Feeds:
Posts
Comments

Archive for the ‘Funny (ha ha)’ Category

SOUNDTRACK: MOGWAI-5 Track Tour Single (2001).

I usually am able to track provenance of my discs pretty well, but this one I am only largely certain came from my friend Lar (sorry Lar, the memory is not what it used to be).  But where else would I have gotten a CD from a Mogwai show if I’ve never seen them live?

This promotional bauble is a delightful collection of 5 songs (duh).  The first three are studio recordings that were pretty much unavailable elsewhere (I read some sit that explained where you could’ve gotten them beforehand, but let’s just say unavailable).  And the live tracks were also unreleased.

The three studio tracks, “Close Encounters,” “Drum Machine” and “D to E” are very pretty, rather delicate instrumentals.  I would say that they are uncharacteristic of Mogwai, except that Rock Action was a pretty mellow album.  Nevertheless, even for Mogwai these are especially mellow and pretty.

The final two tracks are live: “You Don’t Know Jesus” is from Rock Action, and this live version is a bit more dramatic than the album release.  The final track is the amazing “New Paths to Helicon (Part II),” a song which never suffers from a lack of drama.

This is a pretty great tour artifact.

[READ: May 30, 2011] “Trade”

I was a little skeptical of this Simon Rich piece because I find that sports metaphors don’t always pan out, especially for a (somewhat) longish comedy piece.  But Rich manages to make the whole thing not only funny but also fit within the confines of the metaphor.

For this is the story of a breakup told as if it were a baseball trade.

Josh is traded by his girlfriend Kate.  He is devastated; he thought he was doing very well on her team.  But when he speaks with his brother Craig (who offers condolences and a trade story of his own), he realizes that his relationship numbers were not up to stuff.   But Josh is really devastated when he finds out who he was traded for (when he meets the man to exchange Kate’s apartment keys). (more…)

Read Full Post »

SOUNDTRACK: TEENAGE FANCLUB-Shadows (2010).

Back in the 90s, Teenage Fanclub released a few noisy, feedbacky records that were quintessential 90s alt rock.

Since then they have mellowed considerably, and this album is one of their most mellow to date. Usually for me this kind of mellowing is a sign that I’m done with a band; however, Teenage Fanclub’s songwriting gets better with every disc.  And these folky tracks are all fantastic.

What’s neat about the arrangement of the album is that each of the three members of the band writes four songs.  They are collated so that you cycle through each singer before repeating. You get maximum diversity–and it’s easy to tell which songwriter is your favorite.

The opening two songs, “Sometimes I Don’t Need to Believe in Anything” and “Baby Lee” are two wonderful upbeat pop confections.  They sound very different and yet both are infused with wonderful pop chops.

It seems that Blake is my favorite songwriter on this disc. He did “Baby Lee”, “Dark Clouds” (a pretty piano based number) and by far the prettiest song on the disc “When I Still Have Thee.”  It’s an amazingly catchy folk song that sounds timeless (and even has the great couplet: “The Rolling Stones wrote a song for me/It’s a minor song in a major key.”

That’s not to dismiss the other songwriters at all.  In fact, hearing their different takes on pop music is really pretty amazing.  It’s a shame that it takes them so long to put albums out (about 5 years these days).

[READ: June 10, 2011] Five Dials Number 9

Five Dials Number 8, The Paris Issue, was pretty big (45 pages), but it had a lot of pictures.  Five Dials Number 9 is also pretty big (41 pages) and it’s (almost) all text.  For this is the Fiction Issue, and there are a lot of short stories in here.

