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Archive for the ‘Friendship’ Category

SOUNDTRACK: JAMES ELKINGTON-“Black Moon” (from WILCOvered, UNCUT Magazine November 2019).

The November 2019 issue of UNCUT magazine had a cover story about Wilco.  It included a 17 track CD of bands covering Wilco (called WILcovered or WILCOvered).  I really enjoyed this collection and knew most of the artists on it already, so I’m going through the songs one at a time.

Elkington is the first person on this compilation I didn’t know.

He plays an absolutely gorgeous, complicated guitar melody to open the song.  I am mesmerized by how lovely it is.  It’s actually so much different from the original–which has a subdued guitar opening–that i didn’t recognize the song at first.

Elkington sings in a quiet, hushed voice through the verses which continue that beautiful guitar melody and add percussion.

When the chorus kicks in with organs and a great electric guitar slide it become catchy just like the original (possibly more so).  But as the chorus dissolves into the verse, the electric guitar soars throughout while the acoustic picked guitar resumes the beauty.

What a wonderful cover and what a fantastic guitar player.

[READ: February 15, 2020] The Hidden Witch

After finishing The Witch Boy, I was really happy to see that we also had the second book in this trilogy, The Hidden Witch.

This book picks up right where the last one left off, although this one includes a map of the area, so we can see how close Aster’s house is to the main town (and the school).

The book opens in with witchcraft class.  Aster is there with the girls (who are looking at him funny).  He is far behind but his Aunt Iris doesn’t seem too happy about the fact that he is in the class.

Aster’s grandmother agrees to teach him if he will help her.  Her special request is to try to save her brother Mikasi–the creature from the previous book who they have trapped.  She believes that because Aster also had an inkling for witchcraft that he could possibly speak to the Mikasi within the beast.

Then we switch to Sterling Junior High where Charlie is showing off that her leg is no longer broken.  But there’s  new girl in school now.  Her name is Ariel and she seems very dark–thick eyeliner, dark clothes, etc,

This is one more reason why I love this series so much.  Charlie walks up to Ariel and tries to talk to her.  Ariel says you don’t have to partner with me just cause you pity me or whatever.  And Charlie replies “I thought you looked cool.  I like your bracelets.” They immediately start chatting and Ariel admits that she is good at art.  She draws something and Charlie is very impressed.  And soon enough they are friends.  I loved that interaction and wish it was that easy in real life.  And maybe sometimes it is.

Later that night, Aster goes to Charlie’s house. Their friendship is out in the open–her dads like him and everything.  They talk about their day and have a family dinner (I love that Charlie has two dads, but it is not a plot point or an issue at all.  It just is).

Then we cut to Ariel’s house.  Ariel is in foster care (you can tell by how different she looks from the rest of the family).  Her “dad” is kind of jerk saying that if she can’t make it in this school, she may have to go back to the foster system (jeez).

Ariel complains that trouble finds her–none of the things that happened in the past were her fault.  But the whole time she is staring at the phone and getting angrier.

Charlie promised she would call that night but she hasn’t..  And by the time she is ready for bed, Ariel goes to her hideout and summons a Fetch which she sends to find Charlie and give her “a scare.”

The Fetch is basically a shadow that sneaks into Charlie’s room and burns her (or something) on the arm.  Charlie runs away and the creature follows.  She runs all the way to Aster’s house and when she crosses through the protection stones, the Fetch can’t follow.

Charlie finds Aster and with his grandmother’s help, he is able to heal her arm.  Then the grandmother looks through the eyestone and they an all see the Fetch.  The grandmother can’t determine who made the Fetch, but she does make a protection spell for Charlie.  As Charlie walks away, Aster agrees to help his grandmother wit her brother.

At school the net day, Ariel is making enemies and sends a Fetch to push the bullies around a bit.  She is also super frosty to Charlie.  That’s when Charlie realizes she forgot to call her and is very sorry.  When she says “You kind of hate me now,” Ariel is taken aback and promises not to hate her.

