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Archive for the ‘Film & TV’ Category

SOUNDTRACKRHEOSTATICS-3rd Annual Green Sprouts Music Week Night 4 (Ultrasound Showbar, Toronto Ontario September 21 1995).

Darrin at Rheostatics Live added a number of new shows in the last eight months.  Like this full week of shows from the Third Green Sprouts Music Week

Fourth night of the third annual Green Sprouts Music Week held at Ultrasound Showbar September 18-23 1995. Never Forget makes its live debut and Farm Fresh and Tyler Stewart of Barenaked Ladies joins the band for Soul Glue. The 16 minute Digital Beach/Wreck Of The Edmund Fitzgerald/You Are Very Star ending is amazing. The band also talks about “Raise A Little Elf” which would be noted on The Blue Hysteria and several other albums.

This is the first of the shows in which the audience is really obnoxious.  It gets worse later on.  I’m not sure why they get picked up so clearly on the mic, but it ruins some of the songs.

Many of the shows opens quietly, but this one opens with a raw “Feed Yourself” with some different words.  The guys are still figuring out the ending.

There’s a really noisy guy who shouts “sit down!” [This is a big thing tonight].  Tim: I’m not getting involved in that.

They play “All the Same Eyes” which I wouldn’t call the most rocking song in their catalog, but Martin says “we’re not normally this rock n rolly.”  Dave: Only on Thursday.  Only on St. Swithin’s day.  Only on my grandpa’s birthday.

They play “an old song,” it’s “Fishtailin'” and the crowd is stupidly loud during the quiet parts.

Up next is “Four Little Songs.”  There’s a long intro, but they get it right.  During Dave’s part he asks them to play the intro twice and he says Bono’s (?) kitchen.  But by the end, they can’t get the counting part right so they ask the audience to help and they do great.

These songs are “aged like sharp cheese which is what Rheostatics means in Latin.”

Dave finally addresses the shouters: you’re not gonna shout out sit down still are you?  They’re obviously not going to sit down and stuff.  Don: They’re talking to you, Dave, they want you to sit down.

Dave says his “day band” The Medicores” playing tomorrow at Lee’s Palace.  It’s a food bank benefit  Don will be at a benefit on Sunday with the coolest band in the area, Don’t Talk, Dance (a group with Tyler Stewart and others).

Last night was a weird night–felt the ghost of Trooper.  We even broke into “Raise a Little Elf.”  The story behind that is that when Andrew was very young he thought that the Trooper song “Raise a Little Hell” was “raise a little elf.”  He didn’t find out until …1992!  So naive.  He’s Mennonite.  Mennonites believe in elves.

Up next is Tim’s new song “Connecting Flights,” which Martin says is called “Two Flights of Stairs.”

You hear the guy shout “sit down asshole.” Thankfully before the song starts.

Presumably to damp down the jerks, they play their happy theme song (“Introducing Happiness”).  He says they plan to play it at the Grey Cup and the Governor Generals Inauguration (cheers). You like the Governor General? Weird crowd.

Up next is “Claire,” the only time they played it this week.  This time it features a guitar “duel” between Martin and Tim.  Tim obviously loses.  he even messes up his simple part and has to play it twice.  Dave says that the song is from the movie Whale Music which is coming out in the States on October 6 at a place in Santa Monica.

Next up is a brand new, never performed song sung by Don kerr called “Never Forget.”  There’s so much talking during it I can’t believe it.

Dave tells a funny, lengthy story about riding his bike and getting honked at by girls in a van.  He tells them Mississauga’s that way (a burn on Don Kerr).  The punch line is them telling him to “go back to England.”  You know what happens when Italians are mistaken for English….

Don says that if you’re riding a bike in Mississauga, you’ve got to  watch for people in vans with baseball bats.  Their TVs break and they have nothing to do.

A great sounding “Fat” has a rocking ending (Dave reveals that the gum that’s tough to chew was Dubble Bubble).  Farm Fresh gets the shout out in “Fan Letter” And then Martin introduces the next song which is “about working in a gas station.”  Dave: It’s not the ‘Summer of ’69’ is it?  But seriously, who talks through “Self Service Gas Station?”

Then there is clapping for the “contest winner.”  The “play drums on your birthday with the Rheostatics” contest.  It’s Tyler Stewart.  Give him a shot at the big time.

Dave asks about an “eat Kraft dinner with BNL contest” in which the bnl were too busy to eat with th eguys and so there were cardboard cutouts.  Tyler: is that some sorta CHOP?

They got to eat with Tyler’s double: Tarzan Dan.
Tim’s double is Henry Rollins
Dave’s double is Telly Savalas
Martin’s double is Starsky Michael Paul Glaser
Don’s double (courtesy of Janet Morassutti) Richard Manual from The Band.
The guitar tech’s double is William Baldwin–at least you didn’t say Ed Begley, Jnr.

