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Archive for the ‘New Yorker’ Category


SOUNDTRACK: RODDY RICCH-Tiny Desk (Home) Concert #47 (July 8, 2020).

Here’s another rapper I hadn’t heard of, but who is apparently huge.  (Huge enough to have Ty Dolla $ign join him).  The blurb assures us

This was slated to be Roddy Ricch’s summer. He was having the breakout moment that I’ve seen from so many other Compton emcees before him… including the biggest song in the world in “The Box,” which spent 11 weeks at the top of Billboard’s Hot 100 and will probably go down as the last pre-COVID club anthem.

Richh raps in front of a fantastic band.  They have a fantastic groove and really jam fantastically.

Backed by the juggernaut musical collective 1500 or Nothin’, this set exhibits the many dimensions of his [suddenly prophetic] debut album title — Please Excuse Me for Being Antisocial.

Christopher “Brody” Brown brings a fantastic bass sound throughout the set.  You can hear it right from the first song “Perfect Time” which showcases the band and Richh’s rapping skills.  Richh even plays keys at the end of the song.

It segues perfectly into “Bacc Seat.”  The band tightly and seamlessly shifts gears from that rocker to this slower song.  The song features a cool guitar riff from Charles “Uncle Chucc” Hamilton and a guest appearance from Ty Dolla $ign who sings and plays guitar!

The backing vocalists are great; however, they are not social distancing at all.  Shaunise R. Harris, Garren Edwards, and Tayler L. Green are all shoulder to shoulder back there, which makes Richh’s shirt “that’s an awful lot of cough syrup” seem more ominous than funny.  T

But the band is on fire and there’s some serious drums from Nick Smith at the end of the song.

Gentle keys from Lamar Edwards open “High Fashion.”  Edwards has a few banks of keys getting all kinds of interesting sounds.  Richh says this song is about the type of relationship he like to be in–high fashion: “I like to be fly, like shorties be fly.”

Once again, this song ends with some great drums from Smith and percussionist Larrance Dopson.

Richh is pretty young so it’s surprising to hear him say that he doesn’t spend a lot of time on the internet: I don’t like to be bothered” (which jibes with the Anitisocial title).

The final song “War Baby” opens with a quiet, lovely piano. But the song builds to a big jam by the end with some great guitar soloing from Uncle Chucc interspersed with some fantastic drum soloing from both Smith and Dopson.

I’m not all that impressed with what Richh is rapping about–lots of vulgarities so i started tuning out–but the band is fantastic.

[READ: July 8, 2020] “The Canal”

With a title like this I didn’t expect this story to be about World War II.  Although it is set at a party several years later.

Two couple are drinking and talking.  Lew and Betty Miller are bored out of their minds listening to Tom Brace tell yet another war story from his days in Germany.  Tom’s wife Nancy couldn’t have been prouder, listening to him go on and on.

At some point, something that Tom says reminds Betty of something that Lew told her about the way.  She asks if Lew was in the same place as Tom.  Lew says no, although he grudgingly admits that he was in the same area at the same time. (more…)

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SOUNDTRACK: THE SLITS-Cut (1978).

This album is mentioned in this story.  It’s interesting to me how this band is so associated with the punk scene when musically they are very far from what most people consider punk (and from what the band in this story sounds like).

The Slits went from being unable to play their instruments, to playing an interesting bass heavy, guitar-slashing style.  It’s reggae and dub inspired but sounds nothing like reggae. Ari Up’s vocals are defiant and brash but in addition to screaming and shrieking, she can also sing quite nicely.

The rest of the band are fully invested–chanting along and fleshing out this, at times, bizarre album.

The bass sound (from Tessa Pollitt) on the album is fat and round–it’s a great sonic feeling and is a perfect low end for the detached guitar style (from Viv Albertine) in the songs.  Founding member and drummer Palmolive left the band apparently because she didn’t want to do the cover shoot.  She was replaced by eventual Siouxsie and the Banshees drummer Budgie.

“Instant Hit” is anything but.  With clanging guitars playing opposite a slow grooving bass as all three sing. The drums are complex with a lot of percussion.  When the verse starts the guitar chords are unconventional for sure.  You can sense a melody in all of the sounds, but it is buried.  The album takes off a bit with “So Tough” a much faster song with bass lines that run up the neck, fast drumming and Ari Up’s vocals hitting a higher register for “You can’t take anymore now you’re getting weak / So tough /
Don’t start playing hide and seek.”