She asks why Charlie had a bad night.  Charlie says she dealt with whatever it was and Ariel says to herself that that’s never happened before.

The next day, Charlie and Ariel are studying together when Aster comes by to bring Charlie a bracelet of protection.  Ariel gets a little jealous of their friendship.  When Aster leaves, she says boys are mean.  Charlie says everyone can be mean sometimes.  Charlie says that even though she has friends, sometimes she thinks everyone got the message about how to act and she missed it.  That’s why she likes Ariel.

Ariel is offended “Because I don’t know how to act?”
Charlie replies, “Because you don’t think there’s a right way to act.  You’re just doing your thing.”

That night is Charlies basketball game.  Aster goes and on his way Sedge tags along.  Sedge admits he doesn’t want to shapeshift–he’s freaked out about it.  In fact, he thinks that normal school sounds pretty great.

At the game Aster sees that Fetch is helping Charlie in the game–fouling people and assisting with the ball. Charlie is devastated that she wasn’t as good as she thought she was.  But the more pressing concern is who was casting the Fetch.  That’s when she realizes it must be Ariel.

They confront Ariel and she says that Charlie is clearly a witch too–that’s why she wasn’t hurt by the Fetch.  But Aster says it was his family that helped Charlie.  And he wants to help Ariel as well–hes concerned for her because the Fetch could backfire on her.   Being angry all the time can really impact you–When people treat you like a monster you start to act like one.

Soon enough the Fetch attacks Ariel and she is rendered unconscious.

Aster and Charlie bring her to Aster’s house–the only place she can get help.

I loved the way the story was resolved and who it tied so nicely to the previous book.  I also enjoyed the way the story lines twisted together ta the end (no spoilers)

I’m looking forward to book three (which is out already)!

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SOUNDTRACK: JEN CLOHER-“Impossible Germany” (from WILCOvered, UNCUT Magazine November 2019).

The November 2019 issue of UNCUT magazine had a cover story about Wilco.  It included a 17 track CD of bands covering Wilco (called WILcovered or WILCOvered).  I really enjoyed this collection and knew most of the artists on it already, so I’m going through the songs one at a time.

Cloher takes on of my favorite Wilco songs and transforms it in a way that I quite like.  The song opens with some cool buzzing guitar sounds before the main melody resolves with some plinking guitars and keys.

When Cloher starts singing in her quiet, whispering voice, the song builds up a bit and grows really catchy (with cool sound effects swirling around).  The song is really mellow and catchy until the guitar solo in the middle which has a great echo on it as the song ramps up the speed.

I love that the song has picked up the pace and Cloher has vocally as well, although her delivery remains much the same–understated and cool.

It’s a great version.

[READ: February 15, 2020] The Witch Boy

My daughter has had this book for quite some time and she and S. both encouraged me to read it.  I didn’t put it off for any reason, it’s just that there were other things around first.

But boy did I love this story.

I love that it plays with gender roles but in the inverse of a lot of stories.  In this one the boy wants to do what the girls normally do.  And I liked that it’s not that the boys think what the girls do is too girly, it’s just that that is how it has always been done–boys do one thing and girls do another.  So it’s a nice twist on the gender role reversal story.  Plus the story is unyieldingly positive.

We open on a group of young girls learning witchcraft.  I love that they are speaking in runes and that (I assume) Osterberg made up all the symbols?  Or maybe they are classic witchcraft symbols?

Then we see that Aster is in the tree above them eavesdropping.  He is yelled at and told the girls are leaning secrets that he is not privy to.  His mother tries to calm him by saying the magic is not for him, but he insists that he wants to learn it.  But his role, like all the boys, is to learn to shapeshift (I’m glad they each have a cool skill, at least).  But he’s not interested in shapeshifting.  He wants to cast spells.

Then we learn why the gender roles are separated.  Aster’s grandmother had a twin, Mikasi.  Mikasi wanted to learn magic and he eavesdropped as well.  But the spells poisoned him and he lost control.  A darkness came over him, people were hurt and he was cast out. (more…)

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SOUNDTRACK: YOLA-Tiny Desk Concert #934 (January 17, 2020).