Tyler plays a beat for Farm Fresh.  It’s a wild introduction to “Soul Glue.”  There’s so much cursing!  Whaddya think of Farm Fresh/Rheostatics/Barenaked Ladies  “They suck!”  Tyler also does a rap and then describes “Soul Glue” as a “song about LSD.”  It’s a bit slower, but sounds cool.  When Tim sings the “reapt that mistake” Tyler shots “sorry!” and after the “in the ground” Tyler adds “in the ground, in the ground, in the muthafuckin ground.”

Dave encourages everyone to join the Green Sprouts Music Club if you can.

The encore is “Digital Beach.”  There’s some shushing as Martin starts.  It segues into a slow, powerful “The Wreck of the Edmund Fitzgerald.”  The song is fantastic–the loud parts are really overwhelming. Then as the song ends and Tim reprises the slow part some some jackass shouts out “Gordon Lightfoot!” which totally ruins the moment.  Jesus.  Dave threw in an “I wish I was back home in Derry” which I thought was something he did much later.

After atmospheric jamming at the end of the song, it ends with a lovely (uninterrupted) “You Are Very Star.”

I hate that these drunken people can ruin quiet moments because otherwise this show is fantastic.

[READ: February 20, 2021] School for Extraterrestrial Girls

The title of this book sounded pretty good and when I saw that it was written by Jeremy Whitley who did the wonderful Princeless I was ready to read it.  I don’t know Jamie Noguchi but he has illustrated Erfworld.

Princeless was a YA book and this series is aimed a little younger.  It starts with Tara Smith, a normal girl going to a normal school.  Well, not that normal.  She doesn’t really have any friends. She just puts her head down and gets good grades.  Her parents are pretty intense.  And they are very busy.  So much so that she never really sees them in the morning.  They give her her daily meds (she has serious allergies) and trust that she will catch the bus (which she always does).

When she gets home they go over her homework, make her do everything that she got wrong over and over again and then tell her to study for tomorrow.   The only free time she has is when she takes out the garbage.

Then one morning she wakes up late. A power failure has messed up her alarm.  In her haste to get to school, she drops her meds and breaks a special bracelet that her parents gave her.  Today she can’t take the mean kids on the bus.  She yells at them and her eyes glow red, which gets everyone to back up.  Later in class, as she is writing on the board, her hand catches fire.  And then her whole body does. (more…)

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SOUNDTRACK: PILLOW QUEENS-“Liffey” (Live on the Late Late Show, January 13, 2021).

I learned about Pillow Queens from the book about Irish Drummers.  Rachel Lyons, Pillow Queens’ drummer is interviewed for the book and I thought their band sounded interesting.

I had no idea how good this band would be.  They have released a few EPs and a number of one-off songs on bandcamp.  They released their debut album in September.  To celebrate, the band made their American TV debut on The Late Late Show with James Corden performing “Liffey.”

The band has two leads ingers and all four members sing backing vocals.  As this song opens, Pamela Connolly sings an opening verses while everyone else sings harmony and counterpoint until everything comes crashing in–drums, guitars and bass.  (That’s Sarah Corcoran on bass and Cathy McGuinness playing lead guitar).

There are some cool parts in this song.  The bridge has as series of two note punches, while the verses are supported by soaring single guitar notes.  Lyons’ drumming is a real high point.  There’s martial beats and lots of floor tom (in the video you can see that she’s using mallets all the way though).  Noting her sounds expected and yet it all works together really nicely.

The roaring buzzsaw guitar that ends the song is just perfect.

I’m looking forward to listening to the whole album.

[READ: February 10, 2021] Stranger Things: Zombie Boys 

I get to see all kinds of unexpected things at work–books from other countries, books graphic novels in other languages, even popular novels.  One thing I never expected to see was a Stranger Things graphic novel.  In part because I didn’t know there were any.

But here one is.

This book is set right after Will is rescued from the Upside Down.  He’s been drawing pictures of their adventure.

But at school kids are calling him zombie boy.  Which is no fun.

The only bright spot is AV Club.  But even that’s no fun lately because the boys are all behind in school (what with fighting the forces of evil) and their AV advisor is making them do school work.

Until a new kids comes into the picture.  Joey Kim has just moved to town from San Diego.  His mom works for Sony and he has a brand new betamax film camera.

Their AV advisor says that he’ll see if they can make a movie for extra credit.  But what movie will they make?

That’s when Joey pulls out a drawing that Will made (it fell out of his bag).  The boys love the drawing and think it will make for an awesome zombie movie.

Will’s mom isn’t too keen on him drawing scary pictures–she even takes him to the doctor.  (The doctor is affiliated with the bad guys, but that doesn’t have an bearing on this story).  So Will changes the drawings into zombie joke pictures–it’s a pleasure to eat you, etc..  But the guys are having none of it. And Joey Kim says that it’s horror or nothing.

