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Archive for the ‘New Yorker’ Category

R. Crumb–The Book of Genesis [excerpt] (New Yorker, June 8 & 15, 2009)

Posted in Bible, Gods, Minnesota, New Yorker, R. Crumb, Religion, Supernatural, The Replacements, Tom Waits on June 15, 2009| 2 Comments »

cover_newyorker_190SOUNDTRACK: THE REPLACEMENTS-Tim (1985).

timMany people consider this to be the best Replacements album.  It features one of their best songs “Bastards of Young” (which has one of the best anti-videos ever created (available here)).

For me, I think the second side (how quaint) is stronger than the first.  And, it’s not quite as diverse stylistically as Let It Be.  I think there’s something to do with the production that makes it a bit more polished-sounding.  And yet, despite all of this seeming Tim-bashing, it is still a fantastic record.

“Kiss Me on the Bus,” continues Westerberg’s streak of catchy poppy indie rock.  “Left of the Dial” is an awesome tribute to college radio stations.  And “Little Mascara” is another great, simple rocker.

Tim also contains a few ballads, “Here Comes a Regular” is another great TomWaitsian bar song. And “Waitress in the Sky” is a sweetly depressing song.

All signs indicate that The Replacements matured on this record (which makes this one seem less teenagery than Let It Be).  And after recording this, they kicked out Bob Stinson, founding member and brother of the bassist,  for being too drunk and reckless for the band (for THIS band!).  In fact, their next album will be even more “mature” (but I like that one more).

But Tim stands as one of the 80’s classic indie rock albums.

[READ: June 8, 2009] “The Book of Genesis”

As a general rule, I don’t like R. Crumb’s drawing style.  He’s a little too rough, a little too crass for my tastes.  This is no to say that I don’t appreciate his iconic images and the fact that his style is so recognizable. I just don’t happen truckinto like it all that much.  (Although I think his original characters are all pretty cool–the Keep On Truckin’ guy, of course).

Having said this, I appreciated his somewhat toned-down style in this excerpt.  Crumb decided to do a faithful, respectful illustration of the Bible (or at least the Book of Genesis).  And so he did.  The illustrations are really striking and, as is crumb’s way, he doesn’t hold back. (more…)

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Jonathan Lethem–“Ana’s Apartment” (New Yorker, May 25, 2009)

Posted in Consumerism, Demons, Drinking, Funny (ha ha), Funny (strange), Jonathan Lethem, Kiss, Minnesota, New Yorker, Short Story, The Replacements, Tom Waits on June 13, 2009| 1 Comment »

CV1_TNY_05_25_09.inddSOUNDTRACK: THE REPLACEMENTS-Let It Be (1984).

letitbeThis is the final album the Replacements made before they moved to the majors.  This disc represents the culmination of their pre-major label sound and is one of my favorite “college albums” of the era.

The disc retains a lot of their sloppy/punk sound of the time, but the songwriting moves forward a little further.  Westerberg wrote some timeless anthems for this disc (“I Will Dare,” “Unsatisfied”).   But, they also sprinkle the disc with silly tracks…not filler exactly…more like balance.  This keeps the disc from being too ponderous.

“I Will Dare” opens the disc. It is bouncy and poppy with an irresistible chorus.   But the bulk of the album is faster and more rocking.  Unlike on their their first two discs, however, the songs run a little bit longer, and they don’t attempt the hardcore feel quite as much.

In fact, there are a few songs that are quite clearly ballads.  “Androgynous” is a piano ballad (!) that could have easily been written by Tom Waits.  “Unsatisfied” is another ballad, although this one has more instrumentation.  Nevertheless, the feeling of yearning is palpable in Westerberg’s voice.  Finally, “Answering Machine” is another flanged-guitar filled song about romance in the age of modern technology (circa 1984).

These relatively light (musically, not emotionally) songs are balanced out quite nicely by the pair of punk/nonsense songs: “Tommy Gets His Tonsils Out” and “Gary’s Got a Boner.”  They add some (more) levity to the disc.  As well as some rocking guitars.

But perhaps the most surprising song is the cover of Kiss’ “Black Diamond.”  It is surprisingly faithful to the original, (at a time when Kiss was not even ironically cool) and it rocks just as hard.

This album showcases the diverse aspects of The Replacements perfectly.  While some people say their next album Tim is their masterpiece, I am more inclined to go with Let It Be.  And, for some reason, I really like the cover.