Yola was just nominated for a Grammy for best new artist.  And it does seem like she just came out of nowhere.  But she has been making music for a least a decade (with the band Phantom Limb) and was singing backing vocals for bands like Massive Attack before that.  She finally went on her own a few years ago and then released her Dan Auerbach-produced debut album last year.

This Tiny Desk features Yola singing three songs from that debut album and wow, what a voice she has.

With her bouncy Afro and a big smile, Yola’s presence behind the Tiny Desk was commanding, her energy captivating and, oh, that voice!

I had the exact same reaction as Bob Boilen:

I assumed her background was as a southern gospel singer, until she spoke. Her British accent was a shocker.

She’s very funny between songs as she chugs water and then jokes how she puts it here and it comes out here (on her forehead).

Yola’s affection for American music, from Dolly Parton to Aretha Franklin, is at the center of her character and expression. It’s likely one of the reasons she chose to write and record her debut album, Walk Through Fire, at Dan Auerbach’s Easy Eye Sound Studio in Nashville, and why it was such a perfect fit for her.

The second song, “”I Don’t Wanna Lie” is a “newie” and it is my favorite song of hers.  I absolutely love the chorus–so catchy and powerful.  It’s a shame it’s only on the deluxe version of her album.  Instead of piano, the keys are a great organ sound and the main riff on bass (from Taylor Zachry) and the great guitar licks (from Andy Stack) make this song a great soulful rocker.

For the last song, “It Ain’t Easier,” she picks up the acoustic guitar and is accompanied by slow guitar lines and that cool organ sound.  Drummer Jamie Dick is using brushes to emphasize the gentleness of this song.

I’m not sure what it takes to get someone to go from backing and guest vocalist to making a way for herself.

Now this singer from Bristol, who once sang for Massive Attack, and sampled by Iggy Azalea and The Chemical Brothers, is front-and-center.

But it was a great decision.

[READ: January 23, 2020] Giant Days Vol. 8

In this book, friendships are fractured and the future of our trip is in doubt!

As Chapter 29 opens we see Esther looking fabulously academic as she heads to her Romantic Lit class. She is the star of the class and always has the right answer. Until today.  McGraw’s ex-girlfriend Emilia has just started taking the class and as Esther rants “It’s not fair to sing that good, look that good, and think that good.”

Meanwhile Ed Gemmell is trying out a new look–overalls and a braid and, boy howdy, Daisy does not like it.  She asks, “Are you ‘fine’ because you joined a cult and they’taken away your pain?”  He says he’s tried so many things but girls are not interested in him.  Daisy sets him up with her friend Kathy with whom he should have lots in common.  She’s geeky and sexy!  But when she tries to move things forward he demurs.  Daisy is furious, “she could not have been any more your type if she’d been the result of a lab experiment to create the perfect Gemmell mate in one of those nightmare sci-fi shows you both like so well.”

The Esther/Emilia issue resolves itself at a literature professor’s soiree.  When one of the teachers gets handsy with Esther. It is Emilia who is there to help her out. (more…)

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[LISTENED TO: August 2019] The Schwa Was Here

I know about Neal Shusterman because Sarah really loved his Arc of a Scythe series.  I love the cover design of that series, but I haven’t read the books (yet).

I was looking for audio books for our summer vacation and found that Shusterman had written a lot of books before the series.  Including this one, The Schwa Was Here.

I have always loved the word “schwa.”  I never full understood it I just knew it was represented by the upside down e [like this: ǝ].  The epigram of the book actually explains a schwa pretty well.  So here’s the simple version:

The schwa sound is the most common vowel sound. A schwa sound occurs when a vowel does not make its long or short vowel sound.

I also had no idea that this was part a series until I looked it up.  The series is called the Antsy Bonano Novels.  Now I ‘m curious to see where this series goes.

I loved the audio book because Shusterman reads it in his greatest Brooklyn accent. And while the characters aren’t thoroughly diverse is voice, they are diverse enough to keep the characters straight.  But his accent is awesome.  And it’s relevant because Antsy is a Brooklyn boy through and through and he addresses the way they talk.

