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Archive for the ‘LGBTQ’ Category

vol 4SOUNDTRACK: SONIC YOUTH-Silver Session for Jason Knuth (1998).

silverThis record came about for two reasons. One was the suicide of longtime Sonic Youth fan (whom the band didn’t know) Jason Knuth.  And the second was because when they tried to record vocal tracks for One Thousand Leaves, the band upstairs was so loud, it kept interfering with their recording.

So, SY turned all of their amps all the way up, put all of their guitars and basses against said amps, turned on a boombox for feedback fun and then left the room.  They say it was so loud that even with hands pressed against their ears it was still too physically oppressive to be in the room.

The band recorded it all (of course) but rather than releasing it all like some kind of Metal Machine Music, they cut the tracks down into small chunks (“Silver Shirt” is 7 minutes long but most are about 4, with “Silver Son” and “Silver Breeze” being under 2).  They also somehow turned what sounds like a noisy disturbing mess into rather pretty ambient pieces.  (In honesty, I have to believe that the band was in the room with for some pieces, since some of “Silver Flower” seems to have strumming on it).  And “Silver Son” actually has a beat of sorts to it.

As with the other disc in the SYR series, these aren’t really songs. They’re not even what you think of as Sonic Youth, but they are interesting experiments (some are actually quite nice).  Not for everyone (heck, hardly for anyone) but if you’re intrigued, its worth checking out.

[READ: August 23, 2009] Scott Pilgrim Gets It Together

This volume mixes things up a bit for the series.  The cover is a wicked reflective style, and there are even 8 color pages at the beginning of the story (that work as a sort of catch up device).  I didn’t really like the color pages all that much to be honest. While it was nice to see that Ramona’s hair is blue, for the most part the color pages felt a bit more mechanical than the regular pages (the edges were crisper, which I didn’t really care for). But whatever, don’t complain about a free addition.

As for the story itself, it seems to up the ante in intensity. (more…)

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ny1It took me going to Seattle to learn about The New Yorker magazine.  I was visiting my friend Rob and he was really surprised that I didn’t read the magazine all the time (my reading always seems to surprise people, see The Believer.)

Upon my first read of the magazine, I was surprised to see that the first twenty pages or so are taken up with upcoming shows: films, concerts, sports, everything.  I actually wondered how much content would be left after all that small print.

Since then I have learned that Sasha Frere-Jones writes columns in here quite ofuiten.  For reasons known only to my head, I was convinced that Sasha was a black woman.  Little did I realize that he is not.  And that he was in a band that I have a CD of called Ui.  He is an excellent resource for all things music, whether I like the artist he’s talking about or not.  Some entries are here.  This audio entry about Auto-Tune is simply fantastic.

But of course, there’s a lot of content.  And the first thing you get are letters.  I don’t think I have EVER looked at the letters section. (more…)

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vol3SOUNDTRACK: SONIC YOUTH-SYR 3: Invito Al Ĉielo (1998).

syr3This SYR release adds Jim O’Rourke to the mix (O’Rourke played with with them on A Thousand Leaves too).  I’ve always been aware of O’Rourke but I’ve never really listened to any of the bands that he’s been associated with (and there’s a lot).  So, I’m not sure what his actual contributions are, but he seems to be pushing the SY members into a much more noisy/abstract direction.  (A few samples of Gastr Del Sol shows them to be pretty out there, so perhaps pushing SY in a direction that was not too far from where they’d go on their own.  And, I rather liked the Gastr stuff, too).

The EP is nearly an hour with 2 songs over 20 minutes long.  And, the most fascinating parts come from the most unexpected places: Kim plays trupmet!  There’s keybaords!  And all of the text is in Esperanto.

This disc doesn’t diverge too much from the first two…it’s noisy and discordant and full of lots of experimentation.  There’s some good stuff on here, but there’s also a lot of it.

[READ August 9, 2009] Scott Pilgrim & The Infinite Sadness

Things get pretty intense in Vol 3 of this series.  We get an in-depth look ant Envy Adams, Scott’s first girlfriend and lead singer of The Clash at Demonhead.  TCaD have asked Scott’s band Sex Bob-omb to open for them, but there are clearly underlying reasons behind this.

One of them is that another of Ramona’s evil ex-boyfriends is the bassist in the band.  And, another more narratively interesting reason is to give a peek into Scott’s past.  We learn that Envy was a rather shy young girl, until she slowly grew out of her shell (and changed her name to Envy), and then became the extroverted lead singer.