[READ: June 10, 2009] Ana’s Apartment

This short story sees the return of Perkus Tooth, who I first encountered in Lethem’s story in The Book of Other People.  In this story, Perkus has had it.   He is tired of his life and of his lifestyle.  He wakes from a party at an obscene hour and walks home in 2 feet of snow.  He learns that his building is shut down; he can’t get his stuff, he can’t even change his clothes.

He wanders around, freezing, until he remembers that his friend Biller told him of a place that Perkus could crash.  When Perkus arrives, Biller tells him he can crash in Ana’s apartment.  Ana’s not there, but she won’t mind a roommate. (more…)

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Craig Raine–“Love Affair with Secondaries” (New Yorker, June 1, 2009)

Posted in Art Brut, Cancer as plot device, Consumerism, Corporate skewering, Craig Raine, Frank Black, Marriage Trouble, New Yorker, Pixies, Rage Against the Machine, Russia, Sex, The Big Bang Theory, The Replacements, Violence on June 4, 2009| Leave a Comment »

newyorker jun1SOUNDTRACK: ART BRUT-Art Brut vs. Satan (2009).

art brutI’ve mentioned Art Brut before. I enjoy their talky/punk style. This, their new album, is produced by Frank Black of Pixies fame.  I can’t honestly say that I see a real difference in production values, but I don’t usually notice things like that.

What I did notice is that Art Brut are branching out a little bit from just having  Eddie Argos dramatically reciting his lyrics. On “What a Rush” there’s a group chorus of “Parents, please lock up your daughters.”  And on “Summer Job” there’s a “woah ho o oh” singalong bit from a different band member as well as a sung chorus.  But aside from that they are still the same Art Brut.

The focus of Argos’ rants this time seems to be very music-centered.  “Slap Dash for No Cash” describes the kind of recording style he likes (and which was presumably used on this disc).  Meanwhile, “The Replacements” is all about his shock at only just now discovering this awesome band (and his further shock that they are almost old enough to be his parents). And, of course, there’s the ever present concern of an indie band disliking and being disliked by the mainstream: “How am I supposed to sleep at night when no one likes the music we write? The record buying public, we hate them: This is Art Brut vs. Satan”

Argos’ lyrics also return inevitably to love and sex and drinking (not necessarily in that order) with “Alcoholics Unanimous” and “Mysterious Bruises.”

There’s also a song that absolutely must be used in a future episode of The Big Bang Theory (are you listening Chuck Lorre?): “DC Comics and Chocolate Milkshake.”  Can you not see the perfect setup: the song is playing in the background, and as the woman that Leonard falls for leaves the comic book shop, the soundtrack breaks to the line: “I’m in love with a girl in my comic shop.  She’s a girl who likes comics. She probably gets that a lot.”

Many of their songs are funny, but to me they don’t come across as a joke band.  And despite Argos’ great delivery and witty lyrics, it’s the music that really sells the album.  You don’t notice at at first, but it’s what makes these songs more than just novelties.  The guitar solos and opening riffs are really memorable, and when the songs start, the punk guitar blasts are really catchy.

My one gripe is that on some songs, Argos repeats the same line.  A LOT.  So on “Mysterious Bruises,” a song I like, by then end I don’t want to hear him say that he’s had one Zirtec and two Advil again and again.  And that is the one pitfall that Art Brut can stumble into once in a while.  For most bands, a chorus that is sung many times can be catchy and fun to sing along to.  Art Brut’s spoken lyrics are fun to hear, and might be fun to shout along with in a concert, but hearing him repeat himself can be tedious when there’s no melody (I find this true of Rage Against the Machine as well, as Zach de la Rocha is the king of repetition.  The king of repetition.  The king of repetition.) Fortunately Argos doesn’t do it all that often.  And the album stands up to multiple listens.

[READ: May 27, 2009] “Love Affair with Secondaries”

This story, set in Moscow, concerns a man, his wife, and his mistress.  The man, Piotr, recently had some tests done to see if he inherited a familial cancer.  With this hanging over his head, he tries to prove to himself how alive he is by sleeping with his mistress Agnieszka.

The affair is conducted in his own house, because his wife Basia is out until late most evenings. One day Basia comes home while Agnieszka is still in the house.  As Agnieszka flees the house, Basia hits her with a blunt instrument; Basia later claims that she now has a tumor.  Piotr, wracked with guilt for cheating and for this presumed cancer doesn’t know what to do. (more…)

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Salman Rushdie–“In the South” (New Yorker, May 18, 2009)

Posted in Death, Marriage Trouble, Natural Disasters, New Yorker, Old Age, Pixies, Religion, Salman Rushdie, Short Story, WNYE 91.5--Radio, New York on May 23, 2009| Leave a Comment »

518SOUNDTRACK:  Radio New York, WNYE, 91.5FM.

