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Archive for the ‘Ghosts’ Category

SOUNDTRACK: CHRONIXX-Tiny Desk Concert #654 (September 27, 2017).

Chronixx and his band Zincfence Redemption paid a long-awaited visit to the Tiny Desk to perform three songs from his sophomore album, Chronology.

At a time when dancehall has been dominating the Jamaican soundscape, its refreshing to hear the man born Jamar McNaughton carrying the roots-revival torch for a younger generation and expanding upon the footprint left by his world-renowned predecessors.

This is especially true for roots reggae, whose staccato guitar licks, billowing bass, and sonic splashes on a canvas of negative space, are like salve for the soul. The mid-tempo pulse conjures up relaxed days on the beach, living amid nature’s unrestricted beauty.

I allowed the blurb to speak for me because I really don’t care for reggae.  Or I should say I like one or two songs but beyond that it’s all too samey to me.

But Chronixx adds some changes to the classic sound.

In “Skankin’ Sweet,” the tempo is faster than a lot of reggae so I like this a bit more.  Chronixx’s delivery is light and fluid.  I enjoy in the middle section that the percussionist Hector Lewis has time to dance before he gets back to the bongoes.

“Majesty” is a smoothy dancy song with a solid bass line from Adrian Henry and drums from Oliver Thompson.

On “Spanish Town Rockin'” percussionist  Lewis sings some delightful falsetto backing vocals. There’s a cool moment when one of the guitarists Stephen Coore or N’Namdi Robinson slides his finger up the next with a neat echo effect on it. This song is pretty extended and dancey and Chronixx does a little freestyle.  I can’t quite make out everything he says, but there’s a bit about “NPR session / Chronixx rasta mon / roll up the mad ribbon / and then he cracks up.  J. Evan Mason on the keys has done most of the melodies while the guitars played chords, but he gets a special little section during the outro of this song.

he hasn’t converted me to reggae, but it’s much more fun live than on record.

[READ: July 24, 2016] Amulet: Prince of the Elves

The book begins with Max as a young boy.  He is learning from his friend, an elf named Layra.  Then we meet Max’s dad.  Max’s dad is pretty intense and he wants Max to serve on the Guardian council “he will follow my path, not my father’s.”  Then we see that Max’s father does not like elves

When Max goes to Layra’s house, her parents have been put in jail and a headline reads “Elves declare war.”

Max runs to the prison, frees her parents and has the three of them get on a ship to freedom.  But as soon as they try to escape, the ship is blown up and all the passengers killed (this story is really dark).  Max is sentenced to prison for helping prisoners escape.  Soon enough Max escapes prison and the stone is trying to tell him what to do–“just give me complete control and I can keep you alive long enough to have your revenge.” (more…)

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SOUNDTRACK: STEVE MARTIN AND THE STEEP CANYON RANGERS-Tiny Desk Concert #653  (September 22, 2017).

Yes, that Steve Martin.

When I was a kid I used to listen to Steve Martin comedy records all the time, he often included a lot of banjo with his stand up.  He was good then, but he is pretty amazing now.

Throughout his 50-year career, one constant in Steve Martin’s life has been the banjo. It was a staple of his early standup shows and even fans who only wanted to laugh couldn’t help but marvel at his playing. Over the years, he’s continued to perform and record with country and bluegrass luminaries like Earl Scruggs, Dolly Parton, Vince Gill and others.

These days Martin is working on music full-time. He’s just released a stellar bluegrass album he recorded with The Steep Canyon Rangers called (perfectly) The Long-Awaited Album, a record filled with often hilarious story songs and world-class performances.

The band plays three songs and then an “encore.”  “So Familiar” starts as a banjo “solo” an impressive display of fingerprinting and string bending from Martin.  Then it settles into a traditional-sounding folk song with a lot of mandolin from Mike Guggino and fiddle from Nicky Sanders.  I pity Graham Sharp, the Rangers’ banjo player who clearly takes a back seat to Martin.

After the song, Martin says, they’re gonna tune for this next little song.  He says it’s tricky tuning indoors when there’s heat and air conditioning.  “It’s a scientific process  I could explain it to you but… [laughs].  The photons come in and they effect the positrons so that [points to himself] the moron can play.”  “All Night Long” features “our lead singer [and guitarist] Woody Platt.  It’s a pretty traditional song held down by the steady thump if Charles Humphrey’s bass.  The lyrics are sweet (“I only love you in the day and all night long”) and the harmonies are wonderful.  Martin plays the lead intro and a cool little outro.