CRAIG TAYLOR-A Letter from the Editor: On ‘Summer Reading’ and Fiction Issues.
Since most of what I talk about in the introduction to these posts is covered in Taylor’s Letter from the Editor, I figured I’d switch formats and start talking about his letter right away.  In this letter, Taylor talks about the serious pitfalls of  ‘Summer Reading’: We pledge to read mammoth books over the summer, but really we never finish War and Peace over the summer, do we? (except those of us who finished Infinite Summer, am I right?).  And so, this Fiction Issue was released in December (finally, a date is given to a Five Dials!).  Taylor briefly talks about all of the authors who contributed (including a pat on the back to Five Dials for securing the rights to a Philip Roth contribution in its first year of publication).  He also talks about the essay from David Shields that is decidedly anti-fiction.   And the final note is that Taylor’s own father has a piece in this issue (nepotism is alive and well!) (more…)

Read Full Post »

SOUNDTRACKDUNGEN -Skit I Allt (2010).

I’ve enjoyed every Dungen release that I’ve bought and this one is no exception.  Although I will admit that the other ones grabbed me a bit more (there are some amazing songs on earlier discs).  This one is a bit more sedate in general; perhaps this is Dungen’s ballad album.

It opens with “Vara Snabb,” an instrumental with lots of flute (!).  While  “Mid Edna Vän” is a gentle ballad (Gustav Ejstes’ voice is very nice: soft and delicate”).  “Brallor” is a duet with Anna Järvinen–her voice is haunting and beautiful.

“Soda” is another delicate ballad.  It opens with some loud drumming but quickly settles into a very gently sung song.  “Hogdalstoopen” opens with a quiet piano and slowly morphs into a noisy instrumental with an expansive, wailing guitar solo–the kind of which attracted me to Dungen in the first place.  It devolves into some chaotic noise, which is fun and works as a cathartic moment on this mstly quiet disc.

“Skit I Allt” is a pretty standard rock song (very 70s sounding).  And “Blandband” is a catchy piano number with a tone that reminds me of Peanuts, but which concludes with another trippy flute solo.  The last two songs return to the mellow quality of the earlier tracks and “Marken låg stilla” ends the disc with a super catchy chorus.

As I said, compared to their earlier discs which highlighted Ejstes’ firework-like guitar playing, this one shows the bands’ softer side.  It works as a nice companion piece (and still shows off the band’s instrumental chops).

Here’s your quick Swedish translation guide: Dungen (“the grove”), “Vara snabb” (“Being quick”) “Min enda vän” (“My only friend”) “Brallor” (“Pants”) “Skit i allt” (“Fuck it all”) “Barnen undrar” (“The children are wondering”) “Blandband” (“Mixtape”) Nästa sommar” (“Next summer”) “Marken låg stilla” (“The ground lay still”)

[READ: May 23, 2011] “What Animal Are You?”

Etgar Keret was recently in McSweeney’s 37 (I really liked his story).  This short piece is from his forthcoming book, and if they are all unusual like this I would be very excited to read it.

This story seems so much like non-fiction, that I can’t really decide what, if anything, has really happened to him already.  As the story opens, the narrator explains that he is writing for German Public Television.  Literally.  A reporter from GPT is in the room with him right now.  They are filming him for a show and need him to be “writing.”

He tries to fake it, but she says that it will look bad on TV.  So she insists that he write something for real, perhaps about her being there and how it makes him feel to be under pressure like this.  And so he begins writing.  Then his son comes home and gives him a big hug (he’s used to performing for cameras) but his wife (when she arrives) seems far more unnatural on camera–and will probably be cut.

The title comes from a phrase that his son (who is 4) says.  He sits on the stairs and asks everyone who walks by, “What kind of animal are you?”  The narrator reflects on how people respond to him: his wife, some random people who the boy encounters and, ultimately, the reporter.

The whole piece feels like several different snippets, and yet Keret ties them all together very nicely.  And it’s funny too.

It was translated by Miriam Schlesinger.

Read Full Post »

SOUNDTRACK: RICHARD THOMPSON World Cafe Live, September 5, 2005 (2005).

World Cafe love Richard Thompson.  And this set from 2005 seems to have RT playing more than they actually air.  I say that in part because I have no idea how the World Cafe shows work.  Do they just play three or four songs?  The sets where they play in the studio between interviews sure makes it seem that way.  But this set is clearly Richard being interviewed after a performance.  So who knows how many songs he played.