91.5Radio New York is a fascinatingly diverse radio station.  I have probably scanned right by it on many occasions because at the time I scanned onto it, the show was something that I had no interest in.  And yet, several hours before or after, I would have found a great resource for good music.

Their website features a cool interactive page that describe the amazing diversity in their daily lineup from Alternative rock to Cypriot Shows, BBC World Service and Haitian Perspective, even the Voice of Bosnia.  I admit I’m unlikely to listen to many of  these programs, but it’s nice that they’re there.

The morning music, however (from 6AM-Noon) is often exactly what I like.   Especially John in the Morning, whose description: “From the Pixies to Pela, M.I.A. to Massive Attack, JITM breaks new music, embraces old music and ties it all together” sounds exactly like what I’d do if I were  a DJ.

[READ: May 21, 2009] “In the South”

This short story finds Salman Rushdie contemplating death on a personal level and a grand scale.  The story concerns two old men: Junior and Senior (who is 17 days older than Junior).  The men are not related, but they grew up in the same town.  Both men also have the same first name (which they will reveal only as starting with the letter V), and nothing else in common.  (more…)

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Italo Calvino–“Two Cosmicomics” (Harper’s, May 2009)

Posted in Anachronisms, Fables, Funny (strange), Harper's, Italo Calvino, Marriage Trouble, Martin McLaughlin, New Yorker, Outer Space, Pearl Jam, Short Story, Supernatural, Time Travel on April 29, 2009| 2 Comments »

harpers-maySOUNDTRACK: PEARL JAM-Yield (1998)

yieldThis Pearl Jam disc is something of a return to form after the experimentation of No Code.  Part of me feels bad that they experimented less, because I do enjoy a band’s wild side, and yet these songs are uniformly fantastic, and they include some of my favorites by Pearl Jam.

“Brain of J” bursts out of the speakers, as one of their heavier opening tracks.  Catchy and fast.  “Faithful” starts as a ballady song but the choruses once again build into a great sing along.  “No Way” is a more experimental sounding song.  It’s right in the middle of their speeds, but the guitar has a mysterious echo on it that gives it an eerie feel. “Given to Fly” is a classic: slow, building, anthemic.  “Wishlist” is another of Sarah’s favorites: a simple, catchy melody that builds and builds.

“Pilate” is a rather confusing song: “Like Pilate, I have a dog”  Okay.  A gnashing rocking chorus with verses that are actually catchier.  “Do the Evolution” quickly became my favorite Pearl Jam song from the live sets.  This studio version is a little slower, and to me it sounds off.  But it’s such a weird little song, what with the “choir” singing “alleluia” and yet it is just a perfectly tidy punk song.  Certainly one of my favorite PJ songs.  The next untitled song (a red dot) is one of those weird, forgettable tracks that PJ throws on their albums, it’s less than a minute of steel drum inspired chanting.  It’s quickly followed by another of my favorite songs “MFC” a rocking song that sounds like its subject matter (driving).

“Low Light” is a slow song that builds, but it is a very full song; the whole band plays, keeping it from being dull. “In Hiding” has a great guitar opening and one of those great Pearl Jam singalong choruses. “Push Me, Pull Me” is another weird little track, that reminds me of some of the Who’s wackier numbers. “All Those Yesterdays” ends the disc on a quirky song.  It’s catchy but not as catchy as some tracks.

The album ends with an untitled hidden track. It’s a Middle Eastern style guitar solo. Amazon says the song is called “Hummus.”

I really enjoy this disc, it’s a shame it took me so long to discover it as I had given up on PJ after No Code.  But now it ranks as one of my favorites.

[READ: April 24, 2009] “Two Cosmicomics”

I’m not sure why all of these Calvino stories are appearing in magazines all of a sudden.  But after the one in the New Yorker not to long ago, I figured I’d give this one a try, too. (more…)

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Chris Adrian–“A Tiny Feast” (New Yorker, April 20, 2009)

Posted in Cancer as plot device, Chris Adrian, Gods, New Yorker, Nirvana, Pearl Jam, Short Story, Supernatural on April 20, 2009| 3 Comments »

CV1_TNY04_20_09.inddSOUNDTRACK: PEARL JAM-Ten (1991).

tenFor me, Nirvana was the band that brought the 1990’s into alternative-rock-land.  But, it was Pearl Jam that brought hard rocking music back to the masses. Like everyone I know, I loved Ten.  But I gradually lost excitement about Pearl Jam over their next couple of records.