So they play with make up effects (kielbasa for eaten flesh!) and draw on some of their darker moments (of which they have many) to pull out some acting chops.

Lucas has an important demand though–the black guy always dies in horror movies and he wants Joey to know that this black guy is not going to die.

The book is pretty short and aside from a few of the bullies there’s nothing too dramatic in it–except for a moment when Will goes too deep into a dark place.  But the story line is cool and it feels like a setup for more to come.

I have no idea if Joey Kim is coming in the new season or if he is comics only, but he’s a fun addition for this story line.

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SOUNDTRACK: MY LITTLE FUNHOUSE-Standunder (1991).

Drummer has a funny story about joining My Little Funhouse.  It’s especially funny given how young he was and how raunchy the band seems.

This album feels like a hair metal band whose second guitarist had just heard of grunge.  Lead singer Alan Lawlor sounds bratty and sleazy like an L.A. hair metal stud.

There’s some ripping guitar solos (“Destiny”) and big soaring ballads (“Wishing Well”) and there’s a dumb straight up rocker (“L.S.D.”).  There’s even the quiet intro (lighters up in the air) “sensitive” song (“breaks my heart/tears me apart”), “Anonymous.”

The one musical surprise is the summer guitar intro of “Been too Long” which sounds like it belongs to another song all together.  Although the bass/drum clap along is pretty apt.  “raintown” is another song that is a little unusual here–it feels like a B-side.  Lawlor’s vocals are toned way down and the production is much softer.

Perhaps the one thing that sets them apart from the West Coast metal is the song “Catholic Boy.”  Yup, it’s just as sexual/ist as a typical metal band, but the specificity of being Catholic seems very Irish to me.

My Little Funhouse opened for Guns N’ Roses when they toured Ireland.  And that makes perfect sense.  This album is completely of its time (or maybe a year too late).  With the right exposure, they would have been huge.  But this is the only thing they released before they broke up.

[READ: December 30, 2020] Irish Drummers Volume 1

I received this book at work and thought it would be interesting to look though.  I flipped through the names in the contents and was pretty sure I hadn’t heard of any of these drummers.  But it turns out I knew a lot of the bands they played in, just not their names.

Gilligan says that he created the website Irish Drummers several years ago.  It was an opportunity for him to interview Irish drummers and celebrate them.  Gilligan himself is a drummer but never really played with any bands.  Probably the most famous Irish drummer, U2’s Larry Mullen, Jr is not in this book, but he is on the website.

Gilligan thought it would be very cool to publish a book and here it is. The interviews are truncated for the book, you’ll get a lot more online.

Each interview has a picture (or two) and three to seven questions.

I have made some notes of interest from the drummers who had something unique to say. (more…)

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SOUNDTRACK: U.K. SUBS-Another Kind of Blues (1978).

In this essay, Rebecca Kushner mentions a bunch of punk band members that she either knew or hung out with.  I was amazed at how many of them I’d heard of but didn’t really know.  So this seemed like a good opportunity to go punk surfing.

U.K. Subs are a punk band that I’ve heard of but really knew nothing about.  A little research tells me that they have been active all of these years–their latest release was in 2019.  That’s some serious staying power.  According to Wikipedia, there have been about 75 members of the band over the years.

This first album is a pretty fascinating listen.  Most of the seventeen songs are under two minutes long, but they’re not blisteringly fast or anything.  The songs are more or less blues based (as the title indicates) but faster and grittier

This is definitely a punk album.  But they follow a lot of rock song conventions.  Indeed, “I Live in a Car” is a minute and a half long but it’s got verses a chorus and two guitar solos.  “I Couldn’t Be You” even has a harmonica solo.

But songs like “Tomorrow’s Girls” offer good old punk chanting choruses.  And “World War” which is all of a minute and twenty three seconds is actually over 20 seconds of explosion.

“Stranglehold” was a pretty big hit in England and it’s easy to see why.  It’s got an immediate riff, a three chord chorus that’s easy to sing along with and a bouncy bass line.  And it’s all of one minute and fifty-seven seconds.

Checking some of their other releases through the years, UK Subs definitely went through a metal phase in the 80s and 90s, but their 2016 album Zeizo has found the punk spirit again.  I think I like Zeizo better than their first.

[READ: February 2, 2021] “The Hard Crowd”

I’ve read a few things by Rachel Kushner, although I’ve never given any thought to her biography.  I never would have guessed that Kushner was part of a San Francisco pub scene when she was growing up (or that she is essentially my age).

This essay is about that time in her life.  When Jimmy Carter was president and he quoted Bob Dylan in his acceptance speech “He not busy being born is busy dying.”