“Spend Spend Spend” pairs nicely with “Shopifting.”  “Spend” is a slow loping song as the lyrics (sung in a sometime off-key mocking warble) mock consumerism:

Going home, into bed when I’ve treated myself
I’ve been quite hard, after a hard day’s work
I have found a hundred ways to get rid of all my worries

“Shoplifting” is the antidote.  “Spend” is 3 minutes while “Shoplifting is barely 90 seconds.  The bass line on this song is fast and feels like it’s running as much as the chorus: do a runner

A kind of reggae slash of guitar:

Put the cheddar in the pocket
Put the rest under the jacket
Talk to the cashier, he won’t suspect
And if he does…  And if he does…

Shouted by all of them:  Do a runner! Do a runner! Do a runner! Do a runner!

Ten quid for the lot
We pay fuck all
Babylonian won’t lose much
And we’ll have dinner tonight
Do a runner!

After the third verse She screams “Run!” like a banshee as the chords ascend in speed and notes.

“FM” is a twist on the radio band: I’m waiting to hear what program is next.  What program is next? (FM) Frequent Mutilation transmits over the air. This slow song has one of the catchier upfront melodies.  Up next is the longest song on the disc.  At over four minutes long, it is the antithesis of punk.  A slow echoing guitar-just scratches on the strings as the bass meanders around the clattering percussion.   After a minute and a half though it gets catchy with a funky bass and some reggae chords that play through to the end.

“Love und Romance” is a fast pulsing song with quick bass and guitar chord stabs.  And, I’m guessing an ironic look at love:

I’m so HAPPY!
You’re so NICE!
Kiss kiss kiss!
Fun fun LIFE!
Fun fun fun I’m having fun
Hee hee hee!
It’s such a love
Hee hee hee!
Now we’re one
Life’s a gas all the time
You’re so lovely, you’re so fine!
(She wants you, she wants you)
Are you ready for this?
Are you ready for this?
Gimmee a great big kiss

“Typical Girls” has a two note bass line and …piano!  The whole song is sort of chanted along while the chorus has a jazzy bassline and noisy guitars.

My favorite song is the final one, Adventures Close to Home,” which is surely one of the more unusual songs on an unusual album.  A funky bass opens with some quiet almost out of tune sounding guitars.  The vocals intertwine and sound almost mocking withe the different singers interrupting each other as she sings follow love follow (hate).  It’s as if all of the parts are doing different things but they all fall together in a fascinating way that I can’t stop listening to.

The album comes with a jagged and rather fun version of “I Heard It Through the Grapevine” which is a pretty good introduction to the band if you’re looking for a familiar song to explore their sound.

[READ: July 6, 2020] “A Transparent Woman”

This is a dark story about (former) East Germany.

Monika doesn’t want to be like the horrible sows living in the socialist “future” apartment blocks.  She moves out of her parents house and into a hostel.  She gets a terrible job (it is illegal not to have a job) but refuses to join the Free German Youth.  Life sucks until she sees a group of punks in Alexanderplatz.  Then her world opens up.

She shaves her head, puts food coloring in whats left and starts hanging out with the kids with spiked hair and dog collars.  She went to a punk show and it was exhilarating.  She met two girls there who wanted to start a band and they asked her to join them on drums.  She didn’t play drums.  They didn’t care.  Katja was the lead singer and lyricist.  Ellie played guitar.  They were terrible  It was wonderful.  They called themselves Die Gläsernen Frauen [The Transparent Women].

Punk was pretty much illegal in East Germany–a sign of the decadent West.  Wherever punks sat, they were moved along within ten minutes.  And bands like D.G.F. were definitely illegal in the G.D.R.  Only properly approved bands were allowed to play out, so every show was a real danger.

After one of the shows a man approached her at work the next day.  He was attractive but had an air of malice.  He offered her a cigarette and then gave her a copy of The Slits’ album Cut.  She knew they were good, but the semi-nude cover felt wrong coming from him.   She tried to blow him off but he insisted that she meet with him next week.

Instead of meeting with him, she went on a tour with the band.  They went to some big cities and played small shows.  They were tired and scared and every D.G.F. show had a threat of violence.

But the real trouble was when she got back home. (more…)

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SOUNDTRACK: M. WARD-Tiny Desk (Home) Concert #39 (June 25, 2020).

I don’t really know all that much about M. Ward. I was supposed to see him live on many occasions that never panned out (I think at least three shows were either cancelled or I couldn’t go).  But then I did get to see him live at the She & Him Christmas show.  I was really impressed with his guitar playing in that set.  And I’m even more impressed in this set.

