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Archive for the ‘South X Lullaby’ Category

SOUNDTRACK: NATALIE PRASS-“Short Court Style” NPR’S SOUTH X LULLABY (March 14, 2018).

I did not enjoy this Lullaby at all.  Prass’ voice is very conventionally poppy and the synth sounds were really cheesy.  I would without question turn this off it was on the radio.

Evidently the original has “a laid-back disco cool and bouncing bassline groove” but then Prass

shows up to her South X Lullaby session with keyboardist Jacob Ungerleider, slows down the tempo just a mood lighting dimmer and turns the song’s breezy funk into the soft murmurs of late-night devotion.

Still doesn’t make me like it.

This version of “Short Court Style” was filmed in an interactive art installation by Caitlin Pickall called FEAST, which is part of the SXSW Art Program and was created as part of the Laboratory Artist Residency program in Spokane, Wash. Prass and Ungerlieder sit at a dinner table set with plates and towers of wine glasses, onto which images and patterns are projected. The projections are triggered by the movements of guests at the table, so the experience changes every time someone sits down.

[READ: March 15, 2018] “No More Maybe”

This story looks at immigrants in the land of trump’s america.  But it also looks at how in-laws can drive us crazy.

The narrator’s in-laws have come to visit them because she is pregnant.

Her mother-in-law has been very busy taking advantage of all that America has to offer (cheaply): blueberries, the clean air, the stars, and English-language classes (which are expensive in China).

She is puzzled by them being free: “America is a capitalist country….  What about so-called ‘invisible hand’s” (She learned about that phrase two days earlier).  The woman is confident (she is a volleyball coach) and is not shy about expressing herself. (more…)

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SOUNDTRACK: MAL BLUM-“See Me” NPR’S SOUTH X LULLABY (March 13, 2018).

I feel like I was pretty lucky to see Mal Blum just days before they went to SXSW and made a Lullaby.

Without the band, Mal sings more quietly which certainly lets you hear the words more clearly–and Mal is a gifted lyricist.  But Mal also writes catchy tunes.

I love that the verses are quiet and muted, but there’s loud strumming in between.

And as the song nears the end, the intensity ratchets up for a line of “why can;t they see me?”  …before the quiet conclusion: “I was right there.”

Mal performs in front of the Future of Secrets art installation.

The Future of Secrets was conceived by Sarah W. Newman in collaboration with Jessica Yurkofsky, Rachel Kalmar and metaLAB at Harvard. The installation, which is part of the SXSW Art Program, asks those attending to anonymously type a secret into a laptop and in exchange someone else’s secret is given to you. Those secrets are then projected on a wall, which is the backdrop for this video.

“‘See Me’ is an unreleased song that will be on our next record (sometime next year),” Blum tells NPR. “It’s about the disparity between how one sees oneself, or the struggle of being seen as we are, versus how others view us, which can result in an unintentional hidden self or a perpetual feeling of invisibility. Being transgender informed the song, but it’s not exclusively about that.”

[READ: September 10, 2017] “An Education”

This is a short piece about two girls in school  I assume it is set in Hungary as it is translated from the Hungarian by Len Rix.

The narrator said she was always a hard-working child filled with self-discipline.  But her parents never understood that she did it all for herself–not for them or to make anyone else happy.  Her father was the school principal and was absolutely proud of her–she was hardworking and punctilious like he was.

Her mother, on the other hand, was clearly more loving to her sister Blanka–when she lost her temper with Blanka “there was something frenzied and indiscriminate about the way she pummeled her.”  Her father tried to push her very hard to make her learn more.  Her father was far more proud of the narrator than Blanka, but “no one was ever as proud of me as Blanka [was].” (more…)

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SOUNDTRACK: NICK HAKIM-“The Want” NPR’S SOUTH X LULLABY (March 24, 2017).

It’s always interesting to hear someone with a big hairy beard sing in high falsetto, and that’s just what Hakim does here.

This song is very simple with twinkling synths and programmed beasts all underneath Hakim’s delicate voice.  The blurb introduces Hakim to those of us who don’t know him:

Nick Hakim begins with a bit of a fake-out — languorous strings like something out of a Stars Of The Lid record rumble from a sampler, somber and hesitant. But as he begins to sing in a heartbroken falsetto, surrounded by optical fibers hanging from the ceiling of SXSW’s Optic Obscura installation by Raum Industries, the ambient intro morphs into a quiet, psychedelic croon.

“The Want” will appear on Hakim’s full-length debut, Green Twins, but for now, this solo version is only backed by Mellotron and the reverb’d rhythms of what sounds like a Casio preset. It’s soul music for outer-space, performed in a room that looks like outer-space.