“By the way, he asks, “who’s running NPR right now?”  He says the melody of “On the Water” came to him in a dream.  He woke up and recorded the melody so it probably sounds like “Oklahoma.”  The band starts with box rums and harmonics from the other banjo.  He messes up an says “Let’s start again.”  Steve turns on the drummer Mike Ashworth (who did nothing wrong and teases: “Yeah.  You screwed up so badly.  Try to get it right this time.”  Ashworth jokes, “Am i fired?  I’m scared.  Martin says, “I’m so glad someone else screwed up besides me.”

Platt leans over and says “How about ‘Caroline’ for an encore?”  Martin says, “This is not for the Tiny Desk.  I don;t think it’s suitable for the Tiny Desk.  It’s about a romance gone bad-looking back two years later.”   As the blurb says, the song is a “hilarious, first-person account of how not to handle a breakup.”  Martin delivers a funny story with a great catchy chorus.

I never got to see Steve Martin do standup, but I would love to see him do bluegrass.

[READ: June 24, 2016] Amulet: The Cloud Searchers

Book four opens with Emily dream-talking to the spirit in the stone.  It tells her that it can no longer be with her in Cielis and it gives her some warnings.

When she wakes up, Max is there to greet her and they are going to head off to the council.  But things aren’t very happy in Cielis.  Trellis and Luger are Elves, true, but even though they are vouched for, the residents still put them in jail for being the elf king’s son.  And none of the non-human creatures are allowed into the city proper.

So when Leon and the cats go looking for a bite to eat, they are not welcomed anywhere.  Until a girl named Aly sees the good in them and invites them into her restaurant (despite her parents protests).  Her parents say the guardian council will lock them up if they are caught. Leon say that the council invited them to help.  But the council is no longer what it once was.  And that’s when Aly reveals that the council is made up of the ghosts of dead people.  Her parents tell her to hush but she refuses to be silent any longer.

Until the rapping on the door makes them all hush. (more…)

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SOUNDTRACK: BOMBA ESTERO-Tiny Desk Concert #652 (September 22, 2017).

Band leaders Simon Mejia (bass/keys) and Liliana (Li) Saumet (lead vocals) have been consistent in their devotion and homage to Afro-Colombian music throughout their five albums, and steadfast in their fantastic mash-up of electronic music, creating a sonic signature that has become popular around the globe.

But you won’t hear that on this video.

What you’ll hear is the power of their songwriting and arranging with this stripped-down presentation— which helps remind us of why we fell for this band in the first place.

“So Yo” opens with some flute and cool synths.  I like the almost menacing quality those two notes have, Li raps in what seems a very fast delivery and then the chorus comes in and she sings with a beautiful voice.  The song is groovy with some cool guitar from Jose Castillo.  I like the way it reverts back and forth between rapping and singing and the constant presence of the flute from Efrain Cuadrado.  There’s a cool mix of defiance and dance in this song.

Before the second song “Somo Dos” she pushes a button on a device that says “come on people.”

During their performance, Bomba Estereo’s Simon Mejia (bass and keyboards) observed that it was the quietist the band has ever played; they rose to the occasion with an intense performance that reflects their earliest days working smaller venues in Colombia.

He says, “we’re like always boom boom boom.”

“Somos Dos” is an even groovier song with some nice low bass and gentle singing with some echoed guitars.  I really like the main riff and the picked riff in the verses.  Through both songs, the live drums from Andres Zea really bring an exciting element to these songs.

They only play the two songs and then it’s over far too quickly.

[READ: June 24, 2016] Amulet: The Cloud Searchers

As book three opens, we see the two Elves, Luger and Trellis.  But Trellis seems to have changed.  He is now angry with Luger who was once powerful and has been brought low.  And he is willing to stand up to his father–whether that makes him good now or not is something to be seen.

Meanwhile the father has called Gabilan, the assassin, and has sent him to kill his son, Prince Trellis.  And it seems that he has his sights set higher.