He opens here with two beautiful finger-picked songs.  The first is “just” an “Instrumental Intro.”  I don’t know if it’s an actual song or just an improv, but it’s terrific (with nice harmonics).  It segues seamlessly into “Duet for Guitars #3.”  I’m not sure how you play a duet with just one guitar but it, too, sounds wonderful.

His tuning is nonstandard for all of these songs, which somehow makes them more chill and pretty.  His playing is effortless and really fun to watch.

For me, M. Ward would be the perfect artist to sit next to while he played his songs, perhaps on a couch in a small room. And that’s pretty much what you get with this Tiny Desk (home) concert. We see M. Ward in the lounge of BOCCE, a recording studio in Vancouver, Wash.

I didn’t really know his singing voice, but the blurb sums it up nicely:

That tender wispy-rasp in his voice and flowing acoustic guitar make M. Ward a musician I’d want to hear up close.

He explains that he took requests from various social media for this set.  He plays four requests and one new song.

Ward’s delivery reminds me of Sandro Perri, although a little more conventional.  “Chinese Translation” and “Requiem” are softly strummed songs and his vocals are mostly deeper with an occasional high note added in.

In between the requests he plays a new song.

Those songs fit so well with music on his new record, Migration Stories, from which he plays “Coyote Mary’s Traveling Show.”

This song sounds a little different in style–a more traditional bluesy style, I guess.  Then it’s on to

 comforting and memorable older tunes like “Poison Cup” (2006)

for which he switches to a different guitar–this one smaller (and presumably tuned differently).

Then it’s back to the first guitar for “Voice at the End of the Line” (2003). There’s some really lovely guitar work in this song.  I’m not sure I’d go out of my way to see him live but maybe one of these opening gigs will actually happen someday.

[READ: June 22, 2020] “Grief”

This story is about genocide and how to cope with it–especially if you are far away from when it happened to your family.

The narrator found it worse that no one would say the word genocide, just wry observations like “weird stuff goes on in your country.”  She had not given up hope that he mother, father, brother, sisters, her whole family back in Rwanda might still be alive.

In her homeland, the word was

gutsembatsemba, a verb, used when talking about parasites or mad dogs, things that had to be eradicated, and about Tutsis, also known as inyenzi—cockroaches—something else to be wiped out.

A Hutu classmate once told her he  had asked his mother who those Tutsi people were that he’d heard about and his mother said, they were nothing–just stories.

The narrator tried to get in touch with her family but heard nothing.

Finally, she called her older brother in Canada.  He told her that he was now the head of the family.  She received a formal letter in June confirming the deaths.  Why didn’t she have a photo of any of them? (more…)

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SOUNDTRACK: MADAME GANDHI-Tiny Desk (Home) Concert #38 (June 24, 2020).

I have never heard of Madame Gandhi.  That’s a constant theme with these Home Tiny Desks–they seem even more geared toward introducing lesser known artists to the world.

Madame Gandhi’s is surrounded by her yellow bongos and congas, a yellow desk from her youth and a yellow nightstand, her Tiny Desk (home) concert lighting nods to the lavender-lemon artwork of her 2019 Visions EP.

Her music is mostly prerecorded.  The live elements are her vocals (soft and gentle with a lot of nonsense syllables amid the good vibe lyrics) and her wonderful hand drums.

Her music is inspired by her South Indian heritage and she lights a stick of palo santo.

For the first two songs she plays the damaru (I think).  “Waiting For Me” is about returning to the earth–returning to nature.  I enjoyed the way it began:

Wake up in the morning / hit space bar and start recording

She plays cool-sounding drums–she has wonderfully diverse sounds from that tiny hand drum.  And they seem to be modified in some way, too.

Before “Moon in the Sky,” she says “I don’t want our identities defined according to how oppressed we are.”

She’s intentional with everything she does, including activism that focuses primarily on gender liberation. She uses music to help elevate and celebrate female voices, from working with primarily queer women BIPOC on tour and video sets, to writing socially-conscious lyrics that challenge the white male-dominated music industry.

She continues, “if we are not brave enough to tell our stories end to end, somebody else will.  And they will get it wrong.

on tour and video sets, to writing socially-conscious lyrics that challenge the white male-dominated music industry.. Madame Gandhi’s clear, soft voice and swells of percussion give you the necessary space to meditate on her message of inclusion and equality.

She says her music is Indian trap.  The music has fun beats and a downplayed vocal delivery. I rather like it.

