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newyorker jun1SOUNDTRACK: ART BRUT-Art Brut vs. Satan (2009).

art brutI’ve mentioned Art Brut before. I enjoy their talky/punk style. This, their new album, is produced by Frank Black of Pixies fame.  I can’t honestly say that I see a real difference in production values, but I don’t usually notice things like that.

What I did notice is that Art Brut are branching out a little bit from just having  Eddie Argos dramatically reciting his lyrics. On “What a Rush” there’s a group chorus of “Parents, please lock up your daughters.”  And on “Summer Job” there’s a “woah ho o oh” singalong bit from a different band member as well as a sung chorus.  But aside from that they are still the same Art Brut.

The focus of Argos’ rants this time seems to be very music-centered.  “Slap Dash for No Cash” describes the kind of recording style he likes (and which was presumably used on this disc).  Meanwhile, “The Replacements” is all about his shock at only just now discovering this awesome band (and his further shock that they are almost old enough to be his parents). And, of course, there’s the ever present concern of an indie band disliking and being disliked by the mainstream: “How am I supposed to sleep at night when no one likes the music we write? The record buying public, we hate them: This is Art Brut vs. Satan”

Argos’ lyrics also return inevitably to love and sex and drinking (not necessarily in that order) with “Alcoholics Unanimous” and “Mysterious Bruises.”

There’s also a song that absolutely must be used in a future episode of The Big Bang Theory (are you listening Chuck Lorre?): “DC Comics and Chocolate Milkshake.”  Can you not see the perfect setup: the song is playing in the background, and as the woman that Leonard falls for leaves the comic book shop, the soundtrack breaks to the line: “I’m in love with a girl in my comic shop.  She’s a girl who likes comics. She probably gets that a lot.”

Many of their songs are funny, but to me they don’t come across as a joke band.  And despite Argos’ great delivery and witty lyrics, it’s the music that really sells the album.  You don’t notice at at first, but it’s what makes these songs more than just novelties.  The guitar solos and opening riffs are really memorable, and when the songs start, the punk guitar blasts are really catchy.

My one gripe is that on some songs, Argos repeats the same line.  A LOT.  So on “Mysterious Bruises,” a song I like, by then end I don’t want to hear him say that he’s had one Zirtec and two Advil again and again.  And that is the one pitfall that Art Brut can stumble into once in a while.  For most bands, a chorus that is sung many times can be catchy and fun to sing along to.  Art Brut’s spoken lyrics are fun to hear, and might be fun to shout along with in a concert, but hearing him repeat himself can be tedious when there’s no melody (I find this true of Rage Against the Machine as well, as Zach de la Rocha is the king of repetition.  The king of repetition.  The king of repetition.) Fortunately Argos doesn’t do it all that often.  And the album stands up to multiple listens.

[READ: May 27, 2009] “Love Affair with Secondaries”

This story, set in Moscow, concerns a man, his wife, and his mistress.  The man, Piotr, recently had some tests done to see if he inherited a familial cancer.  With this hanging over his head, he tries to prove to himself how alive he is by sleeping with his mistress Agnieszka.

The affair is conducted in his own house, because his wife Basia is out until late most evenings. One day Basia comes home while Agnieszka is still in the house.  As Agnieszka flees the house, Basia hits her with a blunt instrument; Basia later claims that she now has a tumor.  Piotr, wracked with guilt for cheating and for this presumed cancer doesn’t know what to do. (more…)

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wackySOUNDTRACK: BOB NEWHART-The Button-Down Mind of Bob Newhart (1960), The Button-Down Mind Strikes Back (1960) & Behind the Button-Down Mind of Bob Newhart (1961).

newhart1We started watching The Bob Newhart Show on DVD (the 1970s one, not the one set in the inn).  I was surprised how much I liked it and how well it stood up, for the most part.  And it made me realize how much I liked Bob Newhart in general.  So, I figured I’d try some of his stand up and see what it was like.

newhart3I was delighted to find out that a joke from Mystery Science Theater 3000 was finally explained to me: the “Mrs Webb” joke that is muttered whenever an old lady is driving a car comes from the “Driving Instructor” joke on the first album (hereafter known as Button-Down).  It’s only taken a decade for me to get that joke!

newhart2But really, what do you get when you listen to a Newhart CD?  And what would a reviewer write about in a review of these CDs?  Well, I think it would go something like this:

[Reviewer]: Yea, hi, ha ha.  Hi.
[ ]:
[Reviewer]: I was just listening to these Newhart CDs.
[ ]:
[Reviewer]: No.  No, they’re not new, they’re almost 50 years old now.
[ ]:
[Reviewer]: Ha ha, right.
[ ]:
[Reviewer]: No, they’re basically telephone conversations.  In most instances Bob plays a character listening to the person on the other end whom you never hear.  So, it’s almost entirely reaction shots.
[ ]:
[Reviewer]: Yes, they’re very funny.
[ ]:
[Reviewer]: A few are dated.  The one about Khrushchev, “The Khrushchev Landing Rehearsal” (Button-Down), for example is pretty funny but was probably a lot funnier in 1960.  And “Driving Instructor” (Button-Down) is sexist in set-up (it’s sort of a joke about “women drivers” but once you get past that it applies to any new driver) but the joke is probably the funniest thing on any of the discs.  I was also concerned about “The Africa Movie” (Behind the Button) as it seemed potentially fraught with inappropriate humor, but it turned out to be very very funny, and a wonderful twist on expectations.
[ ]:
[Reviewer]: Yes, the skits do run pretty long.  Most are over 5 minutes, but he packs a lot of jokes into that time.
[ ]:
[Reviewer]: Well, sure there are a few that are only about 2 minutes long, and one that even comes close to set up/punchline: “TV Commercials” on Behind the Button (the dentist commercial in particular).  But even on that disc, the one sided nature of the conversations persists.
[ ]:
[Reviewer]: There’s a Khrushchev skit on Behind the Button as well (“Tourist Meets Khrushchev”), but aside from knowing who he is, the jokes in that skit aren’t dated at all.  It’s all about an annoying tourist running into him somewhere…and the resultant consequences.
[ ]:
[Reviewer]: Yeah, Yeah. Boom!
[ ]:
[Reviewer]: It’s not violent, just implied.  Another potentially violent one is “Bus Drivers School” (Strikes Back) as he notes that it takes a certain type of sadist to drive a bus, if you know what I mean.  But, uh, well, the only one that gets somewhat risque is “The Uncle Freddie Show” which shows Newhart’s intolerance for kid’s TV show hosts.
[ ]:
[Reviewer]: What?
[ ]:
[Reviewer]: Well, Uncle Freddie doesn’t seem to like kids.
[ ]:
[Reviewer]: Oh.
[ ]:
[Reviewer]: Well, no, some other topics are “Nobody Will Ever Play Baseball” (Button-Down) because how could you possibly market it [“Why four balls, Abner?”]?
[ ]:
[Reviewer]: Yes, a lot with marketing.  Like “Abe Lincoln Vs. Madison Avenue” (Button-Down) [“Keep the beard, Abe], and “Merchandising the Wright Brothers” (Button-Down) [“Where will we put the john, Orville?”].
[ ]:
[Reviewer]: Precursor to what?
[ ]:
[Reviewer]: Well, he does predate many, many comedians by having airline jokes.
[ ]:
[Reviewer]: No, nothing about peanuts. But “The Grace L. Ferguson Airline (And Storm Door Co.)” (Strikes Back)” pretty much negates the need for any future airline humor.
[ ]:
[Reviewer]: No, I’m not saying the new comedians aren’t funny.
[ ]:
[Reviewer]: I do like Seinfeld.
[ ]:
[Reviewer]: No, Newhart’s bit is about an airline run out of someone’s house.
[ ]:
[Reviewer]: It’s totally….
[ ]:
[Reviewer]: Oh, forget it.

All three discs are very funny.  I was under the impression that he only had these three discs, but I now understand he released four more discs through 1967, all of which are supposed to be funny, but which are unavailable right now.

[READ: Halloween 2008] Wacky Packages

So you don’t really READ this book.  This book is a collection of images from the Wacky Packages collection of trading cards that circulated from 1973-1974.  There were seven series of cards that ran during this time for a total of some 232 cards.  According to the site I link to below, there were 16 series in total, which makes sense, as I was only 5 when these 7 series came out, but I distinctly recall getting the packs myself. (more…)

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pnin1SOUNDTRACK: ELVIS COSTELLO AND THE IMPOSTERS-Momofuku (2008).

momfukuI’ve enjoyed Elvis Costello for many years.  I’m not a die hard fan, but his Best of is often in play in our house.  I got into a little phase where I was buying a bunch of his things, but that has more or less subsided now.  And, since he has become somewhat more classically oriented I’ve basically just stopped listening.  So, when I heard that on this release he was returning to his rocking days, well, I figured I’d give it a go.