Todd Ingram, the evil-ex is a vegan.  (more…)

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nealSOUNDTRACK: SONIC YOUTH-Made in USA (1986 released in 1995).

usaThe liner notes explain a lot of what was behind this disc.  The then largely unknown Sonic Youth was asked to score a cool indie film, which later became a less cool more mainstream film and ultimately went straight to video.

The CD is mostly background music, but it is notable for how mainstream it sounds (for Sonic Youth in the mid-80s) and for how bad it sounds–like it was recorded in a can.

It’s mostly completely listenable soundtrack mood music.  It’s nothing to rush out and buy, especially if you like the noisier SY stuff, but, and this is something of a shock, its sounds quite nice, almost ambient at times.

If you’re interested in this sort of thing, it’s worth noting that “Secret Girl” from EVOL appears in a slightly different form (twice actually).

[READ: July 29, 2009] The Neal Pollack Anthology of American Literature

This is the first book published by McSweeney’s Books.  And it is indeed handsome, with a nice yellow ribbon for marking your page.

And so, who is Neal Pollack?  Well, as you all know, Neal Pollack is the greatest living writer today.  He has been writing for decades and has written some of the most important books, and the most important articles that anyone has ever read. His book on life as an African America has not only impressed Oprah, but it has inspired Toni Morrison and Henry Louis Gates.

And, as you can see from the back of the book, everyone from Hunter S. Thompson to Normal Mailer sings his praises. (more…)

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scan0014SOUNDTRACK: COLIN MELOY-Colin Meloy Sings Live! (2008).

colinColin Meloy is the lead singer and songwriter for the Decemberists.  This is a recording of Meloy’s solo acoustic tour from 2006.  The recording is from several venues on the tour, although it is mixed as if it were one concert.

Meloy is a great frontman, and this translates perfectly into the solo atmosphere.  He is completely at ease, telling stories, bantering with the crowd, and generally having a very good time.

The set list includes some popular Decemberists songs as well as a track from Meloy’s first band Tarkio (whom I have never heard, but figure I’ll get their CD someday).  Meloy also adds a couple of covers, as well as snippets of songs added to his own (Pink Floyd’s “Fearless” gets a couple of bars, as well as a verse from The Smiths’ “Ask.”)

This disc is not going to win anyone over to the Decemberists, as Meloy’s distinctive voice is a love it or hate it deal.  However, if you’re on the fence about them, hearing these songs solo can only convince you of what great songs they are.  The Decemberists add a lot of arrangements to their songs.  You get a lot of interesting and unusual instruments.  Which I like a great deal.  But to hear that these songs sound great with just an acoustic guitar is testament to Meloy’s songwriting.

The intimacy of the venues also really lets these songs shine.

[READ: May 29, 2009] McSweeney’s #4

This is the first time that McSweeney’s showed that it might be something a little different. #4 came, not as paperback book, but as a box full of 14 small, stapled booklets. Each book (save two, and more on those later) contains a complete story or non-fiction piece.

There is something strangely liberating about reading the stories in this format. It gives me a sense of accomplishment to finish a book and put it down, so having 14 makes it seem like I’ve accomplished a lot.
This was also the first issue that I’m certain I didn’t read when it originally came out, for whatever reason. So, it’s all new to me.

DIGRESSION: When I was looking up publications for my Wikipedia page about McSweeney’s publications, I kept encountering records for these individual booklets.  This was rather confusing as I couldn’t find any other records or ISBNs for these booklets.  Rest assured they are all collected here. (more…)

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Unsurprisngly there are no online images of this periodical which is all text and no pictures.

Unsurprisingly, there are no online images of this periodical which is all text and no pictures.

I don’t even recall where I first heard of The Washington Spectator, or when I even started my subscription (although it is going on at least ten years now). No one else seems to have heard of it, so maybe it’s printed just for me.

The Washington Spectator comes out every two weeks. It is a 4 page (that’s right, four page– it doesn’t even have a staple) newsletter that covers national politics. For the most part, every issue covers one topic.   Usually that topic is, if not ignored, then certainly under-reported in the mainstream press. And each issue is more or less an extended article about that topic.

The most recent issue’s main topic, for instance, is “Republicans Shocked, Shocked, by Partisan Behavior of Democrats.” And yes, this publication is pretty exclusively pro-Democrat.  It’s not even issues-related as much as it is party-related (unless that’s just because the last eight years basically just chronicled the offenses of the Bush White House and the Republican majority). (more…)

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ny413SOUNDTRACK: DEPECHE MODE-Black Celebration (1986).

blackcelebrationSince the previous entry was all about The Smiths, I include Depeche Mode in this entry as the other big album that influenced my appreciation for college rock (or just British music, apparently).

My friend Garry, in addition to playing me The Smiths, also played me Black Celebration.  At the time I either didn’t like or didn’t know about Depeche Mode.  But I was really struck by this album.