On to our heroes.  They are heading to a small town called Nautilus, the capital of Alledia.  For they are in search of an Airship.  Their ultimate goal is the (possible fictional) city of Cielis.    When they get to the bar where the pilots hang out (much to Emily’s mother’s dismay), they talk to a cat creature, Enzo, who has been looking for Cielis all of his life but has recently given up–he lost everything.  But they show him Emily’s stone and the journal of Silas Charnon who got very close to finding the city.  And Enzo’s search continues. (more…)

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SOUNDTRACK: SSINGSSING-Tiny Desk Concert #651(September 21, 2017).

I have never seen or heard anything quite like SsingSsing.

It’s easy to dismiss them as a novelty by looking at them, but their music is really compelling.  Their songs may be (as stated below), a regional folk style, but the music is really groovy and interesting–the bass is nicely prominent but never obtrusive, and the guitar plats a lot of different strumming techniques, bringing very different intonations to the music.

And then there’s the front trio who are totally infectious.

One look at (and listen to) the cross-dressing, Asian rock band SsingSsing and you would hardly think they’re singing music inspired by traditional Korean folk. But SsingSsing isn’t like any other band I’ve ever seen or heard.

The group sings a regional folk style called minyo and the gender bending look has to do with shamans not glamour. As singer Hee-moon Lee describes it, “In Korean traditional art, male shamans, called baksu, have the body of a male. But as mediums, they need more than a single sexual identity, because they’re channeling both male and female spirits. When I act a female character and sing, I have to overcome the fact of my being a male sorikkun (singer), and try my utmost to bring a more neutral, unisex feeling to the performance. It sounds silly, but I feel like going back to the sensibilities of my youth, when I liked Madonna, helps.”

They play three songs:

“Minyo Medley” opens with reggae guitars and the strangely infectious vocal of the female singer doing a nearly cartoon-high pitched” Oh” sound and the taller male singer (with the cute white bob and white lipstick) laughing and then stating “Oh,” as if surprised out of his laugh.  It’s weird and catchy and cool all at the same time.  The lead singer with the magenta curls sings traditional vocals and eventually the other two join him.  The middle of the song slows down to a quiet guitar motif and mellow singing from the lead singer.  The end of the song picks up speed with an almost ska feel as it rocks to an end.  Then there’s a little coda of that opening (and even more crazy laughter) as the song ends properly.

On “Nanbongga (Song of Beloveds)” the woman sings lead which opens with a slinky groove and all three gently dancing.  The two men alternate spoken words before the woman singing in a traditional female Asian style takes over.  By the middle of the song everyone is dancing with the men singing back up and the tall guy (I love that he is holding a clutch the whole time) saying what sounds like “caw.”

The final song, “Saseol Nanbongga (Narrative Song of Beloveds)” appears to be a variant on the middle song (although perhaps not, it is musically quite different).  However, the taller guy does a lot of very fast recitations in the verses with impressive delivery.  The backing vocals are really catchy and the lead singer is really into it. The song totally rocks by the end.

How bummed am I to have found out that they were at MusikFest this summer and I could have seen them?  Because this is a band that begs to be seen live.

I don’t know which singer is which, but here’s the band members: Hee-moon Lee (vocal), Da-hye Choo (vocal), Seung-tae Shin (vocal), Young-gyu Jang (bass guitar), Tae-won Lee (electric guitar), and Chul-hee Lee (drums).

[READ: June 25, 2016] Amulet: The Stonekeeper’s Curse

I read the Amulet series last year but for some reason never got around to posting about the books.  So, let’s get this series finished.

The Stonekeeper’s Curse opens pretty dark.  We head to a tower where guards have captured the creepy looking guy from book one (Emily could have killed him when he attacked them, but she spared his life).  Turns out this guy is the son of a faceless creature (in a scary mask).  The father says that his son has failed him again.  The son argues but the father’s mind is made up.

He will have one more chance to get the amulet and the girl and he will have help from an older looking creature named Luger.

Cut back to a colorful scene with a walking house (that happened in book one, too). Navin is “driving ” the house and is doing a pretty good job.  They are on their way to Kanalis to get medicine for their mother who was injured in the first book.