My initial reaction was somewhat muted as I thought I’d be getting a whole disc of “Pump It Up”s and “Oliver’s Army,” which you don’t.  But what you do get is almost costelloa condensation of his albums from My Aim is True through to about Spike (a long period, granted, but it makes sense).

The album opens with a few rocking tracks that hearken back to his earlier punkier songs.  Although “No Hiding Place” sounds “fuller” than his 1970s records, it doesn’t sound out of place with classic tracks.  But really, it’s “American Gangster Time” that brings back that classic Costello organ sound.  This track could have been written thirty years ago and would easily fit on any Best Of.  “Harry Worth” hearkens back to Costello’s ballads.  It’s a bit less punchy than say “Everyday I Write the Book,” but the wit is in high marks. “Drum & Bone” has the fun tongue twisting chorus of “I’m a limited, primitive kind of man.”  One of the highlights is “Flutter & Wow” a potentially timeless love song that somehow rings of Van Morrison.  It’s really stellar track.

Side Two (his phrase not mine) starts off rocking once again, and, while “Stella Hurt” rocks pretty hard, it tends to drag on a bit long.  But it quickly moves to another beautiful ballad, “My Three Sons.”  The album ends with “Go Away” another organ-heavy rocker.

And so the album is mixed nicely with some rockers and ballads balancing out the totality of the disc.  Lyrically, the songs are tight and witty.  The ballads are lovely.  I don’t know if Costello’s work with more more mature performers has affected him a lot, but it certainly hasn’t impacted his ability to write good rock songs.  Welcome back Elvis.

[READ: November 20, 2008] Pnin

pnin2

I harp on the appearance of book covers a lot.  I know that the contemporary covers are fine and they try to retain a consistency for each author.  But, I love this early cover.  I especially like that there’s an artist’s rendering of Pnin himself.  It really paints an immediate picture of the man.

I bought my copy of Pnin many, many years ago, probably right after I had read and enjoyed Pale Fire so much (I had a coworker who really loved Nabokov and insisted that I keep reading him).  It has been sitting on my bookshelf for all this time just waiting for me to read it.  About three months ago, I decided I would like to read all of Nabokov’s works, so I brought it out of the basement and left it next to my bed.  Then, I got the October 2008 Believer.  The first article, “Amerikas,” by Adam Thirwell (excerpted here) was about novels and translations.  And, since Nabokov is a novelist and translator, he was included in the article.  About seven pages into the article is an excerpt from Pnin.  And the excerpt was quite amusing, so, I took it as a sign to read Pnin next.

The most fascinating thing to me about the book is that is told by a narrator whose name we never learn, and whom we don’t actually meet until the last chapter. (more…)

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ny060913SOUNDTRACK: [REVISITED] LOUDON WAINWRIGHT III-Strange Weirdos: Music from and Inspired by the Film Knocked Up (2008).

loudoWe used Loudo’s “Daughter” from this soundtrack in the birthday video that we made for my daughter.  (We also used Dolly Parton’s “Shine” for the first half).  Because we were listening to the song, I listened to the rest of the disc as well and wanted to make a few extra comments from the last review.

Overall, the disc seems much more upbeat lyrically than his usual fare.  He’s almost always funny, but on this disc, the humor isn’t as sarcastic.  Also, his voice seems gentler, too.  Is this the dawning of a kinder Loudon?  I haven’t heard his latest disc, so I don’t know.  But I really enjoy this whole disc.  The only exception is two tracks which are full band with backing vocals.  There’s something about the tracks being so polished that seem to take away from Loudon’s voice…and really its all about a guy with a guitar. But it’s a small complaint given how good the rest of the disc is.

As for our daughter’s video, we spent I’d say about ten or twelve hours editing, syncing, and making sure the video was more than just picture one, fade, picture two, fade.  We’ve made a video for each of the kids birthdays, but we’re especially proud of this one.  You can see it here:

[READ: November 25, 2008] “Natasha”

I read this story a few months ago, but felt I should re-read it given how little I remembered. So, I re-read it last night.  I think I was surprised by it because of how un-complicated it was (especially compared to Nabokov’s novels).  Well, I learned that the story was written in the 1920s, long before he had written Lolita or Pale Fire, or anything in English.  (more…)

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SOUNDTRACK: KING’S X: Out of the Silent Planet (1988).