This blurb makes this song sound a lot more trippy than it actually is.  To me, the only psychedelic bit is one harp line.  Otherwise it sounds like a very spare, echoing, simple song.  The end does add some interesting layers of sound, but maybe the recorded version is more trippy.

[READ: June 1, 2016] The Good Neighbors: Kith

I didn’t really love book one in this series.  I enjoyed the premise, but found the execution flawed–both in the “script” and to an extent in the drawings–there a bunch of characters who all look vaguely similar.  But I did like it enough to want to read Book 2.

There’s a handy recap that catches us up.

Then we see Rue sad because of her sullen boyfriend who might be breaking up with her.  But he’s a dick anyhow as are most of the characters, frankly.

About 30 pages in something interesting happens when they discover a knife in a tree. (more…)

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SOUNDTRACK: LYDIA AINSWORTH-“Afterglow” NPR’S SOUTH X LULLABY (March 23, 2017).

I was unfamiliar with Lydia Ainsworth, but I was instantly struck by the setting of her lullaby.

We asked Lydia Ainsworth to perform in Raum Industries’ Optic Obscura installation. Surrounded by dim, long-hanging optical fibers that look like an infinity room of cat’s whiskers, she sings a stripped-down version of the slow-burning “Afterglow,” accompanied only by an upright bass and light percussion.

I’m not sure what the original song sounds like, but this version is moody and intense.  The upright bass opens the song as Lydia’s whispered, sensual vocals come forth.  She has a beautiful voice and it is especially haunting in this setting.  It reminds me a bit of someone else although I can’t decide who.

The starkness of the silence when she stops singing is intense.  And I really like the way the song ends, not abruptly exactly, but rather unexpectedly.

[READ: March 21, 2016] T-Minus

Jim Ottaviani did the amazing graphic novel Feynman, and in the blurb about him in that book, it said that he also wrote T-Minus.  Coincidentally I had just brought T-Minus home for Clark and I to read.  He read it quickly and said it was very good.  It took me a little longer to read (I’m sure he didn’t read all the details) because Ottaviani jam packs this book with interesting facts.

As the title says, this is about the race to get a man to the moon.  It begins 12 years before the actual date occurred.  And it toggles back and forth between the United States and the Soviet Union.

On the margins of many pages there are drawings of all of the various attempts each country had to get a rocket into the air.  The drawings show the design and then at the bottom it states the duration of the flight, the date and some other details.  The USSR’s first rocket (1957) lasted all of 20 seconds before exploding.  The U.S’s first rocket lasted about 7 seconds.

We meet a handful of people who were instrumental in the design and origination of these rockets.  (Ottaviani explains that many of these people are composites of real people involved–if he wanted to include everyone, there would be 400 people in every panel). (more…)

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SOUNDTRACK: PHOEBE BRIDGERS-“Smoke Signals” NPR’S SOUTH X LULLABY (March 22, 2017).

Bridgers’ “Smoke Signals” is a beautiful haunting song that reminds me a little of Liz Phair in her delivery.  I had heard this song before and really liked it–I especially loved the arrangement, which had echoing guitars that reminded me of Twin Peaks.

“For this Tiny Desk, Bridgers and percussionist Marshall Vore came to Bob Boilen’s hotel room just before midnight to play the striking ‘Smoke Signals.'”  The music is great with Bridgers’ open chords, and Vore’s suitcase percussion, children’s toy bells and vocal harmony.  The cho and vibe are removed in this version which means you must really listen to the words–which are pretty intense.

I like how she talks about musicians in such an interesting way:

Singing ‘Ace of Spades’ when Lemmy died / nothing’s changed LA’s alright

and then later

Its been on my mind since Bowie died/ just checking out to hide from life

The toy bells and harmonies are a really nice touch, but again, it’s those lyrics:

I went with you up to
The place you grew up in
We spent a week in the cold
Just long enough to
“Walden” it with you
Any longer, it would have got old

This song is a little too slow for my preferences, but it’s very beautiful. I’d like to hear more from her.

[READ: February 5, 2016] The Good Neighbors: Kin

This book was on the new shelf at my library.  And since I like Black and Naifeh I was grabbed it.  Then I saw that it actually came out in 2008. Whatever.

It also turns out that my library has book two of this trilogy but neither had book 3 (which came out in 2010).  What gives?

Holly Black is best known (by me anyway) as having written The Spiderwick Chronicles.

This story is actually a YA graphic novel and it definitely skews older.  But like Spiderwick, it deals with a normally unseen world coming into contact with out own. (more…)

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SOUNDTRACK: DAKHABRAKHA-“Kolyskova” NPR’S SOUTH X LULLABY (March 21, 2017).

