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Archive for the ‘Extinction’ Category

SOUNDTRACK: CLIPPING-Tiny Desk (Home) Concert Meets SXSW: #189 (April 5, 2021).

Every year, NPR Music participates in the SXSW music festival, whether it’s curating a stage or simply attending hundreds of shows at the annual event in Austin, Texas. Last year, the festival was canceled due to the pandemic, but it returned this March as an online festival. We programmed a ‘stage’ of Tiny Desk (home) concerts and presented them on the final day of the festival. Now, we present to you Tiny Desk Meets SXSW: four videos filmed in various locations, all of them full of surprises.

clipping. is an intense band.  I had the pleasure of seeing them live opening for the Flaming Lips.  I was hoping to see them again before the pandemic hit.  This Tiny Desk doesn’t in any way replicate a live show because they play a little visual trick on the viewer–and they keep it up for the whole set.

Leave it to clipping. to innovate around the central notion of the Tiny Desk; to take the series’ emphasis on close-up intimacy and transport it to new heights of, well, tininess.

clipping is a dark, violent band

Producers William Hutson and Jonathan Snipes craft a bed of hip-hop, industrial music and noisy experimentalism, then set loose rapper Daveed Diggs, whose violent imagery summons ’90s horrorcore and a thousand bloody movies. The band’s last two album titles — There Existed an Addiction to Blood and Visions of Bodies Being Burned — offer up a sense of the vibe, but Diggs’ gift for rapid-fire wordplay also acts as a leavening agent.

That’s right, Daveed Diggs.

The guy won a Tony Award for playing Thomas Jefferson and the Marquis de Lafayette in Hamilton, and he still knows how to sell every word that leaves his lips.

So it’s especially amusing to see them have a lot of fun with the Tiny Desk (Home) Concert.  The video opens with a few scenes of tables and gear.  But when the show starts, Daveed Diggs picks up a microphone that’s about the size of a toothpick and starts rapping into it.

  And when William Hutson and Jonathan Snipes come in they are playing laptops and other gear that’s barely an inch in length. I have to assume that this stuff doesn’t actually work and yet they are taking their job very seriously–touching and sliding and tapping and looping on these preposterous toys.

“Something Underneath” starts quietly and then Diggs shows off some of is incredibly fast rapping skills.  Then the guy on the right (I’m not sure who is who) comes into the cameras and starts messing with his tiny gear.  After about 2 minutes the guy on the left comes in and starts making all kinds of distorted beats.  It starts getting louder and louder and louder until the noise fades out and its just Diggs’ voice looping “morning” as he moves the camera and he starts the slower track

The only movement in the video is Diggs moving his camera around to different angles for each song.

“Bout That” is fairly quite until a few minutes in when the song launches off.

Diggs shifts his camera and is finally fully on screen before they start the creepy “Check the Lock.”  It’s got clanking and scratching and pulsing noises for the line

something in this room didn’t used to be / he ain’t ever scared tough / but he check the lock every time we walks by the door.

Midway through the guy on the left starts cranking a tiny music box and he plays it through the next two songs.

It segues into “Shooter” [is there a name for this style of rapping–each line has a pause and a punchline–I really like it].

The music box continues into “The Show” which starts to build louder and louder, getting more an more chaotic.  It fades and builds noisier and chaotic once more until it reduces to a simple beat.  And the guy on the right drinks from his can of BEER.

Noisy squealing introduces “Nothing Is Safe.”  Daveed is pretty intense as he raps “death comes for everyone” pause and then full on sound as he resumes.

clipping is not for everyone–certainly not for people who want to see the guy from Hamilton (he was doing clipping before Hamilton, by the way).  But it creates an intense mood.

The blurb says that Chukwudi Hodge plays drums, but I didn’t see or hear any so i assume that’s a mistake.

[READ: April 21, 2021] Better Than Life

I don’t recall when I started watching Red Dwarf–some time in the 90s, I suspect.  I don’t even know of the show was ever very poplar here in the States, so it’s kind of a surprise that these two Red Dwarf novels even had a U.S. release.  But they did. And I bought them sometime when they came out.

So Grant Naylor is the cleverly combined names of Rob Grant and Doug Naylor–back when they were working together (I’m not sure why one of them left).   They penned two Red Dwarf books together, then they each wrote a Red Dwarf book separately.