She says that being born is an existential category of gaining experience and living intensely in the present.  Conversely, dying doesn’t have to be negative–the new stuff is over but you turn reflective you examine and tally–it is behind you but it continues to exists somewhere.

She says she’s been watching film footage found on Youtube shot in 1966 or 1967 from a car moving slowly along Market Street in San Francisco, where she grew up.  She assumes it is B roll from a film, because it is professional grade (she imagines it was for Steve McQueen’s Bullitt, but that’s not based on anything).

She worked at the Baskin Robbins making $2.85 an ahour.   The shop is now gone and she thinks it’s weird to be sentimental about a chain store, but when her mother took her to the IHOP years after she worked there, it all came flooding back–sights, smells.  Despite every one being identical, this one was hers. (more…)

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SOUNDTRACKADITYA PRAKASH ENSEMBLE-GlobalFEST Tiny Desk (Home) Concert #135 (January 13, 2021).

Aditya Prakash EnsembleGlobalFEST is an annual event, held in New York City, in which bands from all over the world have an opportunity to showcase their music to an American audience.  I’ve never been, and it sounds a little exhausting, but it also sounds really fun.

The Tiny Desk is teaming up with globalFEST this year for a thrilling virtual music festival: Tiny Desk Meets globalFEST. The online fest includes four nights of concerts featuring 16 bands from all over the world. 

Given the pandemic’s challenges and the hardening of international borders, NPR Music and globalFEST is moving from the nightclub to your screen of choice and sharing this festival with the world. Each night, we’ll present four artists in intimate settings (often behind desks donning globes), and it’s all hosted by African superstar Angélique Kidjo, who performed at the inaugural edition of globalFEST in 2004.

The second band on the third night is the Aditya Prakash Ensemble.

Performing from their home base in Los Angeles, Aditya Prakash Ensemble highlights songs borne from South India’s Carnatic tradition. Prakash uses his voice as an instrument to tell powerful, emotive stories — which he reimagines in a fresh, dynamic way. Aditya Prakash Ensemble’s modern take on traditional music mixes in jazz and hip-hop and features a diverse L.A. ensemble.

The Ensemble is a quintet.  With Julian Le on piano, Owen Clapp on Bass, Brijesh Pandya on drums and Jonah Levine on trombone and guitar.

As “Greenwood” starts, I can’t quite tell if he’s actually singing words (in Hindi or some other language) or if he is just making sounds and melodies.  It sounds great either way.  He sings a melody and then the upright bass joins in along with the trombone.  He displays a more traditional singing and then Le plays a jumping piano solo which is followed by a trombone solo.  The ending is great as he sings along to the fast melody.

“Vasheebava” is a song about seduction.  Levine plays the guitar on this song.  It starts with gentle effects on the cymbals (he rubs his fingers on them).  Prakash sings in a more traditional Indian style and Levine adds a really nice guitar solo.

“Payoji” is a traditional devotional song and Prakash sings in a very traditional style.  But musically it’s almost a kind of pop jazz.  It’s very catchy with a nice trombone solo.

This conflation of Indian music with jazz is really cool.

[READ: January 11, 2021] Fearless.

“If one man can destroy everything, why can’t one girl change it?”-Malala Yousafzai

This book begins with this wonderful sentiment:

Not long ago, a wave of exciting books uncovered stories of women through history, known and unknown, for young dreamers around the world.  Women who had been warriors, artists and scientists.  Women like Ada Lovelace, Joan of Arc and Frida Kahlo, whose stories changed the narrative for girls everywhere. Readers around us were thrilled to discover this treasure trove. But there was something missing. They rarely saw women of color and even fewer South Asian women in the works they were reading.

It’s a great impetus for this book which opens with a timeline of Pakistani accomplishments (and setbacks) for women.  The timeline is chronological in order of the birth years of the woman in the book.  Interspersed with their births are important events and the year they happened.

Like in 1940 when women mobilized and were arrested or in 1943 when the Women’s National Guard was formed. In 1948, a law passed recognizing women’s right to inherit property.  In 1950, the Democratic Women’s Association formed to demand equal pay for equal work (it doesn’t say if it was successful).

In 1973 the Constitution declared there could be no discetrmaton on the basis of race, religion, caste or sex.

But in a setback in 1979, the Hudood Ordinance passed which conflated adultery with rape, making it near impossible to prove the latter–and the punishment was often death.

And yet for all of the explicit sexism in Pakistan, the country accomplished something that America has been unable to do–elect a woman as leader. In 1988 Benazir Bhutto became the first female Prime Minister of Pakistan.

The woman in this book are given a one-page biography and a cool drawing (illustrations by Aziza Ahmad).  They range from the 16th century to today.  (more…)

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SOUNDTRACKDakhaBrakha-GlobalFEST Tiny Desk (Home) Concert #133/141 (January 11, 2021).

