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Archive for the ‘Fantasy’ Category

balfourSOUNDTRACK: SLINT-Spiderland (Remastered) (1991/2014).

slint2Slint is an overlooked band except by those who think they are really super important.  Slint played what would eventually be called post-rock before people called it that–they had spoken vocals and dark guitar, loud and quiet riffs and intense building sections (and on this album no songs under 5 minutes).  Some riffs were super catchy, indeed, many of the songs on Spiderland have super catchy sections, and yet there is something that resists you casually getting into them (probably those spoken lyrics).

I’ll even say that I tend to forget about them.  They get lumped in with other Steve Albini produced bands (Albini produced their first album, but not Spiderland, and since Albini’s band was Shellac, they are even close in the alphabet), but they don’t really sound like Albini’s output.  They’re much warmer and, dare I say ,emotional–the screamed vocals are incredibly passionate.  Plus, they only released one album before they broke up (this one was after the breakup), so their legacy is bigger than their output.

So I’m thrilled about this reissue if only so that it will give them a wider audience. And you can hear the entire two hour spectacle before it come out at NPR.

At the same time I didn’t notice a huge difference in the production.  It sounded great, but then I haven’t listened to it in a while so it’s hard to compare.  The deluxe package is a behemoth: the box comes with the album, outtakes and demos on 180 gram vinyl and on CD. It also includes a 104-page book with never-before-seen photos, lyrics, and a foreword by Will Oldham and Breadcrumb Trail, a 90-minute documentary about the making of Spiderland with interviews with the band, James Murphy, Steve Albini, David Yow, Ian MacKaye, Matt Sweeney and others.  Since it retails at about $150, I won’t be buying that.

slintI did listen to the whole thing and again was reminded of how great the album is.  The bonus material is, well, a little disappointing.  You get three more early versions of “Nosferatu Man,” one of which is an instrumental.  Two demo versions of “Washer” and “Good Morning, Captain” (one is an instrumental kind of goof).  There’s three versions of a song called “Pam” which didn’t make Spiderland, so that’s interesting.  Then there’s another outtake called “Glenn” and two post Spiderland songs called “Todd’s Song” and “Brian’s Song.”  They’re all good, but are in various stages of construction.

Perhaps the most interesting bonus track is the live (from Chicago 1989) version of Neil Young’s “Cortez The Killer.”  But I have to admit that vocally, they just can’t handle it.  The music sounds good, but the singer just never seems to be in tune, but nor is he talking it either.  It was a little disappointing (especially compared to Built to Spill’s live cover).

So if you are a die hard fan of this unheralded band, this is a worthy addition (especially for the book and movie).  Otherwise, enjoy the original, it’s a great album.

[READ: April 7, 2014] Balfour and Meriwether in The Incident of the Harrowmoor Dogs

I was immediately attracted to the cover of this novella–two men in bowler hats and button down shirts wielding weapons in front of a spooky background.  What’s not to like?  Especially when the book is tiny (80 pages).  I grabbed it and brought it home to read.

That’s when I learned that Balfour and Meriwether appear in other books and that this was “the first novella-length work” about the pair.  Did that mean that there was a lengthy series and this is the first short piece about them?  Indeed, no.  There are two other stories about them which are both shorter (these first two stories have been collected in one book).  And according to Abraham, he has no plans to write more, but that doesn’t mean he won’t.

So this is a fun and surreal adventure story set in England in the 1880s.  It is taken from Meriwether’s Diary (written in 1920).  Meriwether acknowledges that God the Creator has made many beautiful things but He has also made some abominations that walk the Earth.

And that leads us into this story of subterranean creatures and British political dealings with them. (more…)

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balladSOUNDTRACK: MOON HOOCH-“Number 9” (2011).

moonI don’t love the saxophone in rock music.  In fact, I often find the saxophone to be the single source of cheese in a lot of good music.  And yet when a saxophone is done right–Colin Stetson, John Zorn, Morphine, it can be an awesome instrument.

What about two saxophones?  And only a drummer with them?  Well, that’s Moon Hooch.  They play a bass saxophone and a squawking tenor (I guess) saxophone.  And, more like Morphine of the above bands they play fairly heavy riff rock songs like “Number 9.”  But these songs also make you move–dance, tap your foot, whatever it is.  After just a few notes, you’ll be hooked.