For the final song, “Bad Habits,” she stands up and plays the bongos: “put your phone down and stand with me.”  The catchy chorus of the song is “all my bad habits have got to got to go.”

Her parting words are that each person’s contribution is unique and valuable and can be of service to my community and my family.

This has been a great introduction to a new form of music for me.

[READ: June 28, 2020] “The Rescue Will Begin In Its Own Time”

I really don’t understand what was going on with these previously unpublished stories by Kafka (translated by Michael Hofmann). There are four flash fiction pieces and they seem much more like story ideas than stories.

In the first section he talks about the four ways the Prometheus legend can be viewed.  After the fourth, it ends, “The real riddle was the mountains.”

In the second part, there is a large load of bread which the Father of the family cannot cut.  The Father is not surprised, “Isn’t it more surprising if something succeeds than if it fails?”  When the children woke the next morning he had been up all night but had not managed to cut it. (more…)

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ja1SOUNDTRACK: HAIM-Tiny Desk (Home) Concert #34 (June 17, 2020).

haimWhen Haim first came on the scene they were marketed as a kind of hard rocking sister act.  So when I heard them I was really disappointed because they are anything but hard rock.  In fact this Tiny Desk (Home) Concert shows just how nicely their music works as  kind of poppy folk songs.

I haven’t really liked most of their songs, but I do like first and third in this set (I was unfamiliar with the middle song).

“The Steps” is like a classic rock song that’s been around for ever.  “The sunny, take-no-prisoners assertion of independence of “The Steps” recalls the soft rock jams of their earlier albums.”  The very cool sounding lead guitar riff that opens the song is definitely missed in this version, but the song itself is really solid and their harmonies are lovely.  The bass is mixed too loudly in this song, which is a bit of a shame since the rest sounds so good.

Strangely, it’s only Danielle who speaks and introduces only herself.  So you need the blurb to tell you that on her left is her sister Este Haim (bass, keyboard, drum pad, vocals) and on her right is her sister Alana Haim: (guitar, vocals, bongos).

The second song is “the muted techno glimmer of ‘I Know Alone.'”  Este switches to keys, Danielle switches to a rhythm machine and keys and whole Alana keeps the acoustic guitar she is also playing keys.  I think she keeps the guitar for one dramatic harmonic moment..  This song is kind of bland–not much really happens in it.

In comes Henry Solomon (the screen splits into four) to add saxophone for the final song “Summer Girl,”

a song that wavers like a heat mirage reflected off New York’s summer sidewalks, thanks to Henry Solomon’s whisper-toned sax.

I had no idea this song was HAIM  I recognized that saxophone melody immediately and have hear it many times on the radio.   Once again the bass is too loud, which is a bummer since this song is so chill. This song also feels like it has been around forever–there’s a real timeless quality to it.

HAIM recorded its Tiny Desk set before the death of George Floyd, and released “Summer Girl” last year. The world has changed a lot in that time. With its opening line — “LA on my mind, I can’t breathe” — “Summer Girl” becomes another piece of music that takes on a parallel meaning in the evolving social and political landscape of 2020.

I didn’t enjoy Haim’s early stuff, but I have come around on this album.

[READ: June 19, 2020] “Free”

This was a short story about who love ages.

Henry was married to Irene, but he was having an affair with Lila, who was married to Pete.

Irene was stuffy, very proper.  Lila, by contrast, once stripped off all her clothes and skinny dipped into a cold lake in front of him–“her bottom a sudden white heart split down the middle, in his vision.”  Lila lived in the now and gave herself to him completely.  But Henry “was no good at adultery…because he could not give himself, entirely, to the moment.” (more…)

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martinSOUNDTRACK: KIRBY-Tiny Desk (Home) Concert #32 (June 11, 2020).

kirbyWith recording equipment as easy to get as it is it seems like every person on earth might have a record out someday.  How else to explain how these Tiny Desk (Home) Concerts are just chock full of people I’ve never heard of before.

KIRBY has a really nice voice.  These renditions are wonderfully low-key.  It’s just Justus West playing a simple but effective guitar and KIRBY singing in a restrained style.  This is at least the fourth time I’ve seen Justus West in a Tony Desk Concert (Ty Dolla $, Leikeli47, Logan Richardson) and I think he’s pretty fantastic.  I’d like to see him features more.  I’m pleased that she doesn’t do any histrionics, she just sings prettily.

