that plink along the top of the sections.  It showcases both sides of Rush in one track.  And lyrically it’s quite dark as well.

These two early release songs have me really excited for the new album, Clockwork Angels, due out in 2011.

[READ: October 11, 2010] “The Oracular Vulva”

Jeffrey Eugenides was the next writer in the 1999 New Yorker 20 Under 4o issue.

I really enjoyed Eugenides’ The Virgin Suicides, and I regard him highly as a writer (even though I haven’t read very much else by him).  About midway through reading this story I realized it must be an excerpt from Middlesex (which I haven’t read, but hope to one of these days).   The bad thing about realizing this is that it impacted my reading of the end, making it kind of hard to assess the story as a story (which, I realize it isn’t, so maybe it’s moot anyhow).

This excerpt focuses on Dr. Peter Luce (the famous sexologist).  The title of the story certainly implies a degree of sexology, right?  I was surprised however, that the story opens with the doctor in a jungle, studying the Dawat tribe.  Luce, a very comfortable middle class sexologist is miserable out in the jungle, with crazy animal sounds, oppressive heat and, worst of all, little children trying to pull down his pants.

The doctor is studying this tribe because they have very specific gender roles–so specific, that the men and women are not permitted to interact with each other at all, except for once a month for three minutes, for procreation.  So, for sexual outlet, the men engage in oral sex with each other (semen being a very important thing for the young men to consume).  Yet no matter how progressive Dr Luce is, he simply can’t deal with the thought of this young boy, who is trying to do his culture’s most honorable thing.  (more…)

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Tony Earley–”The Wide Sea” (New Yorker, June 21 & 28, 1999)

Posted in 20 Under 40, Canadian Music, New Yorker, Rush, Short Story, South, Tony Earley on November 5, 2010| Leave a Comment »

SOUNDTRACK: RUSH-“Caravan” (2010).

I was watching a great, lengthy interview with Rush on CNN.  At the end of the interview they mentioned that Rush had released two new songs (somewhat unheard of for the band to release a “single”).  I had some extra download cash from Amazon, and was even able to get the “booklet” yeeha.  The song is also available on YouTube, if you want to check it out.

When a song throws you a curve, it’s really only a curve the first time you listen to it.  And boy, “Caravan” has crazy curves in it.  In fact, musically, “Caravan” is easily my favorite Rush song in years.

It opens with some faint chords and sound effects and then kicks in with a loud riff, the likes of which Rush has specialized in lately–heavy, heavy, nasty guitars.  The bass is insane throughout with some breakneck stuff, and then at the 1:30 mark, the bass slides and the song drops out into a delicate, gorgeous guitar piece; it surprised the heck out of me.  It’s brief and effective and sets the stage for the next heavy riff.

The beautiful quiet bit returns and is then followed by another twist: a mildly funky bass solo (which hasn’t featured prominently on the last few albums) which leads into a really cool instrumental mid section, that’s almost like a self-contained song.  All of this leads to one of Alex’s insane solos.  It’s noisy and crazy and wonderful.

I’m very excited about this new album.

[READ: October 10, 2010] “The Wide Sea”

Tony Earley is the next writer in the 1999 New Yorker 20 Under 4o issue.

After several funny, clever and witty stories this rather simple story came as a bit of a welcomed respite.

This is a very straightforward story about Jim and his Uncle Al. They live in Aliceville (which, I had to look up, is in Alabama).  Jim takes many trips with Uncle Al “to see a man about a dog.”

This particular trip is Uncle Al’s chance to buy Belgian horses (Uncle Al and Uncle Zeno currently use mules on their farm).  They travel to South Carolina (which, looking on the map is quite far–over 550 miles!). (more…)

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Brendan Connell–“The man who saw grey” (in Blind Swimmer: An Anthology of Eibonvale Press Writers) (2010)

Posted in Adbusters, Art, Artists, Brendan Connell, Canadian Music, Guided By Voices, Led Zeppelin, Neil Young, Rheostatics, Rush, Unlikable main character, Word usage, Yuck! on November 3, 2010| 1 Comment »

SOUNDTRACK: MARTIN TIELLI-“We didn’t even suspect that he was the poppy salesman.” (2001).

Martin Tielli’s first solo disc is a proper solo release: it’s almost all him on acoustic guitar and his gorgeous alto voice.  I hadn’t listened to this disc in a while and I was delighted by how much of the disc I knew so well.

Te opening track, “I’ll Never Tear Your Apart” is deceptively simple: harmonic’d guitars and his gentle voice.  There’s a great video to go with it here.  That is followed by the wonderful “My Sweet Relief” which sounds like a great Neil Young folk song: great verses an a strong chorus.  Lyrically, though, it is all Tielli.  “Double X” highlights Tielli’s beautiful acoustic guitar work (and his dark lyrics).  “Voices in the Wilderness” is another delicate song (which opens with a sound that reminds me of Led Zeppelin’s “The Rain Song,” although in no way is the rest of the song like that. This song also (mis)quotes Rush very nicely: “‘If you choose not to be free you still have made a choice,’ said a high and squeaky voice.”

“Farmer in the City” is the only track that Tielli didn’t write.  It’s a nearly 8-minute song by Scott Walker.  I don’t know the original, but Tielli’s version is a bit too meandering to be really satisfying (although it fits in with the album style quite nicely).  It comes across as an atmospheric song more than a song proper.

It’s followed by the delightful “World in a Wall” which uses mice in the wall as a metaphor for a broken relationship (with wonderful detailed lines like: She’s like a mouse, I know she’s around It’s a gnawing sound. Leaves little brown poohs from a little pink bum.”

This is followed by the odd rocker “That’s How They Do It in Warsaw” (which features a woman speaking Polish–no idea what she’s saying).  It’s coupled with a slightly less rocky but still loud track “How Can You Sleep?” (which makes another fun musical allusion, this time about Guided by Voices).

“She Said ‘We’re On Our Way Down'” returns to the more ethereal sounding songs (although this has some great guitar tricks thrown in).  Like the bulk of the album, the song seems to eschew melody but then a gorgeous guitar or vocal line shines through and really sounds brilliant.  “From the Reel” is a beautiful, aching little ditty.  And the disc ends with the odd, seven minute “Wetbrain/Your War.”

There is a really wonderful review of post-Rheostatics work here at The Ohs.  He’s pretty harsh on the Bidiniband (although I haven’t heard the disc proper, just the live concerts that toured it, so I can’t say for sure) but his assessment of Tim Vesely is spot on (I love the idea of a Canadian Wilburys) as is his review of this disc.  I particularly like the Mary Margaret O’Hara comparison: Achingly beautiful but in need of an editor from time to time.

[READ: November 1, 2010] “The man who saw grey”

One thing I have really come to appreciate about Connell’s stories over the years is that he is not afraid to deal with dark aspects of humanity that many people would rather not think about.

The thing that surprised me about this story is that, in the past, Connell has used very specific language, one might even say two-dollar words (some of which I had to look up), to convey his ideas.  But in this story, he largely refrains from such language, keeping the language down to earth and familiar, much like his protagonists.

So this is a fairly simple story: a man hits his head and can thereafter only see in shades of grey.  What makes the story much more interesting than that simple plot is that the protagonist is a painter (well, his hobby is painting, in reality he is an administrator at the DMV). (more…)

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