5 songs make this download.  Two of them come from his (then) new album Front Parlour Ballads (“Let It Blow” & “The Thames Side”).  There’s one “brand new” song, which doesn’t appear anywhere as far as I can tell called “Hots for the Smarts” which is one of RT’s great funny clever songs (the lyrics are all very smart things).

The final two songs are classics: “Hokey Pokey” (where’d he pull that one out of?) and “1952 Vincent Black Lightning” (which always sounds great).

RT has hundreds of great songs, so it’s impossible to winnow down to a great set (especially one that’s just five songs long) but this set (which is just him solo) sounds really great and is worth hearing for any RT fan.

[READ:April 8, 2011] “Tom Cruise at Lake Vostok”

This is a very short story that I feel is hindered by the title.  Sure, the title is a major grabber, but it’s also a spoiler.

The story is set at the Vostok Station in Antarctica.  Scientists are doing an amazing amount of research in all manner of departments.  The protagonist is there to study Europa, Jupiter’s sixth moon; meanwhile, a Russian scientist is there to study under the ice (she has a cryobot and all kinds of cool things that burrow through the thick layer of ice).

There are many other scientists at the Station, but since it take a full month to reach Vostok by tractor train, many of them have nothing to do but wait for their ride back.  In the meantime, there is gossip about everyone there–especially the protagonist and the Russian woman who seem so antagonistic towards each other that everyone suspects they’re having an affair.

Then she uncovers an artifact that is so amazing she has to talk to someone about it.  So she calls him on his walkie-talkie.  And this is where the spoiler happens. (more…)

Read Full Post »

ATTENDED: WEIRD AL YANKOVIC-Live at the State Theater, New Brunswick, NJ May 19, 2011 (2011).

I’ve seen “Weird Al” live three times now and I have never been disappointed by the show.  The first year my friend Matt and I waited out by the bus and got the bands’ (minus Al’s) autograph.  The second time we waited even longer and Al had an autograph (and picture taking) session in the theater after the show (how cool is that?).

This year, Sarah and I didn’t wait around afterwards (kids at home) but the show was still great.  Al made a joke after the first song thanking his opening act, Technical Difficulties. (There were indeed 45 minutes of technical difficulties before the show, but Al’s joke made us quickly forget it–and, kudos to the State Theater: I ordered my tickets online from their site and the day after the concert, the theater owner sent an email apologizing for the delay. Classy!).

Sarah had never seen him perform before, so she was pleasantly surprised by the set selection.  I was also surprised by the set selection because he pulled out a few older, more obscure tracks (“Frank’s 2000″ TV” (!), “You Don’t Love Me Any More”–complete with Al smashing a guitar!).  But he also dazzled with some new tracks from his forthcoming album.

The set opened with the polka medley (“Polka Face”).  This is the first polka medley that I didn’t know any (well almost any) of the sped up songs, but it’s always a treat to watch them play it live.  The one complaint with the show was that the sound in the theater wasn’t very good (which is surprising given that it’s an old theater) so it was hard to make out a lot of the words, especially to the new songs–and what’s Al without the lyrics?).  But his new song “I Perform This Way” (parody of Lady Gaga’s “I Was Born This Way”) was fantastic (Al was dressed up like a cartoon peacock).

Yes, costume changes.  One of the most entertaining things about Al’s shows is the costume changes.  For all of his big video hits, he comes out dressed like the video (the band does as well, although it’s a bit more subtle).  So, we get the Amish garb in “Amish Paradise,” the Michael Jackson red jacket for “Eat It”–(another surprise) and, my personal favorite, the fat suit from “Fat.”  One of the funniest costume changes was for a song that will sadly not be released on the album (but you can hear and download it here), “You’re Pitiful,” in which he wore multiple T-shirts (about 5) which all expressed some kind of funny comment (anyone know who was the face on one of the shirts?) and finally ended in a Spongebob Squarepants shirts and tutu.