Kanalis has suffered a curse and most of the people in town are slowly turning into animals.  It may or may not be contagious.  As our heroes walks around, a fox-person is following them. But as soon as the creepy elf guy charges, the fox steps in.  Emily sees him and asks who is he.  He says he’s a bounty hunter.  Miskit says they don’t want to deal with his kind.  He ultimately relents and admits he’s not really a bounty hunter.  His name is Leon Redbeard and he offers to help them if they will help him too. (more…)

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[LISTENED TO: December 2016] The League of Beastly Dreadfuls

beastlyI was looking for an audio book to listen to with the kids and I found this one.  I didn’t know anything about it, but the title was interesting.

I never suspected just what a peculiar story this turned out to be.

It is the tale of Anastasia McCrumpet, an otherwise normal 11-year-old girl who suffers from flatulence and a mum who does little more than yell from her bed all day.  Her father is a loving man, but as of a few years ago he has been quite obsessed with vacuum cleaners.  She also has a guinea pig who is quite ill-tempered; when it feels crossed by someone, it takes revenge by pooping in their slippers.

On this particular morning, they were having a funeral.  A funeral for her father’s plant (they wound up tossing it out the window).  And then her father made them his famous waffles (which her mother screamed for upstairs).

But Anastasia was running late for school that morning because of the funeral and she ran out of the house wearing a most unusual outfit (part of a Halloween costume, which was top on the laundry pile). (more…)

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SOUNDTRACK: PENGUIN CAFE-Tiny Desk Concert #628 (June 16, 2017).

I recently found out about Penguin Cafe from a piece on All Songs Considered.  I learned that Penguin Cafe Orchestra was responsible for some cool/unusual classical/pop recordings back in he 1970s and 1980s.  And it’s likely that if you listened to NPR back then, you heard some of their music.:

The music of Penguin Cafe is like no other. Its origins date back to the early ’70s, within fever dreams Simon Jeffes had that were brought on by food poisoning. In those dreams he imagined a dispassionate world “where everyone lived in big concrete blocks and spent their lives looking into screens. In one room, there was a couple making love lovelessly. In another there was a musician sat at a vast array of equipment, but with headphones on, so there was no actual music in the room.” Eerily accurate.

But he also imagined a place, the Penguin Cafe, where folks could gather, for pleasure, cheer and music. He wanted to hear what that music would sound like, and so created the Penguin Cafe Orchestra. I was always a huge fan of that original music; listeners of NPR may have heard it often in-between news stories during the many years I directed All Things Considered.

But Penguin Cafe Orchestra is no more.

While Simon Jeffes died in 1997, his son Arthur has been creating new music infused with his father’s original inspiration. He calls his group, simply, Penguin Cafe. You can hear Brazilian sounds in the rhythms, classical and minimalism in the strings, Asia in its harmonium, African sounds in the kalimbas. But honestly, it’s none of these; it’s a universal dream state.

If you’re looking to explore further be sure the listen to Penguin Cafe’s recent album The Imperfect Sea, which nods to Kraftwerk, Simian Mobile Disco and Franz Schubert. It’s none of these.

The band has a lot of strings: Oli Langford (violin) Clementine Brown (violin) Vincent Greene (viola) Andy Waterworth (double bass).  There’s also a ukulele (Des Murphy) which you can’t hear too often, but it is notable on the final song.

“Wheels Within Wheels” is cover of a song by Simian Mobile Disco.  It is nearly five minutes long with slow, building strings and a simple melody that seems to be never ending as it remains the same while the backing chords change.  In addition to the strings, there’s a guy (Neil Codling) playing a dulcitone on top of the real piano (he’s holding his hand up by the end).  And the percussionist (Darren Berry) seems to have a wooden plank to play on.  He uses mallets on the wood to get quite a deep sound.  It’s a really fun piece.

“Protection” has a catchy piano motif (played by Arthur with outstretched arm on the dulcitone) in 7/8 time.  But everyone else plays in 4/4, so the motif changes every time.  After a few bars, it switches to the real piano and the strings are really lovely while that’s going on.  The ducitone player has switched to a large ukulele and the percussion consists of drums sticks on the piece of wood–fast clicking sounds.

“Ricercar” is an old renaissance Italian term.  At the beginning of a fugue you embed a theme that is expounded on later.  This song opens the album and few themes come back later in the album.  Jeffes plays a quiet melody on the dulcitone.  About half way through the song he opens the piano and seems to be dampening the strings with his hand while playing the notes.  The percussion includes a shaker and the mallets on the wood once again.  It’s upbeat and catchy and a lot of fun.