There’s not too much more to say about this song.  With the opening sounds of a subway platform, this song really sounds like a couple of guys busking o the platform, but man, it’s much more than that.  There’s some excellent drum work keeping this song grounded, but the stars are the two saxophones played off of each other.  There’s no words, just horns.  Get moving!

[READ: March 15, 2014] Ballad

This is a beautiful and fascinating book.  It is a children’s book but it demands some close reading.  And yet there aren’t all that many words in the book.  It is the design of the book that is the “selling point.”

The story is a fairly simple one (although I admit I found it a little confusing).  There is a preface which explains that the story is about a child who goes home the same way every day.  And yet suddenly his whole world balloons around him.  [And yet there is no child in the book].  Chapter 1 begins with a paragraph explanation that the school clock has stopped and no one seems to care.

After that first page, each subsequent page has a (nearly) full page image and one or two words underneath it (the script is also charming).  And so we see the school, the street, the forest, home.  Each new chapter works in the same fashion—a small paragraph explaining the setup and then several pages of pictures—each picture (the school, the forest) is exactly the same (they look silk screened) with the same caption underneath (although in subsequent chapters they are modified somewhat).  Chapter 3 introduces us to a stranger and, even more unsettling, bandits and a witch. (more…)

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toriSOUNDTRACK: RHEOSTATICS-Boo Radley’s Guelph ON (December 3 1999).

booLike the previous show, this one is also a shortened set because of technical problems in the recording.  We don’t hear the technical problems–the bad songs were just left out.  There’s some static on the first song, but otherwise the sound quality is very good.

Dave tells everyone that Harmelodia is coming out on Tuesday.  They play a lot of songs from the album and some that are not, like “Used to It” and “Superdifficult” (which would eventually come out on Shooting Stars.

There’s some wonderfully crazy nonsense in “Four Little Songs.”  It’s practically Phish-like with the silliness they throw into it, and it ends with a great dig new wave sequence.  “Stolen Car” has been getting some great renditions in the last few shows, and this ne is no exception. There’s an excellent solo and an interesting ending which is basically a cappella.

This is another great show that nearly closes out 1999.

I have found real evidence that Boo Radley’s existed as a club as late as 2002, but amazingly there are no pictures of the place.  Someone needs to make a book out of small clubs across Canada.

[READ: March 6, 2014] The Light Princess

I had no idea that Tori Amos was involved in a musical.  I saw this book at work and was really intrigued.  Evidently it has been in the works for many years and was even supposed have been finished in 2012, but these things take time.  The book was a little vague about the history of the musical, but after a little searching I discovered that the story is based on a 19th-century Scottish fairytale (see a summary of the Fairy Tale from Wikipedia).  This version has music and lyrics by Tori Amos and a book and lyrics by Samuel Adamson.  They have morphed the story quite a bit but it definitely retains some of the original elements.

As it turns out those original elements were the things I liked best about it–maybe i should just watch the children’s version of the story that i saw on YouTube.  In this version the princess, whose name is now Althea,’ was the only person in her village not to cry when her mother died when she was 6.  This makes her lighter than air and she can only remain on the ground if she is tethered.  I liked this idea a lot and I was hoping for an interesting fantastical world to enter.

There are two countries which are at war, Althea’s country of Lagobel (which is rich in gold, but has no water) and Sealand (which has water, but no gold)–there is a dangerous Wilderness (full of dragons) that separates the two countries.  They are at war for resources (although we know that Lagobel is better because it is Sealand that starts the fight).  Sealand attacks Lagobel effectively destroying its military.  The King of Sealand believes that by killing Althea (the last in line to the throne), he will have all the gold to himself.  So the king sends his son Prince Digby to kill Althea.  (There’s a lot more backstory and deaths of family members which sets up this challenge). (more…)

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[LISTENED TO: October 2013] Warbound

warboundI loved Book I and Book II of The Grimnoir Chronicles immensely. The first was an amazing introduction to this new world and the second upped the scale and intensity to an amazing level (nearly destroying Washington D.C.).