So how does he do all of these costume changes? In between songs, when the band runs offstage, they play wonderful video clips.  Some of the clips are from his TV shows, some are faux documentaries, and the best are interviews that Al splices together (you can see a whole bunch here) which are hilarious and surprisingly mean-spirited.  I wish he would release them (and any other AlTv segments) on DVD, but I imagine that no one would ever give permission for that–check out the Kevin Federline one, for instance.  But they’re all pretty great.

The crowd was also totally into it (including the guy behind us with an Al wig (and a Harvey the Wonder Hamster).  And the age range was fantastic–from kids to grandparents.  My only hope is that my kids are old enough to come to a concert next time he comes around.

Oh and a brief word about his band.  He’s had the same four guys with him for years and years and years.  Rubén Valtierra is the newest member of the band and he’s been with them since 1991.  Jim West (guitar), Steve Jay (Bass) and Jon “Bermuda” Schwartz (drums) have been with Al since 1980.  They are tight as a drum, can play incredibly diverse styles at the drop of a hat (check out “CNR” which sounds exactly like The White Stripes) and they all seem to have a lot of fun on stage (see them jump in the air on “Fat” or the crazy vocal-only solo at the end of “Yoda”

–which I think is longer than ever and totally mind-blowing).

[READ: May 21, 2011] This is a Book

I recently read Martin’s “This is Me” in the New Yorker. “This is Me” is, along with about 100 other things in This is a Book.  I also heard Demetri Martin on NPR a few Sundays ago and he read a few short things from This is a Book.  And they were quite funny.

Indeed, the funny things in this book are really very very funny.  It seems to work that the shorter the item, the bigger the laugh.  Conversely there are a number of longer, extended jokes which just go on and on, like a Saturday Night Live sketch that just won’t end.  Those quickly lose their humorous value.  Fortunately  there aren’t too many of those in here.

What makes me smile a lot about the book are the jokes he plays with book conventions.  So the title page says “This is a book by Demetri Martin called This is a Book by Demetri Martin.”  Or the previous page:

Also by Demetri Martin

*

*Nothing yet.  This is his first book.

The book opens with “How to Read this Book.”

If you’re reading this sentence then you’ve pretty much got it.  Good job.  Just keep going the way you are.

I’m not going to spoil the rest of the book (or talk about each piece).  But I will mention some real highlights: (more…)

Read Full Post »

SOUNDTRACK: PEARL JAM-East Rutherford, NJ 6.3.06 (2006).

This concert was a free download with the purchase of Backspacer. I chose this because this is the show that I should have gone to.  [How many concerts have I seen at the Meadowlands–or whatever it is called now?].  Not to mention, this is the last concert date of the first leg of the tour, and the last concerts are usually a little longer, a little wilder, a little more fun.

And there’s a number of reasons why this is true during this show.

The first is the technical flaw.  Midway through their fifth song, “Animal” there is some kind of power failure (the flaw with audio from concerts is that you have no idea what’s really going on).  The song shuts down, there’s some crowd chanting and then the power comes back on.  This gives Eddie Vedder a chance to make a Springsteen joke (did he leave for tour without paying the electric bill) and the band resumes, even more intense than before.

There are a number of Springsteen moments during the show.  They thank him for introducing them to the Community Food Bank of New Jersey–where proceeds from this night’s show go).  Later, Eddie’s explains that his failure to figure out the chords to Springsteen’s “Atlantic City” led to his creating the song “Gone”.  And Eddie’s “Pre-Opener” (sadly not on the download, but you can hear it here) is a cover of Springsteen’s “No Surrender.”

Springsteen aside, this is a great show.  The download is three discs long (the first disc is 25 minutes or so and comprises the audio from up to the power failure).  But even with the confusion, the band sounds wonderful.  They run through all kinds of songs from throughout their career, “Even Flow,” “Alive,” “Why Go,” “Black,” “Porch,” and “Garden” from Ten.  “Animal,” “Rats” and “Leash” from Vs. “Last Exit,” “Whipping” and “Corduroy” from Vitalogy, “Habit” and “Lukin” from No Code, “In Hiding” from Yield. “Love Boat Captain” and “I am Mine” from Riot Act, and about half of the songs from Pearl Jam.  There’s also a whole bunch of songs from Lost Dogs: “Hard to Imagine,” “Yellow Ledbetter,” “Last Kiss” and “Don’t Gimme No Lip” and even “State of Love and Trust” and “Crazy Mary.”