This is a really enjoyable show–classical music for people who like to have fun as well.  As far as the original band goes, if you’ve heard anything by Penguin Cafe Orchestra, it’s probably this piece: “Music for a Found Harmonium.”

[READ: June 24, 2016] Amulet: The Stonekeeper

I have really enjoyed Kibuishi’s Explorer collections, so it seemed sensible to try out his Amulet as well.  And what a great, interesting and unusual story it is.

Although I must admit I was pretty shocked by the fact that the main characters Emily and Navin are in a car accident in the prologue and their father is killed.  What a way to start!

After the death of their father, the family (Emily, Navin and their mom) move out to an old country estate to get some perspective on things.  As they begin to clean up the old house, they go into a room of inventions by their ancestor Silas Charnon.  The story is that Charnon went missing one day and was never heard from again. While Emily is looking over some books, a creepy ghost creatures hovers behind her.

Navin and Emily look around (they don’t see the ghost) and soon, Emily puts her hand on a hand-shaped plate and a necklace–an amulet–is revealed.  Emily puts it on and when Navin complains, she says he can wear it tomorrow.  But that night the amulet speaks to her.  It tells her to stay with her family and keep the safe–they are in danger. (more…)

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  SOUNDTRACK: SARAH JAROSZ-Tiny Desk Concert #324 (December 7, 2013).

I know Sarah Jarosz’ name from somewhere (anything spelled like tha I’ll remember), but I’m not sure where.  It turns out that Jarosz plays awesome bluegrass.

Perhaps I’d heard of her because of her youth:

The singer and multi-instrumentalist first surfaced as an 18-year-old wunderkind with the release of 2009’s Song Up In Her Head, which generated the first of what will likely be many Grammy nominations; now a grizzled 22, she’s out performing songs from her fine new third album, Build Me Up From Bones.

performed with the aid of fiddler Alex Hargreaves and cellist . All

“Over the Edge” has a great riff.  It starts out with Jarosz’ guitar (which is an 8-string guitar: twinned four string, so almost like a bass and yet strummed).  She’s accompanied by a plucked cello (by Nathaniel Smith).  And then her voice comes in: distinctive, raspy and really lovely.  But it’s after the first verse when the guitar and cello both play that fast 8 note riff that the song really kicks into bluegrass territory. In the middle of the song, it’s fiddler Alex Hargreaves who throws in some great bluegrass fiddling lines.  It’s swinging and rollicking and really fun.

“Build Me Up from Bones” is more folk sounding—her voice is beautiful and the melody of this song (which she plays on that 8 string guitar) is outstanding.  There’s a cool alt-folk tone to the song, especially in the bridge.  The cello is bowed, giving a rich sound before the violin (rather than fiddle) solo comes in.

For “Fuel The Fire” she switches to banjo.  This is a great bluegrass song and that banjo sounds great.  I’d love to see a double bill with her and Punch Brothers.

[READ: November 12, 2016] Gunnerkrigg Court 3 [23-31]

I really enjoyed book 2 of the series and was pretty exited to see that book 3 was already out–in fact books 4 and five have been released, too.  This book collects Siddell’s online series–for frame of reference, this book ends with chapter 31 and as of May 2017 he is up to chapter 62 online.

I loved that Chapter 23 started with a totally different style–looking like a kind of sci-fi epic (and called Terror Castle of the Jupiter Moon Martians). But we quickly learn that this new look is a simulation–a kind of test for the main kids.  But it’s very poorly made and they solve the mystery almost instantly. This plot leads to a couple of interesting revelations.  That Parley has a thing for Smitty (everyone can tell but the two of them), and that Jones is becoming a fascinating and enigmatic important character. Reynard is also even funnier with his comeback “I think you detect a hint of shut your face” which Anni responds to with “Hah, Katerina must be helping you with your comebacks.”

The simulation room also allows for us to learn more about the origins of Reynard and Coyote. (more…)

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  SOUNDTRACK: ASHLEY MONROE-Tiny Desk Concert #317 (November 3, 2013).

Ashley Monroe is a country singer.  She’s part of the new way of female country singers, most of whom I don’t really like.