As soon as his brother says a bad word, their mother “hauls off and whacks him on the head in her own special way… ‘You watch your mout!’  Mom says ‘mout’ not ‘mouth.’  We got a problem here with the ‘th’ sound.”

They also have problems with vowels.  He is Anthony, but known as Antny (which became Antsy).  And, his family are Catlick. (more…)

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SOUNDTRACK: SHARON VAN ETTEN–“Do You Realize??” (2019).

Here’s yet another cover of a great song by an artist I like a lot.

Sharon Van Etten covered the Flaming Lips’ song for the final episode of the Amazon Series Gortimer Gibbon’s Life On Normal Street.  This show is quite outstanding.  It’s a kid’s show but it has a lot of really great ideas.  T. watched most of it although I think maybe she stopped before the end.

Sharon’s take on the song was

When I was asked to cover a Flaming Lips song for Gortimer Gibbons, I was really nervous. But when I watched the scene and heard from the people involved in the music, they really wanted to hear my interpretation of both the scene and the song.  The show is sweet and smart and family oriented—and that is really important to me.

I can’t exactly imagine how this song, which is simultaneously uplifting and depressing, fits into this show.   I imagine it’s a sad scene, but again I haven’t seen it.

The original of this grows bigger and bigger as the verses continue.  There’s backing vocals, swelling strings/keyboards and a really epic feel.

Sharon’s version pulls all of that back.

It opens with keyboards, but they are quiet and soft, almost like a harmonium or accordion.  As she sings she strums along on the acoustic guitar.  She sings the song mostly faithfully to the original, although she does occasionally alter the melody line a bit.  Just before the chorus, a quiet drum beat enters but that’s really it for changes in the song.

It’s really understated and lovely.  And although I prefer the original because it’s just so darn good, this is a beautiful cover which brings new elements to the song.

[READ: September 25, 2019] Glitch

Scholastic Graphix is pretty consistently one of my favorite publishers for really good children’s graphic novels.  The stories are for kids, for sure, but they are gripping and entertaining for adults as well.

Glitch has a great look and an even better story.

We open with two girls, Izzy and Eric, drooling over a new video game: Dungeon City.  Izzy’s copy of the game is arriving this weekend which means VIDEO GAME SLEEPOVER!  Better yet, Izzy’s parents are not at home, so it will be snacks and games and pizza all night long.

When Izzy gets home, her game is waiting for her.  And while she knows she should wait for the weekend, it couldn’t hurt to see what it looks like.  The graphics are amazing and within seconds, she is sucked into the TV and into the game.  Literally.  After orienting herself, she is greeted by a robot (which is, strangely, missing an eye).  The robot offers to rescue her and Izzy rightly points out that she doesn’t need rescuing.  However, she will accept guidance from the robot who is named Rae.  But when Rae asks to hold Izzy’s hand, Izzy refuses that as well. (more…)

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SOUNDTRACK: iLe-Tiny Desk Concert #874 (August 3, 2019).

It’s not very often that you hear a song that is all percussion.  But the first song of this set is only percussion and (Spanish) vocals.

iLe is a singer in the Puerto Rican band Calle 13.  Her most recent solo album Almadura:

is filled with metaphors and allegories about the political, social and economic conditions in Puerto Rico.

When vocalist Ileana Cabra Joglar and her band visited the Tiny Desk, they’d just arrived from the front lines of the historic demonstrations taking place in Puerto Rico. Two days earlier, they were part of a crowd of tens of thousands who were on the streets calling for the resignation of embattled Gov. Ricardo Rosselló. (Rosselló recently stepped down, effective August 2.)

Right from the start, it was clear what was on iLe’s mind in her song “Curandera” — “I am a healer / I don’t need candles to illuminate / I bring purifying water to cleanse / Removing pains so they never return” — as congas and percussion shook the room with an Afro-Caribbean beat.