This second book picks up from where the events of the previous book cliffhangered us.  There is a TV episode called “Better Than Life” and this book is kind of an super- mega-hyper-expanded version of that episode.  Except that the things that happened in the episode don’t even really happen in the book, either.

The basics of the episode are that Better Than Life is a video game that allows your deepest subconscious fantasies to come true.  And since everything is your fantasy, this game is indeed Better Than Life.  It’s easy to leave the game.  All you have to do is want to.  But who would want to leave a game when everything in it is better than what you’d be leaving it for?

As such, your body stars to wither and decay because you don’t eat, you don’t move, you just exist.  It’s a deadly game.

Rimmer’s fantasy at the end of the first book was that he had married a supermodel–a gorgeous babe whom every man wanted.  Except that she wouldn’t let him touch her for insurance reasons.  Rimmer has a problem or thirty with his self image.  But he was still super wealthy and women everywhere adored him. However as this book opens, he has divorced his babe and married a boring woman who also doesn’t want to have sex with him.  As thing move along, he loses his fortune and, ultimately his hologrammatic body.  He becomes just a voice.  Through a serious of hilarious mistakes, he winds up in the body of a woman.

One of the nice aspects of this book is that Grant Naylor have Rimmer see what a douchey sexist man he’s been all this time–believing all women were either his mother or a sex bomb.

The Cat’s scenario is pretty much all libido–Valkyrie warriors serving him and he gets to do pretty much whatever he wants–his clock doesn’t have times, it has activities: nap, sex, eat, nap, sleep, etc.

The one difference is that Kryten is there with him.  Kryten’s deepest fantasy is leaning, and so he keeps finding new things to clean in Cat’s world.

There’s another wonderful bit of anti-religion in this book (there’s always some anti-religion aspect in these stories).  In this one they talk about Silicon Heaven.

The best way to keep the robots subdued was to give them religion. … almost everything with a hint of artificial intelligence was programmed to believe that Silicon Heaven was he electronic afterlife….

If machines served their human masters with diligence and dedication, they would attain everlasting life in mechanical paradise when their components finally ran down.

At last they had solace. They were every bit as exploited as they’d always been, but now they believed there was some kind of justice at the end of it.

Lister’s fantasy is the same as it was before.  He’s living in the city from It’s a Wonderful Life and he’s married to Kristine Kochanski and he has two boys.  As the book opens there’s  a wonderfully touching moment with his family and his kids.

But it is abruptly demolished when a woman driving a tractor trailer crashes the truck in to Bedford Falls.  Literally all of Bedford Falls–every building is demolished or caught on fire.  There’s virtually nothing left.  And when the woman gets out of the truck dressed as  a prostitute and claims to know Lister, well, Kristine takes their boys and leaves him.  He has nothing.

It should come as no surprise that the woman is actually Rimmer.

What about Holly, the ship’s computer with an IQ of 6,000?  Can’t he save them?  Well, no.  He can’t get into the game, plus, he’s going a little crazy from being alone for so long.  So crazy in fact that he decides to start talking to Talkie Toaster, a gag gift that Lister bought for $19.99.

The sequence with the toaster is hilarious on the show (it only wants to talk about bready products!) and it translates perfectly to the book as well.  Essentially, Talkie Toaster encourages Holy to increase his IQ (which has been slowly leaking away) at the risk of shortening his life span.  Unfortunately, things go a little awry and Holly’s IQ eclipses 12,000. But his run time is cut to a number if minutes.

So he need to turn everything off if he wants to stay alive. (more…)

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SOUNDTRACK: VOIVOD-Lost Society (2020).

Voivod have been around for over 30 years.  In that time, they’ve releases only four lives albums.  The first one was from the period when their original and current singer had departed, so that doesn’t really count.  In 2011 they released Warriors of Ice, a live album that featured the reunited original lineup minus deceased guitarist Piggy.  The third was a limited release from the 2011 Roadburn Festival.

Thus, we have this new release to acknowledge the excellence of their 2018 album The Wake.  This show was recorded at Quebec City Summer Fest on July 13, 2019.  I saw them on this tour on April 5, 2019.  The setlist was largely the same, although they played more in their hometown (and I would have loved to see “Astronomy Domine”).

Being in front of a hometown crowd has the band fully energized.  It also allows Snake to speak French to the audience, which is fun.