DakhaBrakhaGlobalFEST is an annual event, held in New York City, in which bands from all over the world have an opportunity to showcase their music to an American audience.  I’ve never been, and it sounds a little exhausting, but it also sounds really fun.

The Tiny Desk is teaming up with globalFEST this year for a thrilling virtual music festival: Tiny Desk Meets globalFEST. The online fest includes four nights of concerts featuring 16 bands from all over the world. 

Given the pandemic’s challenges and the hardening of international borders, NPR Music and globalFEST is moving from the nightclub to your screen of choice and sharing this festival with the world. Each night, we’ll present four artists in intimate settings (often behind desks donning globes), and it’s all hosted by African superstar Angélique Kidjo, who performed at the inaugural edition of globalFEST in 2004.

The final band on the first night is DakhaBrakha.  I have wanted to see DakhaBrakha live for years–ever since I saw them ona Tiny Desk Concert.  It’s wonderful to see them again, this time with new songs.

Tonight marks DakhaBrakha’s return to globalFEST and Tiny Desk. The Ukranian band’s first globalFEST performance was in 2014, and their 2015 Tiny Desk concert remains a favorite. We’ve had them in our spaces, so it’s a real treat to see them in theirs, the Dakh Theater in Kiev. Coming together, their performance maintains the energy and joy that define their music, bouncing off each other musically and emotionally. DakhaBrakha aims to keep Ukraine’s musical and storytelling tradition alive by making it more accessible to a younger, international audience, a kind of self-proclaimed “ethno-chaos.” They craft stunning sonic worlds for traditional songs, reinventing their heritage with a keen ear for contemporary resonances.

I was initially disappointed that they only played two songs, but these are long complex and varied song.  And they are both great.

“Komora” is a new song.  It opens with Nina Garenetska singing while slowly bowing the cello. Keyboardist Iryna Kovalenko and drummer Olena Tsybulskajoin join in on backing vocals with great harmony and sweeping high notes.  Then Nina starts playing a bass line on the cello and accordion player Marko Halanevych and the other ladies seem to be having a conversation of sounds.  Iryna takes over on lead vocals.  Marko adds some accordion while Olena plays soft drums.  Nina is back to bowing then it returns to cello/bass line and lots of oohing from all the singers.

Then Marko sings a lead line and the women seem to be answering him.  The song starts getting faster and faster as they call to each other leading to a spectacular ending.

“Vynnaya ya” is from their latest album.  It opens with Iryna and Olena clappin a rhythm and Nina plucking the cello.  Marko sings lead and they sing back in a call and response.  Nina takes over on vocals to mostly drum and cello accompaniment.  Then Marko plays a “horn” solo using just his hands.  It sounds like a duck call or muted trumpet and is weird and wonderful.

Olena sings the next verse and then Iryna sings the final verse.  When her verse is done, Marko puts down the accordion, stands up and plays another “trumpet” solo with his hands.  Then the whole band kicks up the tempo to nearly double speed as they race to a wild conclusion.

I can’t wait to see them in person!

[READ: November 15, 2020] Starlite Memories

I had never heard of Dov Fedler.  The title of this book made me look at it twice and then I skimmed the back cover blurb.

Beloved political cartoonist Dov Fedler had the opportunity in the 1990s to make a lifelong dream come true: Directing a movie. …  A laugh-out loud story of pitfalls follows.

Turns out he was a political cartoonist for The Star for over 50 years.

Then I saw that Fedler is from South Africa.  I’d never read anything by anyone from South Africa before this, I don’t think.  So I was curious to see what a comedy from South Africa was like.

Somewhere along the line I completely missed that this was a memoir.

So I spent the first 2/3 of the book believing that this was based on something that really happened but that he was making up names and other details to protect the innocent.  Especially since in the beginning the note to the reader says writing is always about the story.

There are times when a writer may have to embellish, obfuscate, conflate and conjure to keep the thing alive.

Again, somehow I glossed right over that word memoir (actually I thought it was a the main character talking about writing a memoir or something).

None of that really changed the way I would have read this.  I had no idea who he was or any of thing the things he did, so it might as well have been fictional.  But I think it’s funnier that it really happened.

This memoir proved to be mostly funny with a lot of thoughtfulness thrown in for good measure.  It is written by a political cartoonist who has always loved movies.  He is a Jewish man in South Africa.  There are not very many Jewish families in South Africa, but there are enough to have a small cultural center there.

Each chapter of the memoir is titled after a film.  He then summarizes the film in a few words.  The chapter is tangentially tied to either what happens in that film or to the title of the film.