This is the song in which all of the band members play percussion–primarily congas although Ismael Cancel is on the drum kit.  While everyone plays congas, it is Jeren Guzmán who is the most accomplished and who plays the fast conga “solo.”

In the chorus of the slow-burning “Contra Todo,” iLe sings about channeling inner strengths and frustrations to win battles and remake the world. Her lyrics are rich with history, capturing the spirit of the streets of San Juan even as she stood, eyes closed, behind the Tiny Desk. Her entire performance is a startling reflection of this moment in Puerto Rican history.

“Contra Todo” has a rich deep five string bass from Jonathan Gonzalez and two trombones (Joey Oyola and Nicolás Márquez). Two guitars (Bayoán Ríos and Adalberto Rosario) add a kind of percussive strumming and a quiet song-ending riff.  Jeren Guzmán plays the congas with mallets, something I’ve never seen before.

By the time iLe and her band launched into “Sin Masticar,” they’d already captured the full power of protest, as their musical arrangements raged with the intensity of a crowd joined by a shared cause and pulse.

“Sin Masticar” has a super catchy chorus, perhaps the best way to get people involved in a protest.

[READ: August 2019] Midnight Light

Two years ago Dave Bidini co-founded The West End Phoenix, a newspaper that is for people in Toronto’s West End.  It’s print, it’s old school, and it’s pretty awesome.  I don’t think I’ve ever been to the West End, but I find the writing and the content to be interesting and really enjoyable.

It’s no surprise that Bidini has worked in journalism and loved and hated it.

I’ve always loved newspaper: the smell of the ink and the rough of the newsprint weighted in my hands, their broadsheets flapping like Viking sails.  When I was a kid, our family read them all–the Globe and Mail, the Toronto Star, The Sun, and before that The Telegram–at the kitchen table with each person drawing out whatever they needed: comics, sports, business, entertainment (and yet never Wheels, the Star’s automotive supplement).

He started writing before he picked up a guitar.  When he was 11 he submitted a poem about a hockey player to The Sun‘s “Young Sun” section.  It was accepted and he won a T-shirt.

In 1991, he was asked to write a regular column for a Star satellite weekly called Metropolis.  The day his first piece was to be in print he waited at the nearest newsbox for the delivery man.

But he had no stamina and fewer ideas and he was eventually let go.  Which led to writing books.  But he still wanted to write for the paper and then he remembered: Hey, Yellowknife had a newspaper.

This book is about journalism.  But it’s also about the Canadian North.  And while the journalism stuff is interesting–and the way it ties to the North is interesting too, it’s the outsider’s perspective of this region of the world (that most people don’t even think about) which is just amazing to read about–the people, the landscape, the conditions.  It’s fascinating. (more…)

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SOUNDTRACK: KING GIZZARD AND THE LIZARD WIZARD-Gumboot Soup (2017).

At the beginning of 2017, KGATLW promised that the would release five albums in the year.  They released four and as the year drew to an end it looked like we might not get that promised fifth release.  And then on the last day of the year, Dec 31, they released Gumboot Soup.

Surely this one–squeezed in on the last day of the year–must be a mishmash of the crap that they didn’t put on their other records, right?  Or maybe acoustic versions of existing songs?  Or something equally lame?

Indeed, not.  For KGATLW are nothing if not full of ideas.

Their previous albums were thematic.  This one is certainly more of a collection of songs rather than an album.  And yet, this collection is not crap.  Mackenzie described thee album as a “place for us to put a lot of different ideas that we’re trying to experiment with in the song, rather than within the whole record. And for me, some of my favorite songs of the year are on [Gumboot]. It’s more song-oriented than album-oriented.”

So the album isn’t unified, but that diversity somehow makes it even more compelling.

“Beginner’s Luck” is a beautiful sweet delicate song.  The opening is quiet guitar and the clearest vocals yet from Stu.  It’s a dreamy, gentle song, as if they were influenced by the Mild High Club sessions to write a pretty, retro pop song.  There’s great bass on this song as well and I love that Ambrose adds some lead vocals to the chorus.  There’s some lovely flute and backing vocals.  As the song reaches its end it gets louder and more distorted with a wild wah wah guitar solo and the whole band joining in to rock.  This seems to mock the sweetness of the beginning.