I just got the newest King’s X CD XV a little while ago, and I really liked it.  I figured I’d go back to the beginning and see how much they’ve changed over the last twenty (!) years.

When I first heard Out of the Silent Planet, I was blown away.  I had never heard anything quite like it.  It had heavy heavy bass (I always said it was like Black Sabbath, but that’s not really accurate), but they also had beautiful harmonies like late-period Beatles.  Add to that Doug Pinnick’s amazing gospel/soulful voice.  And top it off with some great acoustic guitar playing and unusual instruments.  Amazing. The heaviness is more of a dissonant sound that has become more popular in the last few years: complex chords that are played very heavily.   I wouldn’t say that King’s X had anything to do with that popularity, but I heard it from them before I heard others do it.

The one thing that really struck me about the album was just how dissonant some of those chords are. I always think back on the album, which I’ve listened to hundreds of times, as being sweetly harmonic, and yet really the chords are quite aggressive.  And the riffs are in a dark, minor key.  Which is why those beautiful harmonies make such an impression.

The other thing that really struck me was how religious the record is.  Now, when it first came out I didn’t really think of the religious aspects of the disc.  There really weren’t any Christian metal bands back then, (except for Stryper) at least not on the cultural radar, and they didn’t proclaim their religiosity overtly, so I just didn’t see it.

But starting from the title: Out of the Silent Planet is a book by C.S. Lewis (of Narnia fame).  And much as Narnia is a thinly veiled Christian allegory, so is Out of the Silent Planet.  You can read Narnia and not see the Christianity in it, but once you know its there, it’s unavoidable.  Same with this album.  The lyrics are not overtly Christian, but there’s enough symbolism to tell that when he sings about You, it’s not romance, but God he’s singing about.  A verse like “Sometimes my cup is empty; I wish that it stay full; cause I am always thirsty; I can’t get enough of you” can be secular or religious depending on your point of view, and I think that makes the album great.

Plus, it’s got the fantastic “Goldilox” a beautiful song, no qualifications needed.  It’s a gorgeous ballad.  but lest you think that it’s all sweetness, the album closer “Visions” ends with an unqualified thrash out…which comes after the song should end properly.  Ty Tabor’s guitar work is pretty amazing.

Wow, it’s a great album.

[READ: maybe December 2006/January 2007] Absurdistan.

I read this book a couple years ago, certainly before I started keeping this blog, but while I was working at the library.  My memory of it was fuzzy.  But when I referenced it in the Petropolis write up I was sorry that I hadn’t written about it.  As I’m reading the details of the book in a book review, much of it is flooding back, so I feel comfortable saying a few words about it.  Plus, I just did a fascinating thing: I skimmed the book for details.  It was fun to “read” this entire book in about two hours.  I got lots of great details, remembered parts of it, and enjoyed re-reading some of the funnier parts. (more…)

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SOUNDTRACK: WEEZER-Weezer (Red Album) (2008).

So hooked was I by the video for “Buddy Holly” that there was little chance of me ever disliking Weezer.  When Pinkerton came out, it quickly became one of my favorite records.  “Pink Triangle” is such a great song about unrequited love for a lesbian.  And of course, “El Scorcho” is a wonderfully off-kilter single.  Since then, Weezer have put out a bunch of albums, some with titles and some without.  This is their 3rd record called Weezer, but it’s the Red Album because its cover is red (duh).

I know that many people can’t stand Weezer (or at least couldn’t back the last time I bothered to check what the pop culture world was thinking…although I think they may be cool now).  They have an uncanny sense of pop melody even when their songs are weird or funny or even seemingly out of tune.  I think that’s why I like them so much, because their songs sometimes start out of tune and the ultimately wind up being super catchy.  I also like them because Rivers Cuomo went back to Harvard to get his degree in English (one wonders of course, why he chooses to write such pedestrian rhymes, but that’s another story altogether), and because he’s a geek in general.

No doubt you’ve heard at least one Weezer song, and you’d be living under a rock if you haven’t heard their new, ubiquitous single “Pork and Beans.”  And “Pork and Beans” is as good a place to start as any.  It’s got fairly heavy guitars, it’s catchy as all get out, it’s rather anti-authority, and parts of it don’t make any sense…that’s Weezer for you.