Dov explains that he was hired to directed the film Timer Joe Part 3.  This crazy film title is a real film–the third after two popular movies.  But this one is clearly made simply to ash in on the popularity of the other two.  The film is basically the brainchild of his producer Moe Mankowitz.  Moe says, “I make films for black audiences.  Black people like the same moveis we do, but they like them with black people.”  Timer Joe 1 and 2 were a success, so he wants Dov to write the script for 3.  What’s it about?  All he knows is that it’s a comedy. (more…)

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SOUNDTRACK: CHLOE X HALLE-Tiny Desk (Home) Concert #123 (December 8, 2020).

Chloe x Halle’s album, with its arresting album cover, has been on all the top album lists this year.  I hadn’t heard anything off of it, so this is my introduction to this “powerful sister duo.”

Flanked by personal memorabilia supplied by their mother, the Bailey sisters did their best to make this studio performance really feel like a home concert.

I don’t know what he album sounds like, but this recording (complete with a full band, horns and strings) sounds pretty amazing.  Almost as amazing as Chloe and Halle’s voices.

As they volley off each other, swapping lead and harmonies, it’s amazing to watch how years of practice and innate genetic chemistry have them synced tight.

After introducing themselves, the sister play “Don’t Make It Harder on Me.”  There’s a clean bass opening from Elin Sandberg and quiet guitar chords (it’s fun to watch Lexii Lynn Frazier play as she is smiling a lot and really into it).  The addition of the trumpets (Arnetta Johnson and Crystal Torres) adding soft and then loud accents is a really nice touch.  But nothing can distract from the voices.

Halle takes the higher notes and wow does her voice soar.  But the two of them together, whether singer counterpoint or their gorgeous wordless harmonies are really amazing.

“Baby Girl,” the second song here, starts with notes reminiscent of Crystal Waters’ “Gypsy Woman (She’s Homeless),” and is preceded with Chloe sharing “I know this year 2020 has been absolutely bonkers for all of us. For those moments where you kinda feel less than and you’re not good enough … that’s why we wrote this song. … Whatever happens, we’ll be OK. And this is our world.”

The song is softer with keyboard splashes from Elise Solberg and soaring strings from Stephanie Yu (violin), Chelsea Stevens (cello) and Marta Honer (viola).

Halle sings the first verse with Chloe adding punctuation on this cool refrain

step up to the patio
listen to the radio
try to play it on my Casio

more great punctuation from the horns nicely flesh out this song.  The song ends with a short drum breakdown from Brandi Singleton with some ripping bass work as it segues into “Do It.”  “Do It” is a great moment to see the sisters play of of each other.  It’s fun watching them smile at each other as they bounce and bop and back and forth with the “do it”s and the “woo”s.

“Ungodly Hour” is upbeat but “Wonder What She Thinks of Me” is a very different song.  Chloe says it’s a song telling the perspective of the other woman and what does that feel like?  What would we do in that situation.  Chloe sings the first verses accompanied by gorgeous strings.  It’s a beautiful torch song and their voices are simply fantastic.  Their harmonies in the third chorus are, frankly, jaw dropping.

I don’t tend to like R&B albums, (and it’s possible the album doesn’t sound like this), but this set was really impressive.

[READ: January 3, 2021] “Preparing to Spin the Wheel of Fortune”

I like when an author I enjoy has a Personal History in the New Yorker.

This one was especially fun because David Gilbert relates his experience appearing on Wheel of Fortune.

The studio is cold.  There are contestant handlers who are mystically upbeat.  They tell them to clap without clapping (so they dont mess up the sound recording).

He rather enjoyed the make up because she makes him look very good (he’s very critical of himself).  Before talking about the whole process though, he gives some background on the show. (more…)

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SOUNDTRACK: BORIS-Vein (2006/2013).

Boris continues to reissue their back catalog in streaming format.  Which is pretty amazing since so much of their work is so hard to find.  Possibly not great for collectors, but great for those of us who actually want to hear the music.

Vein is Boris’ thirteenth album.  Because they are Boris, the released two different albums under the same title in 2006.  The packaging was identical on both records and the only way to tell them apart was to check out the surface of the vinyl itself.

The “Hardcore version” had punk, hardcore, and drone.with vocals that are screamed rather than sung.  The  “Noise version” had drone and noise music as well as punk. This version of the album does not include any vocals.

In 2013, the band announced that the album would be released as a 2-CD set not as a reissue, but rather a re-arrangement of both albums combined.

Given all of this, it’s not even entirely clear to me what has been released her on bandcamp.  But it seems like the first two tracks (here labeled “v” and “e” are the hardcore version.  The third and fourth tracks “i” and “n” are a little harder to place.