Most of Voivod’s music is really complicated and difficult (the chords that Piggy and now Chewy came up with are pretty hard to imagine).  And yet they play everything perfectly.  There’s not a lot of room for jamming when the songs are this tight and complex, but it’s clear the band are enjoying themselves anyway.

Since this is touring their new album, the majority of songs (4) are from it with two more songs from their 2016 EP Post Society.  The rest of the set is pretty much a song from each of the albums prior to 1993 (excluding the album with the best name: Rrröööaaarrr).

They interfile the new songs with the older ones, and it feels really seamless.  This shows how much of a student of Piggy new guitarist Chewy turned out to be.

The few times that Snake speaks in English, he says that Angel Rat’s “The Prow” is “time to dance time to party have fun” something one wouldn’t expect to do at a Voivod show, but compared to their other songs, it is pretty dancey.

My favorite Voivod album (aside from The Wake, which is really outstanding) is Nothingface, so I was really excited to hear “Into My Hypercube” and to hear that Rocky’s bass sounded just right.

Their older stuff is a little less complex and proggy so a song like 1987’s “Overreaction” is a bit heavier and straight ahead.

One of the more entertaining moments is during the opening of “The Lost Machine” where Snake stands between Chewy and Rocky and waves his arms to strum the chords first guitar, then bass, then guitar then bass, etc.

It is strange to think that this is only one-half of the classic line up.  In fact, drummer Away is the only person to have never left the band.  I assumed that when Piggy died, there was no point in continuing, but these replacements were really great.

And, Snake makes sure we never forget Piggy.  They end every show with the song that has the same name as the band.  And before they play it, he starts a chant “Piggy! Piggy!”  In this live recording, you can hear the audience screaming along to “voivod,” a nonsensical word that remains strong thirty-five years on.

The setlist for the album is at the bottom of the post.  I sure hope they tour around here again someday.

[READ: April 20, 2021] Infinity Welcomes Careful Drivers

I don’t recall when I started watching Red Dwarf–some time in the 90s, I suspect.  I don’t even know if the show was ever very poplar here in the States, so it’s kind of a surprise that these two Red Dwarf novels even had a U.S. release.  But they did. And I bought them (and read them, I think, although it’s all new to me 30 years later) sometime when they came out.

So Grant Naylor is the cleverly combined names of Rob Grant and Doug Naylor–back when they were working together (I’m not sure why one of them left).   They penned two Red Dwarf books together, then they each wrote a Red Dwarf book separately.

This first one is basically an expanded version of some of the episodes from the first and second season.

Most of the jokes from the episodes are present here–so it’s easy to picture the characters saying the lines.  But there’s also a ton of new stuff.  Much of it fleshes out things that happened in the show, but still other things are brand new.

The book starts with the death of a Red Dwarf crew member.  He is now a hologram and rather than being excited about being alive, he is horrified to think of all the things his wife will get up to now that he is dead but aware of what is happening.  We also meet another man who is about to die–this time by suicide.  He is in debt for a lot of money and decided it was better than being beaten to death by the men he owed money to.

Turns out, this man outranked the first man and since the Red Dwarf mining ship could only support one hologram, this man was brought back at the expense of the first one.  A lot of ground is covered in these first two chapters and we haven’t even met any of the main characters of the show yet.

Dave Lister comes along in Chapter 3.  For those unfamiliar with the show, Dave Lister is the main character and also the last human being alive.  In the show he is three million years into deep space.  But he had been in stasis so he is only 27 when he is brought out and told the news that everyone is dead.

But as the book starts, Lister is miserable on a planet Mimas.  He got really drunk at his birthday party in Liverpool and, by the end of the night, he was on a planet very far from home with no money to get back. (more…)

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SOUNDTRACK: RONG-“Shrugging at the Dearth of Discourse” (2019).

Every year Lars Gotrich publishes his list of favorite music in an NPR podcast called Viking’s Choice: The Year In The Loud And The Weird.  I always listen to these songs because I’ll never hear them anywhere else (he mostly seems to scour bandcamp for unknown music.

One that he especially liked was by the band Rong from Boston.

He says:

Just bonkers. Boston’s Rong channels the joyous chaos of Japanese punks Melt-Banana and the aggro skronk of Brainiac with a tad of Deerhoof’s weirdo-pop hooks, in what sounds like a swarm of bats fighting a comically large industrial fan… and the bats win. Dissect the noise and you’ll find some truly athletic guitar interplay, held together by a sturdy rhythm section and Olivia W-B’s vocal acrobatics.