I loved DakhaBrakha’s Tiny Desk Concert.  It was mesmerizing and beautiful.  And so the performers came to SXSW and did a lullaby.  And as the blurb says, they brought their “cello, keyboard, accordion – and tall, wool hats! — to the balcony of the Hilton Austin hotel.”

This lullaby of “Kolyskova” quiets things down a bit.  The song opens with simple keyboard notes.  One of the women sings, and when they reach the end of the verse, the male accordionist sings a falsetto that matches the women’s tone.  The woman on drums makes a strange sound–like a baby crying or animal yelping.

Then he winds up singing lead on the second verse in that falsetto with the women singing backing vocals.  Then the cello and drums kick in to build the sound.   The third verse is sung by the cellist as the keys play a pretty melody.

The song is upbeat with lots of bouncy vocals, even though the lyrics seem rather dark.  ‘The band only ever calls it “Lullaby.” It’s a quiet, contemplative song that the band says is a “connecting of several lullabies” with “philosophical lyrics that [say] we have time for everything — time to laugh and cry, time to live and die.’

I love at the very end as the song slows down to just the keyboardist singing because the drummer adds a very cool breathing as a kind of percussion accompaniment.  And then as the camera pulls back the two attack the keyboard making a cacophony of fun notes.  I bet they’re a lot of fun live.

[READ: June 2 2016] Explorer: The Hidden Doors

This is the third (and I assume final) in a series of graphic novel short stories edited by Kazu Kibuishi, the creator of Amulet.

I really enjoyed the first one a lot and was pretty excited to read the rest. As with the other two I was delighted by the authors involved and the quality of these stories.

The three books are not related to each other (aside from thematic) so it doesn’t matter what order you read them in.

This book revolves around the theme of “hidden doors.”  I like the way each author takes a concept that seems like it would be pretty standard and turns their stories into things that are very different indeed. (more…)

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SOUNDTRACK:  NINA DIAZ & Y LA BAMBA’s LUZ ELENA MENDOZA-“January 9th” & “Living Room” NPR’S SOUTH X LULLABY (March 20, 2017).

I was intrigued by this pairing because Luz Elena Mendoza has a shirt buttoned up to her neck and, from the angle of the first song, it appears that she has her long sleeves down, while Nina Diaz (originally from Girlfriend in a Coma) is wearing a sleeveless T-shirt with tattoos showing up and down her arms.  They seem somewhat mismatched.  Until they sing.  (And also during the second song when it becomes obvious that Luz Elena’s arms are covered in tattoos as well).

The two have never played together, but after NPR Music paired them in the courtyard of St. David’s Episcopal Church for a late evening performance, we’re beginning to wonder why not. They’ve both played the Tiny Desk (Diaz twice, once with Girl In A Coma) and both navigate complex emotions and notions of identity in their music. Also, they just sing beautifully together, Mendoza’s yodel swirling in Diaz’s gritty croon.

Luz Elena’s song “Living Room” is first.  She plays guitar and sings. It’s a short song with Nina’s nice high harmonies over Luz Elena’s deeper voice.  The blurb also notes: Mendoza shares a brand-new song here, “Living Room.” When the two harmonize its confession — “I feel like I’ve been undressing all my thoughts in front of you” — it is, in tandem, starkly intimate and separate.

Nina Diaz’ song “January 9th” is a bit more fun (partially because I know it from her Tiny Desk Concert, but also because it’s a bit more upbeat).  I like Diaz’ singing quite a bit.  Mendoza’s backing vocals add nicely to the “bad one/sad one” part of the chorus.  The blurb adds: “It’s a bluesy ballad with a through line of ’60s pop, a tribute to her late grandmother, cooed and howled into a warm Austin evening.”

Future collaborations should be called for.

[READ: June 27, 2016] Explorer: The Lost Islands

This is the second in series of graphic novel short stories edited by Kazu Kibuishi, the creator of Amulet.

The three books are not related to each other (aside from thematic) so it doesn’t matter what order you read them in.

This first one is all about “lost islands.”  What was neat about this book was that since the premise of an island is so broad, the stories were all very different. (more…)

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SOUNDTRACK: L.A. SALAMI-“Day To Day (For 6 Days A Week)” NPR’S SOUTH X LULLABY (March 17, 2017).

L.A. Salami’s full name is Lookman Adekunle Salami.  I really enjoyed Salami’s song “Going Mad As The Street Bins.”  His delivery is great and there were some rather unexpected chords.

For this performance of “Day to Day,” he is standing on the balcony of the Hilton Austin hotel overlooking the downtown skyline.

I usually try to pair kid-friendly songs with books, but there’s some curses in this song).