DIGRESSION: It would only be years later that I would call them Daypatch Commode thanks to the Dead Milkmen!  Incidentally, “Instant Club Hit (You’ll Dance to Anything)” become something of a namechecking song to know go British bands back in college.  “You’ll dance to anything by…Book of Love… The Smiths…Public Image Limited…”

The thing that most impressed me about Black Celebration was the way the tracks…not necessarily melded together…but that they had all kinds of effects and things that sort of linked them.  It’s most noticeable on the first three tracks, or with the ticking clock that links “Stripped” to “Here in The House.”  It’s a little thing that adds a nice continuity to the disc, and was something I hadn’t really heard before.

But even beyond that, the sounds were totally new to me.  There’s all kinds of sound effects thrown in and experimentations that simply didn’t happen in the metal I enjoyed.  And the keyboards weren’t Top 40ish, they weren’t sounds that I didn’t like, they were just new.  There’s even moments that sound straight out of Phillip Glass.  The tracks were certainly downers, and yet there was something angelic about them.

Or maybe angelic’s not the right word…pretentious comes to mind.  There’s something so archly British about Dave Gahan’s singing voice on this disc…quite different from the heroin addict voice on Violater and later.

  “Black Celebration” has, at one point a cool whirling sound effects that plays with stereo in a way you wouldn’t expect from this kind of band.  And, as is Gore’s speciality, it is upbeat musically, yet clearly a downer lyrically.  “Fly on the Windscreen-Final” has the obviously unhappy lyric of “Death is everywhere” and yet again, musically it remains somewhat upbeat.  

Martin Gore also sings a lot on this disc, which helps to balance out the tone (even though at this stage he doesn’t sound radically different than Gahan). “A Question of Lust” is a delicate ballad, while “A Question of Time” shows the way of their more rocking songs later on.  The disc also features the fantastic “Stripped,” which has been covered like half a dozen times.  (Although DM’s is still the best version).

The disc also has a couple of short tracks (from under 2 minutes to just under 3 minutes).  These tracks seem somewhat less fleshed out than the rest of the disc, which may be why the disc isn’t as popular as their other ones (I just learned).  They act more like interstitials between songs rather than songs themselves.

Evidently the American release included “But Not Tonight” the one majorly upbeat track on the disc.  I’m not sure why it was excluded elsewhere (although it really doesn’t fit thematically), but it does add a happy note to a dark disc.

I’ve enjoyed Depeche Mode ever since, and has been quite pleasantly surprised by the rocking tone they have taken in the last few years.

[READ: April 9, 2009] “The Color of Shadows”

There was some interesting synchronicity in reading this story when I did as we had just watched The Savages a few nights before. The Savages stars Phillip Seymour Hoffman and Laura Linney as siblings whose father is placed in a nursing home, and how they deal with the emotional strain this causes.

“The Color of Shadows” concerns a man named Paul who is in the unfortunate position of having to put his Aunt in a nursing home.  And what made this story so good was that this main plot point was in no way the most moving part of the story. (more…)

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SOUNDTRACK: SLOAN-Parallel Play (2008).

I’ve enjoyed Sloan since my friend Al played me their first single “Underwhelmed” back in the 1990s.  Unlike Al, however, I have enjoyed them ever since.  In fact, a few of their discs rank up as my favorites of all time (Between the Bridges, in particular).

The one thing I have never been able to do, however, is keep track of who is who in the band and who writes/sings which songs.  I think if I were younger and had more free time I’d be all over keeping these things straight.  However, at this point, it’s not worth the effort.  Which is fine, as I can’t decide who is my favorite songwriter anyway.  Just when I’m sure that “Witches Wand” is my favorite track on the record, I remember “All I Am is All I’m Not” or “I’m Not a Kid Anymore” and I give up trying to decide which guy makes me happiest.

What’s interesting about this album is that (at least according to one interview) the four guys wrote and played each one of their songs by themselves.  There are 13 tracks which means they each got 3 songs and someone got a bonus track.  The joke of the title is that, much like 2 year-olds who play next to each other but don’t interact, this album was played by 4 friends who never interacted with each other.

So, you get 4 songwriters, playing the full spectrum of their ideas, but who are all still Sloan, and you get a wildly divergent album that retains the overall sound of the band.  It’s really tremendous.   This album is also under 40 minutes, so you get great hook-filled songs that come in, rock your world, and then leave.  It’s also hard for me to pick a favorite Sloan album at this point, because each one has so many good songs.  Their last album, Never Hear the End of It was a little too long at 70 minutes, but it was still full of fantastic songs (and I guess if you have 4 songwriters each contributing something you’d be hard pressed to create crap).