The show is a pretty rocking show overall.  In fact, as you can see above they don’t even play their more crowd pleasing ballads (“Betterman,” “Daughter”).  And the set in no way suffers from it.

This show also has a special guest and a special announcement.  Vedder explains that June 3 is West Memphis 3 Recognition Day.  Wikipedia says The WM3 are three teenagers who were tried and convicted of the murders of three little boys in West Memphis, Arkansas in 1993 by a prosecution team that put forth the idea that the only purported motive in the case was that the slayings were part of a Satanic ritual. In July 2007, new forensic evidence was presented in the case, including evidence that none of the DNA collected at the crime scene matched the defendants, but did match Terry Hobbs, the stepfather of one of the victims, along with DNA from a friend of Hobbs’ whom he had been with on the day of the murders.

The WM3.org site shows that many musicians are behind them, offering support and free music.   A new trial date has been tentatively set for October 2011.  If they are found not guilty they would have spent eighteen years in jail for nothing.  Damien Echols (who was sentenced to death) co wrote “Army Reserve” with Vedder, and Echols’ wife says a few words on stage.

Another great moment comes in “Crazy Mary” when Boom Gaspar and Mike McCready have a kind of dueling organ vs guitar solo.   It goes on for several minutes and Gaspar’s Hammond sounds great.  Later in the show, Vedder toasts the crowd for being great.  It may also be the only toast to incorporate the phrase “fucking assholes” (as in if people don’t think you were amazing, they’re fucking assholes).

One of the great things about Pearl Jam shows is that they pack a lot of music into them.  I was especially mindful that when they came out for their second encore, they played nine more songs for about 30 minutes.  Not a bad encore at all.

This is a great set if you’re looking for live Pearl Jam.

[READ: May 24, 2011] Breakfast of Champions

I read this whole book during my trip to BEA.  I read it while on the bus (two and a half hours total) and then while waiting on line for various author signings.  I don’t know that I’ve ever read a book in such a short period before.  It’s not a long book by any means and it is full of illustrations (more on that later).  It was an ideal book to choose for a day of book reading.

So the novel is actually set up as a story within a story.  The Preface explains that the story is written by Philboyd Stuge (Vonnegut has a lot of fun with names).  It explains that “Breakfast of Champions” is a trademark of General Mills and he is neither  associated with GM nor disparaging them by using the phrase so much (it doesn’t occur frequently until much later in the book).  Stuge explains some of the background information about ideas in the book (that people are actually robots and how Armistice Day was a better name for the holiday than Veterans’ Day).  He also explains that he is writing this book as a 50th birthday present to himself (Vonnegut was born in 1922).  And for his 50th birthday, he is going to act childishly and draw illustrations in the book.  So I found this picture from the novel

That may give you an idea of what to expect inside (although most of the illustrations are “better” than that one).

What is especially helpful about the story is that it tells you what will happen as it goes along.  So the novel starts:

This is a tale of a meeting of two lonesome, skinny, fairly old white men on a planet which was dying fast.

One of them was a science fiction writer named Kilgore Trout.  He was a nobody at the time, and he supposed his life was over.  He was mistaken.  As a consequence of the meeting, he became one of the most beloved and respected human beings in history.

The man he met was an automobile dealer, a Pontiac dealer named Dwayne Hoover.  Dwayne Hoover was on the brink of going insane.

And that is literally the story.  So why is the book 297 pages long then?  Vonnegut is really out to talk about contemporary society:  America mostly, but not exclusively.  And does he ever. (more…)

Read Full Post »

SOUNDTRACK: THE AMOEBA PEOPLE-“Cosmology, Your Futon and You” (2010).