.KIRBY’s panache here, bolstered by a yellow bodysuit and blonde afro, is infectious and — just like the sunny backdrop of her manager’s LA home — her vocal runs radiate a soft power.

She plays three songs from her debut album Sis.

The first track is “Kool Aid” and with a dose of millennial spunk she sings “New hair, new braids / Nina Simone with a touch of ‘Yonce,” 

For the final song, the guy who has probably been on the most Tiny Desks in the shortest amount of time, Lucky Daye comes out to song with them.  It’s a little upsetting that they don’t seem to be fully social distancing, but they don’t touch, so that’s good.

“Velvet” is another song on the show Insecure which I’d not heard of until yesterday’s Tiny Desk (Home) Concert. Wins my heart for her improv first line:

“If I was a president I would tax it [No trump].”

Lucky Daye adds a high vocal R&B line that is almost the same range as her, although she does eclipse his high notes at the end.

[READ: June 19, 2020] “The Grand Old Opera”

This is one of those rare Shouts and Murmurs pieces that actually has a punchline–it sets itself up and pays itself off.  Most of them tend to be a joke that plays off of iterations of itself, so it was nice to have a conclusion.

The starting point of this piece is from a hilarious complaint from John Ashcroft (remember when he was the worst we had to worry about?).

Ashcroft complains that the opera gets funding from the NEA but people like Willie Nelson and Garth Brooks don’t. He then has the preposterous comment:

Those of us who drive our pickups to those concerts don’t get a subsidy; but the people who drive their Mercedes to the opera get a subsidy.

This piece centers around a discussion between the chief troubleshooter and the company director of the Metropolitan Opera House .

The troubleshooter is very concerned because there are people coming to the Met tonight on a Ford Taurus.  Worse yet, they are planning to arrive early to get a good parking sport. (more…)

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20000000SOUNDTRACK: KAWABATA MAKOTO [河端一]-I’m in Your Inner Most (2001).

a3548319280_16Recently, Kawabata Makoto [河端一], mastermind behind Acid Mothers Temple, revealed a new bandcamp site for some newer releases.

This is Kawabata Makoto’s minimal music works by his own ensemble reissued in 2002 with a bonus track.

This album is in fact two parts of the same song (technically). And they’re the first of his solo works to predominantly feature organ.  It also features artwork by Kawabata Sachiko

“I’m In Your Inner Most Part.1″ (19.11)  starts with a repeated organ riff and (the inevitable) high-pitched feedback sounds.  This one also has the voice of Audrey Ginestet repeating one word (drift? drip? something in French?).  Every few measure a new item is added and repeated–mostly organ notes in a pattern or a scale.  The last five minutes or so feels like a two note siren as the high notes soar around the top.”

I’m In Your Inner Most Part.2″  (20.24)  opens with that repeated word.  This piece feels a biot more like an improv with organ and the tambura rotating through.

Kawabata Makoto is credited with electric organ, electric harpsichord, violin, tambura, percussion, electronics and electric guitar on this release.

The bonus track is called “Osculation (remix version)”  (15.32).  I can’t tell exactly what it is remixing as it sounds like parts of both songs are melded together.  There is a lot of church organ sounds and repeating motifs.  But around 11 minutes a grinding noise comes into the song and start to take over until the end is just all noise.

Like most of Kawabata’s solo album, this one feels improvised and off the cuff.  The inclusion of the organ however, makes this one solitary in his vast catalog.

[READ: June 13, 2020] “Man-Eating Cats”

Twenty years apart, Murakami has two surreal stories about animals. Actually, this one is far less surreal than the monkey story, but there is a supernatural component for sure.

The story opens with the narrator reading to Izumi from the newspaper.  The article is about a woman who died and her cats ate her–they had been alone in the apartment for about a week with no food.

Izumi wants to know what happened to the cats, but the paper doesn’t say.  She wonders if he were the town’s mayor or chief of police, would he have the cats put down?  He suggests reforming them into vegetarians, but Izumi didn’t laugh at that. (more…)

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june8SOUNDTRACK: KAWABATA MAKOTO [河端一]-Jellyfish Rising (2005).

a1318054058_16Recently, Kawabata Makoto [河端一], mastermind behind Acid Mothers Temple, revealed a new bandcamp site for some newer releases.

This is another one of Kawabata Makoto’s minimal music works by electric guitars.  It also has two lengthy tracks.