And since the beginning of Book II picked up shortly after the events of Book II, it seemed pretty safe to assume that we would be heading into the giant conflict that was predicted at the end of Book II–fighting the creature that was coming to kill The Power.  For real context, read the other two reviews first (I mean, really), but for simple context, a sizable minority of the population has the gift of Magic.  This gift comes from The Power and it allows people to do all kinds of things–bend gravity, transport from one place to another, talk through animals, fade into walls, etc.

It has only been recently, through the work of our heroes, that people understood just how people got the power.  It came from The Power, a creature that gave humans magic and then fed off of them when they died.  It was a symbiotic relationship.  But of course people who did not have Power hated those with Power.  Even though the people with Power often use their power for good, there were of course people who didn’t.  Consequently all people with The Power were scapegoated.  This is all laid on a backdrop of alternate reality 1930s America, where the Nipponese are ascending and offer a very credible threat–especially since their Magicals are organized and brutal. (more…)

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milk SOUNDTRACK: WAX FANGS-The Astronaut” (2014).

waxfangThis is a 17 minute song that they played on All Songs Considered the other day.  And it is quite an epic.

It begins with a heavy guitar riff that pretty much proclaims that the song will be epic.  But it quickly morphs into a kind of Ok Computer-era Radiohead song for a few minutes.  At 4:30, the guitar solo kicks in and it seems possible that the song will be about 6 minutes in total.  Until the new bassline enters at 5:30.

Now the song takes on an epic space-rock feel.  The guitar sounds get very spacey and 70s Pink Floyd, there’s soloing and crazy effects.  And no more words.  The steady propulsive bass keeps the song moving along, slowly building and building.  Until the huge freakout at 11 minutes, when the drums crash in and the guitar gets noisy and then there’s a… saxophone solo?  I like the way the sax adds a new level of unexpected noise, but I don’t really think it “fits” very well in the song.  Luckily it’s not very long.

The song continues in this vein until it reaches the end where we get a big heavy metal crescendoed ending.  It is epic, indeed.

I simply can’t imagine what else would be on this record.

[READ: January 8, 2014] Fortunately, The Milk

I was delighted to see this book in the new section at the library.  I hadn’t realized that Gaiman was working on a new book, and this is a fun and light trifle of a tale.

It is a simple story about a how a carton of milk can save of the universe.

As the story opens, the kids’ mum has gone away to a conference.  And their dad is to be watching them.  She has given him a whole list of things to do while she is gone, like making sure they get to their appointed locations on time and that he reheats the food she has prepared.  And, lastly, to make sure he gets some milk as they are almost out. (more…)

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boomSOUNDTRACK: RATBOY JR.-“Champion of the Universe” (2013).

ratboyRatboy Jr was also in the Top Ten of WXPNs 2013 Kids Corner countdown (and was also on the Kids Corner CD).  This is a fun song told in a story.  It opens slowly with acoustic guitars and tells the story of a young boy with a very big head who wants to be a luchador.

When the chorus comes around, it kicks into full Mexican style swing with horns and flamenco style guitars.  Young Santos goes to a store where he gets a beautiful red wrestling mask.  And we all sing “La Cabeza Grande, champion of the universe!” in full chanting chorus (complete with yips and yee hees!).

I actually wish the songs was about five minutes longer.  But at just under 4 minutes it tells a good story and is super catchy.

[READ: January 2, 2014] Boom

I’ve read one adult book by Mark Haddon (but not his famous Curious Incident…).  I didn’t know that he wrote kids books at all.  But when this came out I learned that this was originally published in 1992 under the title Gridzbi Spudvetch! (and yes it was in English).  He says in the Foreword that kids and teachers loved it, if they were able to pronounce it (and that with a title like that he was lucky that 23 people bought it).

So it went out of print.  But fans said he should get it back in print.  So he decided to rename it a more reasonable name.  He also says the technology in the book was horribly out of date (which shouldn’t really matter, but if you’re going to update it, you might as well do it all).  And as since he was updating, he decided to rewrite, as he puts it, “every sentence.”  So I gather the story is the same, but it’s a very different book (and me being me, I’m very curious to read the original).