But some of the folks at NPR music love country, so I’ll let the blurb do the talking for me:

The title track from Like a Rose tells an optimistic story of survival, the ambivalent ballad “You Got Me” chronicles ill-advised romantic obsession, and, of course, the Top 40 country hit “Weed Instead of Roses” functions as a playful, fun-loving mission statement. Speaking of “Weed Instead of Roses,” which closes this charming performance, Monroe says the straitlaced [Vince] Gill insisted upon the song’s inclusion on Like a Rose — even going so far as to declare it a condition of his producing the album. The guy knew what he was talking about, both in his support of the song and of Monroe herself.

“Like a Rose” is almost comical in how stereotypically country it starts out:  “I was only 13 when daddy died /Mama started drinking and my brother just quit trying.”  Good lord.  At least it has a positive message.

She says that the melody for “You Got Me” came to her in her sleep and woke her up.

“Weed Instead of Roses” is a song she wrote as a joke when she was 19.  She says her grandpappy first heard the lyric as “give me weeds as well as roses” and he thought that was right on because the weeds are just as important as the roses.

The song is definitely fun (and funny) but the whole set is way too twangy country for me.  And IO find her back up guitarist/vocalist to be even more whiny/twangy than her.  Yipes.

[READ: February 26, 2015] Gunnerkrigg Court 2 [15-22]

I was originally mixed on Volume 1 of this series, but I jumped right into this one and loved it from start to finish (even if I admit to not understanding everything that was going on).

The book, which compiles chapters 15-22 and some extras, doesn’t begin with any kind of recap, so you kind of have to catch up as you go along.

We meet the fairy from beyond the river who was turned into a girl.  She is very upset that her friend is no longer friends with her.  She assumes it’s because of her hair (which is now long).  In an amusing sequence, she believes that if she cuts her hair short and spiky she will be friends again (with some other girl).  She is delighted to learn she can cut her hair and it doesn’t hurt (then she attempts to cut off her finger).

But these cute one-off chapters are strategically placed between the more serious arc, which involves the awesome looking Muut (an owl head on a hunky man’s body) and the introduction of a short-haired woman who might be a teacher and who goes by the name Jones. She is a wise woman and an amazing fighter (she shows off by beating a man wielding a sword while she is unarmed). (more…)

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SOUNDTRACK: THE NATIONAL-Tiny Desk Concert #279 (June 10, 2013).

I rather like The National and yet I haven’t spent much time really listening to them.  This Tiny Desk Concert really shows them off well.  It is extremely winning and enjoyable.

I enjoyed this part of the introduction:

we’d gotten word that the group would strip its sound way down for the occasion, sticking to two acoustic guitars and a bit of hand percussion. What we got instead was a fully fleshed-out septet, complete with horns and piano; the band showed up at 9:30 to rehearse and sound-check.

Though singer Matt Berninger had barely rested his voice from a show in the area the night before, The National dutifully performed gorgeous acoustic renditions of four tracks from its fine new album, Trouble Will Find Me.

I like the way the first song “This is the Last Time” starts quietly with just some acoustic guitars (playing quite interesting chords too) but builds, adding more and more instruments.  It grows and grows until it hits a new section where there’s a trumpet solo that fits perfectly in the song.  This new section introduces the second half of the song which never returns to the first part.  The backing vocals–between the guys singing the lines and the other guys singing the high “ahhh” that almost sounds like a horn–also work great together.  It’s a wonderfully full song.

“I Need My Girl” has a cool part with the two guitars.  They play a simple picked melody, but after the second verse, the second guitars plays it one step after the first, making it sound like an echo. And again that lone trumpet sounds terrific here.  This song is a bit more mellow.  In fact, this whole acoustic vibe sounds different from what I expect from the band.

The third song “Pink Rabbits” begins as primarily piano with lots of backing vocals.  But again the song builds slowly (with trumpet and trombone).  And again, after the horns go down there’s a backing voice that sounds a bit like muted trumpet.

Through the whole concert, I love Berninger’s casual demeanor while singing–hands in pockets, gently swaying.

Bob tells them that they are performing Tiny Desk’s first encore.  The blurb notes that the band:

even treated the hundreds of worshipful gawkers to Building 2.0’s first-ever Tiny Desk encore, in response to a roar of applause that could be heard in the far reaches of the newsroom downstairs.