Sloan are back, and still producing great stuff.  Now, if anyone wants to tell me who is who, that would be terrific.

[READ: October 29, 2008] “Hag”

I didn’t realize this was an excerpt until the very end where it states that you can read an expanded version of the story here.  I thought the story seemed unfinished, so that makes sense.  Anyhow, this story won the 2007 Summer Literary Seminar.

This two page excerpt shows Lance and the narrator hitching a ride to Calgary.  The time is the mid 70s, as noted by Creem Magazine (I used to love that mag!), Joni Mitchell’s Hejira record and vinyl albums lovingly stored in plastic sleeves.  (more…)

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SOUNDTRACK: KING’S X-Ogre Tones (2005).

No one should be made to feel ALONE! And with that Kings X are back.  It’s the most aggressive scream I’ve heard from King’s X (and it comes from Ty, not Doug no less).

After what seemed like something of a hiatus with Black Like Sunday and Live All Over the Place, King’s X seem rejuvenated and excited to be rocking out.  Despite the hardcore opening scream of “Alone,” the song is their catchiest single yet.  Lyrically the song is about tolerance and compassion.  Its also pretty short (just under 3 minutes), as are the next 4 songs.  It’s as if they had these great ideas and just had to get them out.  “Stay”  returns to the style of old King’s X, with a minor change: it’s the vocal harmonies that are dissonant not the guitars.  “Hurricane” also tinkers with the formula where part of the chorus revels in their harmonies of old and the other part plays with a new aspect: gang vocals, bringing power rather than subtlety.  “Fly” is yet another great shoulda-been a single.  And “If”is yet another Stellar ballad, where Doug sings verses and harmonies bring in the chorus.

A controversial song (for fans anyway) is “Bebop.”  This is one of their experimental tracks, and it kind of hearkens back to some of the tracks off of Bulbous with very staccato guitars, unusual bass lines and the nonsense lyrics of “Bebop be alive ya’ll. Awhop boba lo bop a wop bam boom!.”  While it’s not their best work, it’s certainly catchy as anything, and I give them credit for throwing in some experimentation.  And frankly, it’s pretty fun if you loosen up a bit.

The next few tracks play with the basic formula of the album, until you get to “Sooner or Later” which, lets Ty noodle around on the guitar for 5 or 6 minutes, like an extended jam off of Faith Hope Love.  “Mudd” ends the album proper with a really touching, sweet song.  It could easily fit on Gretchen.

The last two songs I don’t really count.  “Goldilox (Reprise)” is, as you might guess a remake of “Goldilox.” I don’t know why they’d remake one of their most beloved songs.  Aside from the fact that they’ve been playing it since 1987, and the band has changed their style somewhat, they could show everyone what it would sound like if they made it now.  Otherwise, why bother.  It does sound good, mind you, but the original sounds better.  The last track, “Bam” is a historical recording of Thomas Edison’s phonograph.  It’s a weird way to end a record.  But nothing can take away from the fact that King’s X are back in form and they still sound great.

[READ: October 24, 2008] “Whyte Avenue Blue,” “Just the Thing,” “Terminal City,” “Red Carpet Caper,” “Beyond the Overpass,” “The End of Pinky”

I had put off reading these stories because I was in the middle of a couple of other things at the time.  When I finally got around to reading them (and they’re all very short…about a page or two each) I had forgotten that the “theme” behind the stories was noir.  When I started reading them, I kept thinking…none of these stories is even remotely believable.  It’s like the authors are trying really hard to craft stories that are transgressive, almost beyond belief in some way.  Well, when I re-read the sub-heading for the stories, I realized: “The Walrus asked Canadian novelists to sketch their cities as grittier, sexier, and darker than you might ever have imagined…”  So that explained it. (more…)

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born.jpgSOUNDTRACK: LOUDON WAINWRIGHT III-Career Moves (1993).

I first discovered Loudon Wainwright III through the great short-lived TV series Undeclared. Wainwright was the main character’s dad, an unlikable lout who, over the course of the show, became a really funny, interesting character.

Wainwright has become something of a staple in the Judd Apatow world, and he did the soundtrack for Apatow and Seth Rogen’s film, Knocked Up. And, as synchronicty happens, I thought I’d check out his music as well. I’ve gotten some records from various points in his career. This live collection, Career Moves, is a definite highlight. Wainwright writes poignant songs that are often, inexplicably, funny. He’s not a “funny” songwriter or a “novelty” singer (although his first big hit “Dead Skunk” is pretty close) but he writes in a wry tone that often brings a really funny couplet into a moving song.

(more…)

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