It’s followed by “Greenhouse Heat Death” which reintroduces some microtonal melodies and a rumbling groove.  This song is an environmental song with Stu singing in his darker, distorted voice about the degradation of the Earth (from the Earth’s point of view–“my house has fried, all life has died”).

“Barefoot Desert” comes out of that darkness with a wonderfully bright song–flutes, some terrific bass lines, and Ambrose’s always-chipper vocals.  The riff is dynamite too.  There’s even a very Beatles-esque middle instrumental section before the song lopes off again.

“Muddy Water” is a really catchy fast-paced stomper with some call and response vocals (I love at the end when Ambrose starts singing “I prefer the muddy water” back to Stu).  The riffing is great and it all feels very reckless, like they (or we) can’t stop.  The introduction of (two) saxophones is pretty unusual and a nifty twist on their sound.

“Superposition” is a soft almost robotically smoothed out song.  Everything is high and floaty–the flute, the vocals, the bass.  It’s a pretty different sound for them, although they maintain the vocals-follow-the-musical-melody that they have perfected.  And then of course, they have to upend the pleasantness with some crazy skronking saxophone solos in the middle of the song.  But even those seem almost distant and like they are not exactly part of the song.

“Down the Sink” is a fantastic song that sounds very much unlike anything they’ve done before.  There’s some cool funk and 70s inflections on the riffs and sounds.  The chorus “the street is where people live, the street is where people die” has a fantastic 70s, almost blaxploitation, film soundtrack feel.   I’d love to hear them explore more of this sound.

“The Great Chain of Being” is one of the outright heaviest things they’re recorded, with big heavy riffs and growling vocals.  It’s a bit out of place on this record, but it rocks too wonderfully to complain about.  It clearly seems like it could have been on Murder of the Universe, but maybe they just enjoyed rocking out and wanted to write a new song.

“The Last Oasis” has a delightful cocktail lounge feel, with vibes, languid bass and Ambrose’s gentle vocals.   I love that it gets hazier and sounds more and more like it’s being submerged as the song goes on.  Meanwhile, “All is Known” returns to them microtonal sounds of Banana for the main riff and heft of this pumping song.

One of my favorite tracks is the delicate “I’m Sleeping In.”  I love the interesting and satisfying bass lines that runs through this gentle song about sleeping:

I know within my body
I need rest from muscle ache
I really need a break
So I’m sleepin’ in, in

There’s some quiet harmonica and a really compressed sound.  It seems like sleep will never come because of some random noises that come in to disrupt the chill feeling.  Although by the end, the tape slows down and sleep has finally won.  The disc ends with “The Wheel” a groovy psychedelic track with wavery keys and flute. It’s the least dynamic song on the record but it feels nicely stretched out and trippy.

So the track order definitely makes this feel like an odds and ends assortment.  I’m not sure if they could have made a heavy side and a trippy side, or if it’s just more fun to have this batch of oddments together in the soup of gumboot.

The good thing is there’s not a bad song on it and it really covers every imaginable style.

After five albums in year, the only thing to do was to release no records in 2018 and tour the world.  But 2019 suggests a new disc in on the horizon.  I can’t wait.

[READ: March 3, 2019] “The Arithmetic of Common Ground”

This story had an interesting conceit which I feel it didn’t fully follow through on.  It posits that children have commonalities and looks at what estimated percentage of those commonalities they need to have for friendships to work.  I enjoyed the way it seemed almost like a technical report in the beginning.

At the opening, we see a couple meeting.

Born within six months of one another, within the same medium-sized city, and of comparable socio-economic class, they automatically overlap somewhere between 33 to 35 percent. Make the city Calgary and make them both only children who—as a consequence of their solitudes—have both grown up somewhat unsociable and somewhat bookish. If both dutifully attended music lessons in guitar and piano to complement their school work, their common ground might go as high as 40 to 55 percent.