I found out about The Amoeba People from the Kids Corner Top Ten Songs of 2010 list (this was number one).

The Amoeba People are a fun, weird kids band who write clever, often science-based songs.  This song has a wonderful bass line that opens the song.  There’s suitably weird space sounds (theremin) and a nice choral chorus).

Lyrically it’s a distorted spoken story full of clever word play.  It features a whole lot of facts about outer space (and jokes about futons).   And while you won’t get all the lyrics on the first try, it rewards repeated listens.

You can hear the track here.

[READ: April 16, 2011] Babymouse: Our Hero

This is the second Babymouse book (nope, I’m not reading these in order, which goes against a lot of my neuroses, but I think I can handle it).

As this story opens, Babymouse oversleeps and misses her bus.  And right from the start the fantasy/dream sequence kicks in.  The voices that try to wake her are not her bratty sister, but her adoring fans!  And when she misses the bus, the walk to school is really a trudge through the desert…will she survive???

It’s all quite funny, especially the “voiceover” which she can obviously hear, and with which she argues from time to time. (more…)

Read Full Post »

SOUNDTRACKMETRIC-Fantasies (2009).

I was hooked by the song “Gold Guns Girls.”  I liked it so much, I bought the disc, and I was absolutely not disappointed.  This disc reminds me of all of the best things about late 90s alt rock (one of my favorite musical periods).  There are echoes of later period Lush, or of Garbage or some other slickly produced commercial alt-rock.

I’m led to understand that this disc would merit cries of sell-out from older fans (their earlier stuff it a bit rougher, I gather), and yes, this is a pretty commercial release, but I don’t mind.  The songs are all top-notch: great songwriting, catchy choruses, wonderful production.  And there’s something slightly uncommercial about the lyrics which I think is what keeps this album from being too slick for its own good.

I have listened to this disc dozens of times at this point and I never get tired of it.  And, there’s no reason why I shouldn’t go back and get some of their earlier releases too.

[READ: May 15, 2011] Fraud

I’ve seen Rakoff on the Daily Show, and his name has been cropping up in various places lately.  So I decided to read his actual published work to see what he was all about.

Fraud is his first book.  It is mostly funny, although it also dwells on serious matters by the end of the book.  In many ways Rakoff is like a slightly wilder, slightly edgier version of David Sedaris (the two have a long history of friendship and working together, so this may not be totally surprising).

I’m not going to compare him to Sedaris in any meaningful way, just to say that there are similarities of temperament and style; I don’t think either one of them is hilarious, but that I enjoy both of them and often laugh pretty hard at their material.

I’m also not going to review each essay in this book.  It seems to be constructed in a vague sort of narrative arc.  Well, actually, the second half of the book has the narrative arc (I suspect that the essays that were published previously were modified slightly and that the new essays allude to some of the incidents mentioned there.

The first few essays of the book are the funnier ones (insert joke about Woody Allen’s early funny movies here), and they stick more to the idea of Rakoff as a “Fraud.”  In them, Rakoff, a Canadian ex-pat (he’s from Toronto), somewhat neurotic, gay, New York Jew goes to different locations where he is an atypical person and then reports on them. (more…)

Read Full Post »

SOUNDTRACK: BROKEN BELLS Live at SXSW, March 17, 2010 (2010).

The only disappointing thing about this download from NPR’s All Songs Considered is that it consists of only three songs now.  I guess the band (or more likely the label) didn’t want the whole show streaming or downloadable, so they let us have three songs (the original show was ten).

But three is better than nothing.  The excerpt includes “The High Road,” “The Ghost Inside” and “October.”

The band sounds great in this setting.  I’m unclear just who all is playing live, but the page says that the live band is a six piece (with Danger Mouse jumping from drums to keyboards and back again).  They reproduce the songs very well, but at the same time they’re not just mimicking the album.

It’s a nice teaser to want to see them live.