“v” is 14 minutes long, broken up into several small pieces:

It starts with a wall of noise–static and low feedback swirling and manipulated until 4.01 when it segues into segues into ringing bells and effects that sound like a jet taking off and broken glass swirling and zipping around.   Then some drums and chords are introduced.   At 6:15, there’s a samples from the 1979 film Stalker, by Russian director Andrei Tarkovsky. A man says “И пусть посмеются над своими страстями” (Russian for “Let them laugh at their own passions”) followed by a blistering hardcore song  until 7:52.  After an abrupt halt comes the next screaming hardcore song which is more fuzz than chords with screams and feedback which at 9:06 segues into another super fast song which is distinguished from the others because of a riff where the chords go up and up higher and higher and faster as if they are going to explode, although it rumbles unto feedback at around 10:24 when a new tone of fuzzy nose feedback and a much slower introductory opens before before the pummeling hardcore resumes until 12:03.  This first song ends with a moment of silence and then a woman saying “unpleasant dreams” before a Wata fast high note solo is balanced by slow pummeling chords and drums and cymbals. After a minute or so, the hardcore returns this time with a solo all over the top of the song.  The song ends with a humming and what sounds like car keys jingling

“e” is over 15 minutes long and is one third hardcore punk and two thirds slow lengthy drone.  It starts with an Atsuo scream and hardcore drums. There’s a blistering hardcore song–fast riffage and screamed lyrics (which I assume are in Japanese).  Although the hardcore songs sound similar (and are unnamed) the riffs are distinctive enough to tell them apart.  Some backwards masked sounds come in at 1:05 and a similar riff at 1:15.  I have never seen them play this kind of set–it must be exhausting.  At 2.01 a loud bass comes in with a lot of cymbals and the song is buried under a blanket of distortion.  two minute song starts with.  At 3:04 a buzzsaw sound and a cool riff is coupled with some intense screaming.  At 4:45 it morphs into feedback that contains another sample from an Andrei Tarkovsky film, this time the 1986 film, The Sacrifice.  A man say “I hela mitt liv har jag väntat på det här. Hela mitt liv har varit en enda väntan på det här.” (Swedish for “All my life I’ve been waiting for this. My whole life has been a long wait for this.”)  The rest of the song feels like it might stay a lengthy drone, but at 5:46 after some cracks of the snare, a slow powerful Boris riff emerges.  But the riff dies away for some slow Wata soloing over droning chords.

Track 3 is probably the “noise version” (which is 17 minutes long) or the 2013 re-release (which is 17:25) but this track is 18:04.  Of course, if the “noise” version has no vocals, it can’t be this because it does have vocals.

It opens with a similar kind of noise that opens “v” but more staticky and with distant riffing going on.  At 1:58 a riff comes in.  The songs are like “v.”  A shorter version of the jet sounds are followed by some slow heavy chords.   At 3.22 there’s some chirping feedback that introduces the first hardcore song in “v.”  At 5.22 [#4 above] segues into a scream-filled hardcore song followed at 6:14 by the riff that goes higher and higher.  At 7:36, there’s slow thumping with noise and feedback (this might be new and not on “v”) then a sudden drop off of sound and near silence before the screeching feedback that starts at 8:39 with a blistering hardcore song that sounds unlike anything before. There’s heavy fast riffing with a pause and a big scream before resuming.  At 11:50, warping sounds and a thundering drum compete with a really fast riff which sounds like the first part of “e.”  At 13:05 song 2 from “e” begins–short, fast and loud.  Then at 13:51 comes track 4 from “e” (there’s no track 3) with the buzzsaw opening. At 15.21 there’s some backwards recording which eventually becomes the guitar solo that ended “v,” although this time it’s just under 3 minutes long.

Track 4 is “n.”  Perhaps it’s the “noise version” as there are no words.    It’s 17:59 and is a noisy composition of drone and feedback.  There’s some heavy chords and some quieter moments.  The high soaring notes seem to fit in very nicely with the sludgy bottom parts.  About half way through it turns into a fast, heavy hardcoreish track with a lot of drums, but buried under a wall of feedback and distortion.

[READ: November 12, 2020] The Little Buddhist Monk

The Little Buddhist Monk (written 2005) has been bundled with The Proof (written 1989) into one book.  Both stories were translated by Nick Caistor.

The Little Buddhist Monk is an absolutely bizarre, borderline stream of consciousness story.  It jumps from topic to topic like a fever dream and resolves itself in an even more unexpected way.

The story opens with us meeting the little monk who would very much like to leave Korea (where he was born and where he studied). But he has no money and no reasonable expectation for ever emigrating.  

Then one day a French photographer, Napoleon Chirac, and his wife Jacqueline Bloodymary (!) happened in his path.  They were on vacation and spoke French to each other.  The monk knew French and joined in the conversation.  They were delighted to meet a fellow French speaker in such a foreign land.  He imagined that they could be his ticket out of Korea.  So he decided to help them throughout the day.

They talk a lot about art.  Napoleon photographs empty rooms with a 360 degree camera and then splices it together as one image.  He has traveled the world filming places and he is looking to do a Korean monastery.  What luck, the monk can take them to a good one. (more…)

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SOUNDTRACK: THE ROOTS feat. JILL SCOTT-“You Got Me” (1999).