But now with the simple name of Boom, we get this fast paced and very enjoyable story.  (And yes, gridzbi spudvetch is still in the book). (more…)

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youdont SOUNDTRACK: INSANE CLOWN POSSE-“Bang! Pow! Boom!” (2009).

icopSince I have posted about Phish already, it seemed like time to listen to an ICP song.  I admit that when their first album came out, they seemed goofy enough to check out their album.  I love a cartoony band that is going to “ruin America.”  But I had heard that their music was just too awful to enjoy ironically, so I never bothered with them (if I had been a few years younger, I probably would have embraced them wholly).  In the book below, Rabin says that their newer stuff is not only a ton better than their early stuff (which he admits is raw and pretty terrible) he says that it is quite poppy.

So I listened to a few of the songs that he mentions (and there are some funny lines), but I decided to focus on this one which Rabin describes as “a groovy throwback number that finds ecstasy in a bleak moral reckoning…finding the joy in the macabre and the celebration in the gothic.  Also, it’s catchy as fuck.”

That’s a highfalutin way of saying that they sing about blowing shit up.  Lyrically the song seems to be about ICP talking to their fans (in the harshest terms possible, which I guess is affection: “Cuz you’re the evilest pedophiles, rapists and abusers/All together we’ve got fifty thousand of you losers”).  It’s an insider tract and if you don’t like it or get it, well, you’re not supposed to.

But aside from the lyrics about rapists and all the cursing, this song could easily be a big hit.  It is, yes, catchy as fuck.

But I won’t be listening to more from them.

[READ: January 2, 2013] You Don’t Know Me But You Don’t Like Me

Every year my brother-in-law gets me cool and unusual books, most of which I’ve never heard of.  This year, he got me this book which I’d never heard of.  I was confused by the title (which is confusing).  The author’s name sounded familiar, but I wasn’t sure—until I saw the A.V. Club connection.  So, at first I thought this was going to be about going to interesting shows or basically having something to do with the A.V. Club.  But, as the subtitle says, this book is exclusively about Rabin’s travels following Phish for a summer and also going to some ICP Gatherings of the Juggalos.

The theme of the book is how most people have never heard the music of either band, but they have formed opinions not only of the bands, but their followers.  Rabin points out plenty of exceptions to the stereotypes, but you won’t be leaving this book thinking much more of the preexisting stereotypes than you already do.  Sure, some Phish heads are doctors, and some Juggalos are employable, but the majority are (despite his best efforts) what you think they are.  But one of the main messages that he seems to promote in the book is that each of these groups have created tribes around them.  And those who aren’t part of the tribe may scoff, but they secretly wish they could be having as much fun as the members of the tribes.  And that may in fact be true.

I’ve enjoyed Phish’s music for years, although I’ve never seen them live.  And as for ICP, I didn’t even realize they were still around—although that Workaholics episode should have clued me in.  Naturally these two bands could not be more polar opposite in terms of music and fanbase (although Rabin did encounter some crossover). So he sets out to show how he can enjoy both groups. (more…)

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legendsSOUNDTRACK: GARFUNKEL AND OATES-“Year End Letter” (2010).

gandoGarfunkel and Oates are a wonderful comedy team.  I’ve enjoyed so many of their songs, but this was the first time I ‘ve heard this Christmastime ditty.

We always enjoy reading people’s year end letters with an eye towards the attitude in this song–slightly mocking and yet also thinking:

“You’re right, your family’s better than mine
And it seems you make a lot more money.”

But now with the advent of Facebook, people post their year end letter info every day.  And I am very sad to see that we got virtually no year end letters this year.  So even though we tease, now we miss what we once mocked.  At least G&O can remind us what they all contained.

And since I cannot figure out how to embed a vimeo video, you’ll have to click this link to watch it.

[READ: December 20, 2013] Legends of the Guard

This book is a collection of short pieces written and illustrated by some of the greats in independent comic books (with a shocking number of them being from Michigan).  Evidently many writers contacted Petersen and wanted to work with him.  He didn’t want to mess up the arc of his story so he devised this idea.  Set in June’s Ale House, all of the mice are tasked with telling a story.  The one who tells the best will have his bar tab erased (for some that is quite a deal).