Despite being different by some 45 to 60 points, they share enough interests (musical) to meet, fall in love, get married and have a child: Benjamin.

But for group dynamics a simple Venn diagram does not suffice because each pairing is its own diagram.  The story proceeds to explore Benjamin and his friends. (more…)

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SOUNDTRACK: AARON LEE TASJAN-Tiny Desk Concert #817 (January 15, 2019).

Aaron Lee Tasjan and his band play wonderful retro-fueled jangle pop.  There’s terrific gentle harmonies, a chiming 12 string and a dual guitar solo.  He even looks the part

Aaron Lee Tasjan arrived at the Tiny Desk in his fashionable ascot and mustard-colored shirt, sporting reflective, red, rounded sunglasses and mutton chops. As he warmed up, the sound of the middle-and-late 1960s came through his seagreen, Gorsuch 12-string guitar while his voice felt both familiar and fresh.

Aaron Lee Tasjan’s love for this older sound infuses Karma For Cheap, his recent album, with an optimistic THC-veiled sentiment — one that can be heard on “Songbird,” his opening number here at the Tiny Desk. “There’s a songbird singing, I’m laying on the floor. Something feels right that has never felt right before.”

“Songbird” sounds familiar yet new, and wonderfully catchy.

He’s also got a good joke: “My name is Aaron Lee Tasjan. I hope I’m saying that right.”

For the next song he says the band will “boogaloo till they puke.”  It opens with a synth sound. more jangly guitars and even bigger harmonies.  It segues perfectly into the stomp of “Set You Free.”

These are songs of encouragement, and the final tune in this Tiny set, “Set You Free,” invokes that sentiment in plain-spoken language: “You gotta change your mind, you gotta plant the seed and let it set you free.”  All the while, drummer Seth Earnest, guitarist Brian Wright and bassist Tommy Scifres seemingly channeled their love of David Bowie’s 1972 song, “The Jean Genie” (a song mixed in Nashville), in its rhythms and vibes.

You can definitely hear “The Jean Genie” in the song, but never does it sound like he’s stealing from Bowie, just alluding to him–and that three-part harmony makes it all his own.  I love that both guitars play the solo at the end–atop even more harmonies.

This was such a delightful Tiny Desk that I need to find out more about this guy.

[READ: January 18, 2018] Peter & Ernesto

This is an adorable book, the first in a series, I believe, about Peter & Ernesto.  As the subtitle indicates, they are sloths.

The book opens with the pair sitting in a tree watching the clouds go by and naming the shapes.  When Ernesto sees a bear, Peter responds “Scary!” and then goes back to eating his hibiscus.

It is generally believed that sloths are lazy, but Ernesto points out that they are not lazy, just content.  Until, that is, Peter sings about how “We always see what we always see!  Nothing ever changes for you and me!”  And then Ernesto feels discontented.

Ernesto says he likes their piece of sky, but he wants to see all of the sky.  So he must take a trip.  Peter freaks out–there could be bears out there!  It’s too dangerous!  When Ernesto asks if Peter has ever been out there and Peter says no.  Ernesto points out, how would he know? (more…)

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SOUNDTRACKCŒUR DE PIRATE-Live at Massey Hall (July 8, 2014).

I known of Cœur de Pirate more from reputation than her music.  But everything I’ve heard I’ve enjoyed.  Cœur de Pirate is Beatrice Martin a Francophone singer from Montreal who sings almost entirely in French.  And yet despite that, she sells out to Anglophone audiences because her music is so darn catchy.

In the opening she notes that it’s crazy that she’s a French-speaking artists singing in french selling out a venue like Massey Hall.  She feels special and can’t wait to hear what it sounds like.

The first song is “Le Long du Large.”  She is playing piano with a great band behind her.  The song grooves along smoothly–it has a great catchy chorus with terrific backing vocals.  There’s an acoustic guitar (Renaud Bastien), a lead guitar (Emmanuel Éthier), bass (Alexandre Gauthier) and drums (Julien Blais).