This song starts out with Olivia screaming quickly and almost inaudibly while the drummer thrashes away on every surface nearby.  There appears to be two guitars each playing their own riff that seems irrelevant to anything else. It’s a chaotic statement that will likely make most people turn the song off.   After 30 seconds one of the guitars plays a riff and at 35 seconds the riff is actually really catchy and Olivia sings along with it.  Wow.

And the song is not even one third over.

After a few more rounds through similar styles things really slow down around 1:45.  It is just bass and drums and vocals for a bit before two separate solos happen at once.  About five more parts occur before the song ends at 3:11.  This includes a riff that is repeated a few times and a absolutely berzerk ending.

That’s the first of 8 similarly eclectic and, yes, bonkers, songs.  Finding the melody and connections between the parts is rather strangely rewarding.

Incidentally, the final track on the album is called . ༼ ༎ຶ ෴ ༎ຶ༽   In a bigger font, that’s:

༼ ༎ຶ ෴ ༎ຶ༽

[READ: Summer 2019] The Long Cosmos

The “Long Earth” Tetrology is complete.

This was a series that was pretty much impossible to end.  I mean the very premise is that there is unlimited exploration to be had in the various “Earths.”  So how do you end it?  Well, really you end it by following the main protagonist of all of this, Joshua Valiente to his logical conclusion (or something like that).

This book also serves as a kind of reconciliation for many of the estranged characters, but, thankfully does not resurrect any dead characters (well, except for Lobsang–whatever he may be).

The Foreword to this book answers a question that I had: If Terry Pratchett died in 2015, did he have anything to do with this book which came out in 2016?  Baxter explains that indeed, he and Pratchett had created drafts of the final three books by August 2013.  Terry and Stephen worked on the book together as late as autumn 2014.  Then Baxter dealt with final editorial and publishing stages.  So that makes me happy.

I am, as always with this series, puzzled as to what Terry’s contributions were to the books.  I haven’t read anything else by Baxter, so I don’t know if this is a Baxter book with Pratchett sprinkled in or if it’s a combination of their writing styles   The one thing is that this series is never really all that funny (with one huge exception later).  Not to say that Pratchett had to be funny, but it was certainly what he was known for.  Maybe I’ll try a Baxter book one of these days to see just what his works are like.

But back to the concluding chapter of this long series.

This book opens with the invitation: JOIN US. (more…)

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SOUNDTRACK: MORRISSEY-NonCOMM 2019 (May 14, 2019).

Morrissey was (to me) quite a surprise performer at NonComm.  It seems way too “exposed” for him.  When I mentioned divas not mingling with fans, it was Morrissey I had in mind.  I don’t know if he mingled anywhere at NonComm, but, speaking of divas, he does not have a live stream available.

I had the radio on when he performed and heard a bit of his set.  I was impressed with his voice.  It doesn’t sound like it used to in his heyday, but it still sounds strong.  He seems to have modified the songs to allow his somewhat deeper, gravellier voice to work well with them.

I was supposed to see Morrissey last time he came to Philly.  I even had a ticket. But better than a Morrissey show, I got a Morrissey excuse–the show was cancelled.  On the night of the show!  So I don’t feel the need to see him now.  I wonder if he’ll actually make it to his show this summer.

Since I can’t re-listen to his NonComm set, I’ll have to rely on the (lengthy) blurb that The Key has written.

Morrissey was as cynical, self-obsessed and self-assured as ever at NonCOMM on Tuesday night. “I have to warn you before I begin,” he offered slyly as he took center stage. “I have never in my life been this close to another human being. So If I don’t do something illegal, I will do something extremely… enjoyable.”

The World Cafe crowd responded with a roar, and the band burst into a rowdy rendition of “Alma Matters” from Morrissey’s 1997 album Maladjusted. His croon was grave and full-throated, and the band matched his machismo with pounding drums and several wailing guitar solos early in the set. Morrissey strutted across the stage, full of pomp and in his element; he danced with his microphone stand, clapped along to the band, and took every opportunity to denounce his critics, including in song. “So, the choice I have made may seem strange to you. But who asked you anyway? It’s my life to wreck, my own way,” began his opening number. The Manchester native dressed himself in all black, with a t-shirt proclaiming “MEAT IS MURDER” (also the name of a 1985 LP by his former band, The Smiths) and dressed his band in blood-red tees that threatened “BE KIND TO SEALS OR I’LL CULL YOU.” (These shirts are also available on Morrissey’s website.)