This record is pretty strong overall.  The first 5 songs are pretty standard Weezer.  There’s a really heavy start song, a sentimental song “Heart Songs” which name checks some of Rivers’ favorite songs growing up, and what has become my favorite song on the record: “The Greatest Man that Ever Lived.”  This is a long song (for Weezer) at nearly six minutes.  What’s cool about it is that every verse is done in a different style of music: there’s a metal verse, a choral verse, a spoken word verse etc.  And the chorus is simple and wonderful.  It could go on for twenty minutes and would still be great.

“Everybody Get Dangerous” is a weird song to me.  It doesn’t quite sound right. It’s still catchy, but I think maybe saying the word dangerous makes a chorus sound weird.  (How’s that for subjective?).  Or, which is more likely, the verses are the catchy part and the chorus is the off-kilter section.

The second half of the record strikes a few firsts, in that the other members of the band sing lead vocals on a few tracks.  Even though the songs are good (and when I heard “Automatic” on the radio the other day on WRXP, it sounded great by itself) there’s something off about them being on a Weezer record.  I think maybe I associate Rivers’ voice with their style so much that any other voice just makes things seems askew.  That said, the songs are good, they’re just not “Weezer.”

I have to get back to the lyrics though.  Rivers is more about harmony and melody, I know, but sometimes those lyrics are so simple as to be almost a joke in themselves.  Maybe that’s the point.  (And as an English major myself, I secretly believe it is the point).  After a few listens I stop cringing about the lyrics and I just start enjoying them.

The last song gives me some problems because it runs nearly seven minutes long.  Obviously not a problem in itself, but the last two or two and a half minutes are just the song fading out, which…come on.

[DIGRESSION] I think I’m probably the only person who gets bothered by songs that fade out too long or songs that I think should be a minute shorter than they are.  And I realized it’s because I have a limited time where I can listen to music carefully.  And so when I do, I don’t want it wasted with silence or fade outs or final choruses that repeat sixteen times. On the other hand, if I just have music on in the background (which is how most people listen to music) you will hardly notice those extra 45 seconds.  But when you’re in the car, and you know you’ll be at work in exactly 3 minutes, you don’t want 2 minutes of fade!

[READ: August 14, 2008] One Day in the Life of Ivan Denisovich

My first real awareness of Solzhenitsyn actually comes from the Moxy Fruvous song “Johnny Saucep’n”:

Well he was just some Johnny Saucep’n when he walked into that kitchen.
And the chef picked up the order and put down his Solzhenitsyn (more…)

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SOUNDTRACK: COHEED & CAMBRIA-In Keeping Secrets of Silent Earth: 3 (2003).

I had recently reviewed Co&Ca’s Good Apollo… CD which is the part that comes right after this one. I have yet to hear the one that comes before this one (I’m being vague about the numbering since the first album is called …2, the second one is this one (3), the third one is IV, Vol. 1 and the fourth is IV, Vol. 2.  I understand that Part 1 will come out later as the fifth album, so…try to keep it all straight, okay!

Anyhow, as I said, my only exposure to Co&Ca was Vol. IV, Part 1, an album I enjoyed very much, with its combination of metal, prog rock, guitar wailing, and catchy emo-like lyrics.  This record was slightly less enjoyable for me.  I almost feel like they really perfected their sound with IV, and on this one they were still playing around with a suitable style.

There’s something a little tentative about this album overall, and perhaps its not fair to have listened to IV before 3, but that’s what I did.  There are a couple of slower ballads on this one which suit Claudio Sanchez’ voice really well.  But overall, this one seems to be a bit heavier, but also less catchy and less prog rockish….and yet there are elements of both here.  It just feels like they weren’t quite ready to blow our minds yet.

I still have yet to figure out what the story is about. This is mostly my fault as I haven’t had a chance to really peruse the lyrics (and his voice is high enough that it’s not always apparent what he’s saying).  But I gather that it is still a pretty violent story (there’s even a disclaimer at the end of one song to not take it literally, as it’s only a story).

Despite my less than stellar rating, I’m still intrigued enough to get the whole series.  I can’t decide whether to go back to 2 or forward to IV Part 2 next….

[READ: August 5, 2008] Petropolis

I picked up this book based solely upon the cover and title.  I saw the graphic way that Petropolis was written, and I assumed that it has something to do with gas, (petrol-opolis).  Which sounded funny.  Well, my instincts were utterly wrong.  It had nothing to do with that, and while it was a little funny, it was not anything like what I was expecting (some sort of dystopia ala Gary Shteyngart’s Absurdistan.)

This is the story of Sasha Goldberg, a young girl growing up in the unbelievably named town of Asbestos 2 in Siberia, Russia.  (more…)

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