On “Francis” it’s just her on piano.  The song has a very Regina Spektor vibe in her playing style and singing delivery.

“Ensemble” is bouncy and upbeat, just super fun.

Golden Baby” opens with a melody like “Come on Eileen” but as soon as the electric guitar soars over, it is a very different song.   I love that she sounds like she smiling throughout.

It surprised me that she did an encore so soon in the show, but there’s clearly a reason for that.

Before the encore, she plays “Adieu”  our “last song.”  Shes off the piano on this one, only singing.  It’s got a heavy rocking beat and guitar and it’s really great.

When she comes back for the encore she sits at the piano and asks “More songs?”

“Place de la République” starts as solo piano and it sounds lovely.  After a verse or so, they add a bowed bass and strummed acoustic guitar  which builds the songs nicely.  Half way through, drums come in to give it even more power.  It’s a terrific song.

She is quite sweet saying that “it makes no sense that a French Canadian girl could sell out Massey Hall…. just got to hold it together.”

She invites everyone to sing along. If you don’t know French, just pretend.  It works too.  This is the last song.  Make it fun make it magical.  She says that the song, “Comme des enfants” is being taught in French classes.  It was a huge hit and the audience sings part the last verse.  It’s a wonderful moment and always cool to see an artist overwhelmed by her fans base.

[READ: March 28, 2018] Cici’s Journal

The book (there are two books in this volume) opens with Cici talking about her journal.  We meet Cici and her mom.  We learn that Cici hangs out a lot with the neighbor Mrs Flores, a writer.  Her mom doesn’t love that she hangs out with am older lady, but Mrs Flores is pretty cool.

Cici’s two best friends are Lena and Erica  The pair knew each other since they were babies;  Cici moved to the neighborhood when they were all little.  They have been best friends ever since.

I give Carol Klio Burrell a real thumbs up on this translation. I didn’t realize that it was a translation until well into the second book.  But I didn’t love a few aspects of the story.  The problem here I think comes with the friends.  Lena is sweet and has the soul of an artist.  Meanwhile, Erica “complains constantly, but she has a good heart.”  That’s not a very complex or desirably character trait.  And that aspect of her comes out a lot in the second book, which is kind of annoying. (more…)

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SOUNDTRACK: MAX RICHTER-“Dream 3 (In The Midst Of My Life)” from Sleep– NPR’S SOUTH X LULLABY (March 17, 2018).

This piece is remarkable.  And the except provided here (all 8 minutes of it) is but a teeny fraction of the entire 8 hour work.

I had heard about this piece on Echoes a few months ago and was very interested in it, but figured there was no way I’d hear it.  I never imagined anyone would hear it quite like this:

Right at the start of the 2018 SXSW Music Festival, Max Richter’s eight-hour composition Sleep was performed overnight to an audience tucked into 150 beds. They — the audience, not the tireless group of musicians who performed the piece — slept, dreamed and sometimes snored through this trance-inducing experience.

Richter has described this piece: “Really, what I wanted to do is provide a landscape or a musical place where people could fall asleep.”

In the video here, you’ll see Richter himself on keyboards and electronics, along with the ACME string ensemble and soprano vocalist Grace Davidson.

What I loved about the story of this piece is not that it is a piece to sleep to exactly but that it is based around the neuroscience of sleep.  He says, “Sleep is an attempt to see how that space when your conscious mind is on holiday can be a place for music to live.”

It’s wonderful and I would love to sleep to it some night.

[READ: April 13, 2016] “Old Wounds”

I thought that I had read more by Edna O’Brien but it appears that I’ve read hardly anything by her.

This story was an interesting look at Irish stubborness and the way families can hate each other over small things (or even big things).

The narrator explains that her family had a falling out and for several years there was no communication at all between them.  Even when they attended funerals they did not acknowledge each other.

Finally all of the older people had died off and it was just her and her cousin Edward (both past middle age) they met and put aside the hostilities. They even visited the family graveyard together.  The graveyard was on an island a short boat ride from Edward’s house. (more…)

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