But for all his sarcasm, egotism and brash political inclinations, the Philadelphia crowd still hoped to show Morrissey plenty of genuine affection. Dozens of fans standing in the front row reached out to hold his hand each time he stepped downstage; one of his most ardent fans attempted to climb onstage before being shoved back down by a security officer, and another fan got so far as to step onto center stage and lock Morrissey in an embrace before security managed to pull them away from the singer.

Did this really happen?  Is there footage?  He didn’t cancel the rest of the set?

The crowd enjoyed a set spanning Morrissey’s career, including “I’m Throwing My Arms Around Paris” from 2009’s Years of Refusal, the Pretenders cover “Back on the Chain Gang” from 2017’s Low in High School, and the Jobriath cover “Morning Starship” from his upcoming album California Son.

Recently, as Morrissey has begun making public appearances to promote California Son, journalists and fellow musicians have criticized him for his outspoken support of For Britain, a UK political party that many have deemed extremist and racist. On Monday night, Morrissey appeared on The Tonight Show Starring Jimmy Fallon to perform “Morning Starship,” and he wore a lapel pin featuring For Britain’s trident logo. On Monday night at NonCOMM, he wore no pin and made no mention of the controversy, although he seemed bent on repelling all those who might judge him (as usual).

I was very curious if anyone would say anything about him or to him about what he;’s been saying lately, but apparently not.  Left-wing Morrissey fans (like me) are able to turn compartmentalize.

In between two songs, he gave the crowd a snarky smile and chuckled, “As I thank you now, I have many critics. I have many critics. As you know, I have many critics,” he repeated, before concluding, “They’re all idiots!” With that, he exploded into his most contemptuous number of the night, “If You Don’t Like Me, Don’t Look At Me.”  “See if I care! See if I care! See if I care!” he taunted in each verse. Growling lead guitar propelled this song toward its climactic finish, which was marked by Morrissey’s send-off, “Don’t get your knickers in a twist!” (These lyrics do not appear in the recorded version from 2009.)

Morrissey also performed one Smiths track — “That Joke Isn’t Funny Anymore” from Meat is Murder — before finishing with “The Bullfighter Dies” and the menacing “Jack the Ripper.” During the closer, white strobe lights struck him as his deep laugh echoed through the hall. Then, while the clanging guitars faded and the stage smoke dissolved, he smugly proclaimed, “I love you. Goodnight.” He tore his shirt in two, ripped it off and tossed it into the crowd, then departed.

Wait, he tore his shirt off?  For real?

I need more pictures to see what really happened.  And I’d like to hear “That Joke Isn’t Funny Anymore” to see if he or Johnny Marr now sings songs from The Smiths better.

[READ: May 3, 2019] “Extinction Sonnets”

I don’t normally write about poems.  Certainly not ones that appear in magazines (this blog would be all poetry if  did that).  But for a summer reading issue that features three poets, I thought I’d make an exception.

Especially for this one.

And it seems quite apt for Morrissey.

This depressing series of five poems is five sonnets written to extinct species.

The Monteverde Toad (Costa Rica)

This one offers some modicum of hope:

like fallen stars How lost the scientists
wondering where you went and why. Perhaps mist

there’s still hope that one day you’ll be found
like buried treasure: patient, underground.

The Baiji Dolphin (China)

[once] esteemed as a goddess: one glimpse then gone–

this time you’re drowned for real, will not return
no matter how much incense people burn.

The Black-Faced Honeycreeper (Hawaii)

The Honeycreeper is not yet extinct but is very close. Hence

rarest bird in the world

hidden on remote Haleakala

They say that you are “unusually quiet.”
Well, lonely as you are, why would you sing?
You pretty thing, pretty thing, pretty thing.

The River Otter (Japan)

Once abundant at as reeds in the waters
where you swam and played and raised your young for years,
you’ve disappeared victim of casual slaughter
because humans must wear fur.  Profiteers…

The Pyrenean Ibex (France and Spain)

extinction’s a mystery
we’ll never understand.  But full of guilt
or full of pride, we tried to fix history
by cloning you.  No luck.

The end of this poem summarizes the whole series and summarizes humanity, too.

The things we killed
can never be restored, we know that now.
What we don’t know is who dies next, and how.

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