And so, these stories or legends are set at any time in the past and do not impact the chronology of our Mouse Guards.  And man, are they good. (more…)

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blacaxeSOUNDTRACK: HAVE YOURSELF A SULLEN LITTLE CHRISTMAS–NPR (December 19, 2013).

charliebrown_wide-ac0b12e7fc8f83eb302cc221a37ba8592ccc2e63-s40-c85NPR Music’s Stephen Thompson and Travis Larchuk hop onto Morning Edition to talk about Christmas songs that are melancholy sad and downright sullen (which is quite a lot of them, if you really listen to the words).

They talk about some new(ish) songs that are depressing  Like David Mead’s “The Smile of Rachael Ray” (which would be bad enough, but that’s just a lead in to the bummer within), Harvey Danger’s “Sometimes You Have to Work on Christmas (Sometimes),” Garfunkel & Oates’ “Year End Letter” (which is quite funny) and the song “Dead, Dead, Dead” from the South Park holiday album Mr. Hankey’s Christmas Classics.

Of course, dark Christmas songs are nothing new.  There are plenty of dour holiday standards that originate in the 1940s “I’ll Be Home for Christmas,” “Have Yourself a Merry Little Christmas,” and “Blue Christmas”  are major downers.

When I try to compile Christmas mixes I try to leave off the bummer songs, but it’s really hard.

Stephen Thompson gives an excellent summary of the season: “Christmas is the one day a year when we’re all supposed to be happy, and so you’re hyperaware when you’re not.”  I hope everyone has a Happy Christmas this year.

[READ: December 10, 2013] Mouse Guard The Black Axe

This book features a preface by Terry Jones.  It doesn’t say a lot, but it’s worth a mention.

The Black Axe begins after the events of Winter 1152 (it is set in Spring, 1153), but the bulk of the book is a flashback to the origin story of the Black Axe.

As the book opens we learn that Lieam, one of the Mouse Guards has been missing for the last three months.  We also learn that even though the Winter was a dangerous time for the mice, the Spring proves to be equally treacherous as all of the predators are awaking from hibernation. But despite the current crises, Gwendolyn’s thoughts turn to Spring 1115 where the story of Celanawe begins.

We see Celanawe on an island building a house.  Suddenly a crow approaches.  On the crow is Em, a mouse who can communicate with the crows and who reveals that he she has been looking for him. (more…)

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mouse winterSOUNDTRACK: MATT WILSON-“You’re a Mean One Mr. Grinch” (2010).

mattwiklsonI don’t know who Matt Wilson is, (surprisingly, he is the drummer of the trio and the album is called the Matt Wilson Tree-O (ha)).  Man, I love this version of the Grinch’s theme song.

What’s fun about it is that the main vocal line is played on the upright bass.  While the harmony lines are played on what I suspect is a baritone saxophone.  There’s also some simple snare and brush work for drums.

It’s really simple and it’s pretty much guaranteed to bring a smile to your face.  I haven’t heard anything else on the album, and I’m not entirely sure I need to.  This song ranks up pretty high on my Christmas music list now.

[READ: December 10, 2013] Mouse Guard Winter 1152

Winter 1152 follows on the heels of Fall 1152.  The Mouse Guard have traveled off to various cities to find supplies for the winter.  While they have dispersed in different directions, we are following only our friends from the previous book: Kenzie, Celnawe, Lieam, Sadie and Saxon.  Through tremendous snow (for a mouse) they make it to Sprucetuck, where they seek the elixir which Mistress Gwendolyn needs.

Although offered rest and comfort the mice are on a deadline and must make it back home with their supplies.  But on their way home they are attacked by an owl.  Sadie gets off a great shot that blinds the owl and the mice are free.  But just as they feel that they are safe, they walk into a hole in the snow.  And three of them fall through.

Saxon, Kenzie and Sadie find themselves in an underground tunnel which proves to be a (presumably) abandoned weasel tunnel.  They are nervous of course, but press on in the direction of home as there is no easy way for them to get above ground.  Meanwhile, Lieam and Celnawe proceed above ground.  There is talk of allegiances and who is rightly in charge of these missions (Celnawe, as the elder axe wielder, is testing Lieam’s mettle).  Then both parties encounter some trouble  The underground team finds a bat roost–and the bast (I love the way they speak as a kind of collective) are none too happy to see the mice down here. Meanwhile, as the snow continues to pile on the above-ground mice, they decide to settle in for the night by making a burrow and starting a small fire.  But something awaits them at their opening. (more…)

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