I’ve wanted to listen to more from The Roots ever since I was exposed to them on Late Night with Jimmy Fallon.  But as typically happens, I’m listening to other things instead.  So this seemed like a good opportunity to check them out (based on Samantha Irby’s rave below).

One of the best things about this recording (and The Roots in general) is Questlove’s drumming.  In addition to his being a terrific drummer, his drums sound amazing in this live setting.

Erykah Badu sings on the album but Jill Scott (Jilly from Philly) who wrote the part, sings here.

It starts out quietly with just a twinkling keyboard and Scott’s rough but pretty voice.  Then comes the main rapping verses from Black Thought.  I love the way Scott sings backing vocals on the verses and Black Thought adds backing vocals to the chorus.

Midway through the song, it shifts gears and gets a little more funky.  Around five minutes, the band does some serious jamming.  Jill Scott does some vocal bits, the turntablist goes a little wild with the scratching and Questlove is on fire.

Then things slow down for Scott to show off her amazing voice in a quiet solo-ish section.  This song shows off how great both The Roots and Jill Scott are.  Time to dig deeper.

[READ: November 1, 2020] Wow, no thank you.

This book kept popping up on various recommended lists.  The bunny on the cover was pretty adorable, so I thought I’d check it out. I’d never heard of Samantha Irby before this, but the title and the blurbs made this sound really funny.

And some of it is really funny. Irby is self-deprecating and seems to be full of self-loathing, but she puts a humorous spin on it all.  She also has Crohn’s disease and terribly irritable bowels–there’s lots of talk about poo in this book.

Irby had a pretty miserable upbringing.  Many of the essays detail this upbringing.  She also has low self-esteem and many of the essays detail that.  She also doesn’t take care of herself at all and she writes about that.  She also doesn’t really want much to do with children or dogs.  And yet somehow she is married to a woman with children.

From what some of these essays say, it sounds like she is married to this woman yet somehow lives an entirely separate life from the rest of the house.  It’s all rather puzzling, although I suppose if you are already a fan, you may know many of the details already. (more…)

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  SOUNDTRACK: PRIMUS-“The Devil Went Down to Georgia” (1996).

I’m not sure who the first band to cover this fantastic  Charlie Daniels Band song was, but Primus probably had the largest profile when they released it–even if they credited themselves as Festus Clamrod and The El Sobrante Twangers.

The song came with an excellent animated video.  Unfortunately, it was only ever available with the video.  It was eventually released on the vinyl reissue of Rhinoplasty, but you still can’t stream it on Spotify.

Which is a shame because it’s a real hoot.

Les Claypool excels at the story-song, so him narrating the story works perfectly (it’s just him and the drums for the verses).  Mark “Merv” haggard does a perfect young Johnny voice and Brian Kehoe is the great growly devil.

There’s some excellent fiddle work throughout the song (nothing deviating too much from the original,but played perfectly).  The violin is credited to Violina Mysteriosa (um thanks?).

It’s got some slide guitar (from Merv), but when the middle bridge come in it’s got lots of Primus-oddball guitar but the melody is spot on and Les’ voice has a delightful country twang to it.

When the band of demons joins in, the song goes bonkers with some weirdo guitar twanging from Ler and some noisy distorted bass from Les.  It sounds great, although I do miss the actual band of demons song which I’ve always thought totally kicked butt.

When Johnny starts playing, it’s all violin and Les stompin’ until the band joins in compete with a one-two bass and some slightly improv violin (in addition to the actual melody).

It’s a fun version of the song–not deviating too much from the original, but clearly Primus’ own.

[READ: November 3, 2020] The Big Break

I have really enjoyed everything that Mark Tatulli has written.  He’s a bit off my radar though, so I wasn’t aware of this full length graphic novel (or his previous one Short & Skinny).

This book is about two seventh grade boys, Andrew and Russ.  They have been friends for years and have done everything together.  Right now their project is to make a short film for The New Jersey Middle Grade Movie Viral Video Contest.

They have the perfect concept: The Jersey Devil!

Now, being from New Jersey, I found this concept to be wonderful.  I grew up hearing rumors about the Jersey Devil (even though I am hours from its haunting grounds).  Tatulli grew up in NJ as well, and he was obsessed with the devil (he lived closer to the PIne Barrens, I believe).

Their movie is a half-true / half-fictionalized account of their attempts to find the Jersey Devil.  It’s a kind of Blair Witch Project for middle schoolers.  Of course, they don’t have a Jersey Devil to film and their Play Doh monster is pretty lame.  But the rest of the film is really good.  They just need a good ending and they are on their way to becoming filmmakers–this will be their big break! (more…)

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