[READ: April 4, 2011] “Bob Dylan Goes Tubing”

Today is Bob Dylan’s 70th birthday.  It’s not often that I get a story that coincides with a day quite so nicely.  Happy birthday, Bob.

This begins as a delightfully weird little story and develops into a strangely profound story about family and celebrity.

A family is renting a vacation home by Lake Sturgeon for the summer.  The mother notices a man on a raft who is floating towards them.  And she says that from a distance the guy looks like Bob Dylan, only older.  (He is older, her husband ponts out).

When the man gets closer, he reveals himself to indeed be Bob Dylan.  Well, he doesn’t reveal himself to be Dylan, he just is Dylan. And he accepts their hospitality and doesn’t make a fuss.  He thinks that he’s on a different lake (Lake Kashagawigamog), but he seems content where he is.

And that’s when their son Ryan, introduces him to the fun of tubing.

There is a lot of humor to the story (it was a National Magazine Award Nominee in the humor category), but it’s not a very funny story.  Obviously the premise of Bob Dylan tubing s quite funny, but as the story continues its proves itself to be not so funny.

For Dylan won’t leave. He stays in their house, and the family is basically paying for his food and cigarettes.  (Okay, that is quite funny).  He’s a good companion for the family (especially Ryan, whom he is teaching to play guitar), but he has never once offered to pay for anything.  (No even a cheque when he leaves?)

As the story and the summer draw to a close, some of Dylan’s loneliness is revealed.  And the story ends on a poignant yet positive note.

It’s really quite a nice story.  I wonder what won the Award that year.

It’s available here.

Read Full Post »

SOUNDTRACK: BROKEN SOCIAL SCENE-World Cafe March 2, 2006 (2006).

Broken Social Scene played at the World Cafe not long after their release of Broken Social Scene (their 3rd album).  This download is primarily an interview between World Cafe’s David Dye and BSS’s Kevin Drew & Brendan Canning, but there’s also three songs that the band played for the session (it’s impossible to know how many songs they played in total, because the songs were recorded prior to the interview–I’m not even sure how many members played live as they were never introduced.)

The songs sound interesting in this recording.  I haven’t listened to the album in a long time, so I don’t recall if these versions sound like the disc; however, these three tracks are fascinating for how quiet they seem to be, despite the fact that there are so many people in the session.  “Something for the Holidays” has at least one violin, a horn section, guitars and several vocalists, and yet it’s rather quiet.  Not mixed quiet mind you, but like everybody is whispering (even the horns).  It makes for an amazingly intimate session.

“Major Label Debut” is a bit more stripped down, but there are clearly a lot of people playing.  The final track, “Ibi Dreams of Pavement” really sounds like a Pavement song in the beginning.  The slightly out of tune violins work perfectly, and whoever is singing has a Stephen Malkmus thing down quite well.

The interview is fascinating (and quite lengthy).  They discuss the origins of the band, how fifteen people can play and tour together and the amazing success that so many of the individuals of the band have had (Feist, Metric etc).  There’s also an explanation about the origin of the title and the sounds of “Ibi Dreams of Pavement.”

It’s a good session and is certainly going to get me to listen to their discs again.

[READ: April 4, 2011] “The Counterpart”

This bizarre story can certainly be called Kafkaesque, if for no other reason than that the narrator, Aleksey, wakes up from a night of drinking to find out that his nose is gone.  Not torn off, not bloody, not broken, just gone.  His face is now flat with two holes for breathing.

This bizarre incident no doubt stems from his childhood hatred of his large Semitic nose (despite his being a Christian) and the years of abuse he received about it.  First he thinks his lover, Tatiana, is somehow responsible.  But when she comes over she is just as surprised as he.  Nevertheless, she is insistent that he must carry on as normal, for he must improve his lot (and thereby hers).

Because Aleksey is not faring so well (nose aside).  He has not been given tenure, his wife and child have left him and he is stuck translating poor Russian works into English.  Tatiana has set up a job interview for him and the interview is today.  But how can he go with no nose? (more…)

Read Full Post »

« Newer Posts - Older Posts »