“Astral Aurelia Aurita Laavarek” (28:05) is an echoing looping solo guitar piece.  It is chill and pretty. The looping is fairly quick until about 11 minutes when he slows it down to single notes.  The faster notes are still floating around in the background–ever so slowly fading away.  The pace speeds up and slows down through the rest of the song, creating a wall of new agey vibes.

“Meditation Of Pelagia Panopyra Perea” (27:16) is a similar style but deeper notes and a much lower backing drone.  This whole piece feels less relaxing but still soothing in a different way.

This might be my favorite solo record so far.

[READ: June 13, 2020] “Confessions of a Shinagawa Monkey”

The narrator met the titular monkey about five years ago in Gunma Province at a small Japanese-style inn.  He had arrived at the hot springs town and needed a place to crash for the night.  The place was practically a flophouse, but it was cheap and it was just one night.

But the hot springs bath was wonderful.  He was by himself and he spent a long time there, getting light-headed.

That’s when the monkey walked in and said “Excuse me.”  The monkey asked if the bath was satisfactory and if the narrator would like his back scrubbed (he did).

The monkey “didn’t have any clothes on.  Which, of course, is usually the case for a monkey, so it didn’t strike me as odd.” (more…)

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june8SOUNDTRACK: KAWABATA MAKOTO [河端一]-That Awaking: Good​-​bye Me (2020).

a0192176181_16Recently, Kawabata Makoto [河端一], mastermind behind Acid Mothers Temple, revealed a new bandcamp site for some newer releases.

This album is his most recent release (and I believe the impetus for this new site).

This album has two sons, each over a half an hour.

On “Summoning Souls To Meet” (35:47), a quiet, pretty acoustic guitar melody plays throughout the background while on top comes a series of electric guitar noises an explorations.  It’s a pretty improvisational song that never goes too crazy in the experimentation (although there are a few times when he plays some wild solos).  That acoustic melody keeps it grounded.

“That Awaking : Good-bye Me” (31.29) opens with a piercing sound which slowly morphs into another beautiful acoustic melody.  He then overdubs a pretty electric wah wah guitar solo.  It’s a lovely piece of music, although I wish that piercing ringing note was not there (it wouldn’t be Kawabata if there weren’t some high frequency sound floating around).  Eventually, you lose that high note amid the wonderful soloing he’s doing.  It’s soaring and psychedelic, sometimes fast sometimes echoing.  The last ten minutes or so seem to have some backwards looping going on.

Kawabata Makoto recorded this in May 2020 using electric guitar, acoustic guitar, and driftbox.

[READ: June 13, 2020] “White Noise”

This story is about Harvey Weinstein, except that it technically isn’t.

It’s about a movie mogul named Harvey who is on trial for abusing women.  It basically covers a short time before his verdict.

I wondered why Cline would feel compelled to write this fictionalized account of such a dreadful man.  I don’t often read the accompanying interviews with writers (I guess I should). The important takeaway is that “Curiosity about a consciousness doesn’t translate into endorsement.” (more…)

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june8SOUNDTRACK: KAWABATA MAKOTO [河端一]-Mizu Naranu Ao Ni Sae [水ならぬ青にさへ] (1998).

a1335809529_16Recently, Kawabata Makoto [河端一], mastermind behind Acid Mothers Temple, revealed a new bandcamp site for some newer solo recordings.

 This album is more along the lines of what you might expect from Kawabata Makoto: electric guitar solos from 1998.

Dazzling music for the temporal world, overflowing with a sense of pellucidity totally different from his work with Musica Transonic.

The album has two songs.

The first is “Mai Sagarisi Negai [舞い下がりし願ひ] (16:38). .   It is loops of guitar noises and feedback.  It’s not a lot of guitar “playing” but more like guitar experimenting.

“Amou No Shibuki [天生の水沫] (17:59) is different.  It features ringing, chiming guitars and sounds like he has something metallic resting on the strings to keep everything vibrating.  This one is more spacey.

[READ: June 13, 2020] “Pursuit as Happiness”

I haven’t read a ton of Ernest Hemingway.  Honestly, his stories of hunting and boxing and whatever other masculine things he was up to while somehow also being a sissy writer never appealed to me.

This is the story of the pursuit, capture and slaughter of marlins.  Now frankly, I think a marlin is about the coolest thing in the ocean.  And while it may be very manly to wrestle one in with just a fishing line, it sure seems like a waste of a beautiful fish.

So Ernest (for the narrator’s name is Ernest Hemingway) and the captain of the boat he was on fished off of Cuba for a month.  They caught twenty-five but that wasn’t enough, so they went back for more. (more…)

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