The music is basically the same for 7 minutes (although it does build by the end), which means you must focus on the lyrics. And they are pretty dark.  It talks about boredom on public transportation as well as gruesome deaths on the news.  There’s talk of mental health, like this section:

Went to work for the NHS –
Mental health, people depressed.
Met Joanne – Scared of living,
Afraid of dying, terrified of being.
Then met Paul, a schizophrenic,
Shaking limbs, paranoid fanatic –
Unwashed 10 days in a row –
So afraid almost paralytic.
I tell them that I do the same –
In certain moods, on certain days…
But despite the sane ways I can think
I could not do much to convince them…

But mostly I enjoy his delivery which has his slightly accented voice and charming mannerisms.  The first time I heard this I wasn’t as drawn to it as I was his other song, but each listen unveils something more to like about it.

[READ: June 1, 2016] Explorer: The Mystery Boxes

This is the first in a series of short graphic novel short stories edited by Kazu Kibuishi the creator of Amulet.

Sarah brought these home for the kids to read and they were sitting around our house for a while so I picked one up.  When I flipped through it and saw all the great authors in it I knew I had to read them.

The three books are not related to each other (aside from thematic) so it doesn’t matter what order you read them in.

This first one is all about “mystery boxes.” (more…)

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SOUNDTRACK: LET’S EAT GRANDMA-“Deep Six Textbook” NPR’S SOUTH X LULLABY (March 16, 2017).

Let’s Eat Grandma is a duo consisting of two girls from England–Jenny Hollingworth (17) and Rosa Walton (16).  I love that they took their name from the grammar joke about removing a comma.  But the somewhat sinister reality of the name is representative of the somewhat sinister tone of their pop songs.

Not all South X Lullaby venues are worth describing, but this one sure it.  It takes place in an airstream trailer. The setting is wonderful–all wood-paneled and streamlined. And it seems to make the sound echo perfectly.

The song begins with an electric drum–much louder than one might imagine–and then the girls do a little hand clapping game before the music starts.

Rosa on the keys has really long hair.  She sings lead and has an incredible, unique voice–a heavy accent and a menacing but childlike delivery.  Jenny sings occasional lines (they intertwine very nicely).  When the verses end, the chord change is fairly dramatic before it returns to this pretty and slightly creepy melody.

After 3 and a half minutes Jenny pulls out a saxophone and plays a short, weird muffled solo.  And then the song continues on to the end. It is utterly mesmerizing and as fascinating as the duo are.  I’m really excited to explore more of their music.

[READ: January 27, 2017] Cleopatra in Spaaaace!

While looking up Book 3 on Goodreads I saw this book called Cleopatra in Space Book .5 (that’s point five).  It is the original webcomic that inspired the series.  if you’re thinking about reading it, I’d wait until after Book 3 of the graphic novel.  You’ll see why.

Maichak introduces us to the series by saying he wrote it from August 2009 to October 2012 and that it ends abruptly because he began working on the graphic novels.

These pages will never appear in printed form because while they are the basis for the comic, they are a little different and, as he says, they are aimed at a slightly older audience.  But most of the elements are in place like Khensu The Space Kitty, the humor, the pacing and the great hieroglyphics that the aliens speak.  She’s even got her Sphinx space scooter.  Although Cleopatra herself is a bit older (and sexier). (more…)

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SOUNDTRACK: VALERIE JUNE-“Astral Plane” NPR’S SOUTH X LULLABY (March 15, 2017).

I have been hearing a lot about Valerie June lately, but I actually didn’t know her music before this lullaby.

For this song it is just her and her guitar sitting on a wall underneath some fairy lights.  “Astral Plane” is a 3/4 time song (with a kind of plucked strumming) .  The melody is simple and comforting, call it “a softly swaying, country-tinged soul song.”  But I  feel like it’s her voice that stands out.

Her voice is unique, and based on it I have no idea where she is from.  It sounds accented but also almost cartoony.  But there’s nothing funny about this song–it’s a pretty song about dancing on the astral lane.  I found that I didn’t really like her voice at first, but it slowly grew on me.  And I find myself somewhat addicted to this song now.  Must hear more.

[READ: January 28, 2017] Cleopatra in Space Book Three

I ended the previous review by saying I couldn’t believe I had to wait forever to read the next book.  And here it is almost a year later and book three is out.

As with the previous books in this series there is a lot of action–a lot of fighting sequences.  But Maihack once again does a great job in keeping the action easy to follow even while lasers and knives are zapping all over the place.

As the story opens, we see Cleo’s ship surrounded by Octavian and a massive Xerx fleet.  Cleo’s team is obviously afraid but we hear Octavian tell his crew that he wants everyone on Cleo’s ship alive.  Unfortunately for Cleo, Zaid, a rather impulsive youth has joined them and fires on one of the ship’s lasers.  This causes all kinds of chaos and a chase sequence. (more…)

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