Berninger says this is usually when they run back stage to piss but we’ll just go behind your desk.  Bob jokes that it’s no different from the trombone spit that he sees back there.

Berninger introduces “Sea of Love” by saying this is the only song we’ve ever written with a harmonica in it…and its the last one.

The full band sings and it sounds terrific.  I especially like the pause in the line “they say love is a virtue don’t….they” is pretty dramatic.  And I am tickled by the final lines of the song (while the backing singers do some great work: “I see you rushing down / tell me how to reach you / I see you rushing down / what did Harvard teach you.”

The National are usually more dramatic, I believe–almost theatrical, but this quieter version is really quite enjoyable.

[READ: April 2, 2016] Feathers

Jorge Corona introduces this book by explaining that he had an idea for a Beauty and the Beast kind of story that features a boy with feathers.  And it slowly expanded into the story we have here.

The story opens with a bright white city in the distance.  In the foreground, there’s some dark Victorian-looking houses.  And as we zoom in, we learn that the dark city is known as the Maze.  And in this Maze live the poor.  Little kids, called “mice” are street urchins who run all over the Maze.  And then there’s a man with a beard.  The man finds a baby in an alley.  The baby is born with feathers and he decides to take the boy in and raise him.

The scene jumps to eleven years later.  The boy, known as Poe has grown up and has stayed hidden.  He still has feathers and he goes out at night, but no one knows about him.  People just speak of the ghost–Poe–who swoops down unseen and does things (mostly to help the poorest) and then flees. (more…)

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dragonpunchjohnny SOUNDTRACK: PEDRO SOLER AND GASPAR CLAUS-Tiny Desk Concert #216 (May 14, 2012).

edrogasparPedro Soler and Gaspar Claus are father and son.

Soler plays a delicate, intimate version of flamenco guitar, while his son turns the cello into an exquisitely expressive voice.

I feel like the two could not play any differently and yet their styles meld to create some beautiful music.  The blurb continues:

Though 45 years separate them, pay attention to how they communicate. Music as a living language, and an invisible emotional exchange, is clearly apparent in these improvisational compositions.

The two are pretty fabulous to watch and hear.  Pedro plays so many different styles with his guitar–finger picked flamenco delicacy all the way to aggressive powerful strumming.  Gaspar can also play beautiful soaring melodies–both low and high notes– and then at times he will bow so hard that you can hear the pressure he’s putting on the strings.

They play two pieces.  “La Petenera” is a new song which talks about a woman who was very beautiful.  She had a “love crisis.”  In order to get revenge she had all of the men in the village fight and they all killed each other over her.  Pedro also tells us that Federico García Lorca wrote  three poems about her.

About 4 minutes into the song he plays some crazy noisy stuff that would make any noise band proud. And then he comes out of that chaos with some incredibly delicate bowing.

Gaspar is also not afraid to make serious noise—sliding up the strings to the highest notes and squeaking them or sawing gently while Pedro plays some beautiful melodies.

But Gaspar also plays beautiful passages as well and he seems to be watching hm all the while

Bob asks if they can remember the earliest times they played together.  Pedro (in very broken English) explains that he was giving a flamenco guitar class and Gaspar was watching and then he repeated the exercises on the cello and Pedro says his eyes bugged out.

“La Graneña” is a kind of music from Grenada.  It starts slowly and is a beautiful piece with a lot of lovely guitar playing and Gaspar’s beautiful cello.  It’s very different from the noisy passages of the first piece.   There are some amazingly high soaring notes he plays on the cello, too–almost touching the bottom of the instrument.

About half way through the song it builds and builds with steady chords until it settles down into a quiet picked guitar and plucked cello melody.  It’s delightful and so very different from the rest.

[READ: February 11, 2016] Johnny Boo Meets Dragon Puncher!

It took four years for a new Dragon Puncher book to come out.  And it’s a crossover with Johnny Boo!  (You could also say it took one year for a new Johnny Boo book to come out and its a crossover with Dragon Puncher, but whatever).

This book is set in the winter and Dragon Puncher is looking for the Ice Dragon.

She demands silence as she prepares for battle.  Spoony-E is getting majorly impatient waiting for her to prepare.  And then while “meditating,” Dragon Puncher falls asleep. (more…)

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