Then something interesting happened; in the span of a few months, someone loaned me a copy of Binaural and Pearl Jam released a whole bunch of live CDs all at once.  (72 to be exact).   Being indecisive, I decided to get the whole set (directly from the band), and so I immersed myself in Pearl Jam.  (My friend Lar asked if it was because I wanted to have 72 copies of “Jeremy.”   Amusingly “Jeremy” actually only appears on a couple of the discs, but I think there are 72 versions of “Do the Evolution.”)   By the end, I had a fundamentally new respect for the Pearl Jam albums that I hadn’t really listened to.  I also had some newly favorite Pearl Jam .

The interesting thing about the live discs was that many of the songs were performed faster than on the originals, but not so much with the songs from Ten…they kept all of the power and excitement and transported it perfectly to the stage.

Ten has just been reissued as a remastered disc and a remixed disc. (It comes in 4 different packages, but I couldn’t justify splurging on the big package even if I did splurge on the live discs way back when…I’ve got two kids now, after all).  I’m currently digesting the remixed version of Ten, but I wanted to revisit the original disc for comparison.

Man, I must have listened to this disc a hundred times.  And even though I haven’t listened to the disc in quite some time, I was amazed at how I remembered everything.  And it still sounds amazing.

One of the things I noticed this time around that deepened my appreciation for the disc was Jeff Ament’s bass.  Unlike some albums where the sound is consistent on every track, on Ten, Ament plays two or three different bass sounds that bring a strength of diversity to the album.  He’s got a watery, fretless bass sound that brings fantastic fat bass to some songs, and then he’s got his hard, electric bass for some others, and the 12-string bass that you hear in “Jeremy.”  He’s also not afraid to mix up the bass lines, so he’s not just keeping time with the beat.

And back to the album: there’s not a bad song on Ten.  The first 6 tracks, in fact, would be classic tracks for anyone.  “Once” starts of with a bang; “Even Flow” shows a slower and more melodic side; “Alive” introduces the anthemic chorus, “Why Go” shows their punk roots; “Black” has just about everything; and “Jeremy,” well, everyone knows “Jeremy.”

The next song slows the album down a little.  “Oceans” is a bit of a misfit on this disc: it’s rather mellow, it doesn’t have a chorus per se and I don’t know that it would be anyone’s favorite song.  And yet, that great watery bass plays through the whole thing making it exquisitely beautiful.  It’s also a fun one to sing along to as it’s mostly just ooohs.  They wisely kept it to under three minutes, providing a nice break from the proceedings but not losing the overall momentum of the disc.

And then we’re back: “Porch,” starts fast and gets furious as the chorus culminates, “Garden” is a slow but intense number, and “Deep” gives Eddie one more chance to scream before the conclusion. “Release” provides a great slow down after the adrenaline of the disc.

The entire disc is singalongable.  And there’s not a bad thing I can say about it.  Even after nearly twenty years the disc still sounds fresh and amazing.

[READ: April 16, 2009] “A Tiny Feast”

This has such a weird conceit for a story.  A little boy has contracted leukemia, and his parents sit with him every day as they do the chemo.  The twist is that his parents are actually immortal beings, and he is a human.  They acquired the little boy (named Boy) when Oberon was feeling guilty for making Titania mad. He stole a human boy from a family and presented him to Titania as a gift.  At first she was still mad at Oberon and wanted nothing to do with her new pet, but she slowly grew to love the Boy.  And when the boy became sick they took him to a human hospital. (more…)

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Tessa Hadley–“She’s the One” (New Yorker, March 23, 2009)

Posted in 21 Jump Street, Bon Jovi, Books about writers, Canadian Content, Dear Mr President, New Yorker, Pearl Jam, Ratt, Robbie Robertson, Short Story, Suicide, Tessa Hadley on April 5, 2009| Leave a Comment »

CV1_TNY_3_23_09_09.inddSOUNDTRACK: DEAR MR. PRESIDENT-Dear Mr President (1988).

dearSo, I mentioned these guys in a previous post about The Airborne Toxic Event.  I said maybe I’d listen to the disc again (it’s been at least ten, maybe fifteen years since I listened to it).  Sarah walked in and said it sounded like Bon Jovi, which may or may not be true.

The band is a weird amalgam of things.  They look like Ratt, almost exactly like Ratt, in fact.  And yet musically they are all over the place.  The opening, rather cool, track is “Hey Daddy Have You Ever Been Arrested?”  It starts slow with the singer’s weird, sort of whiney, but almost bitterly angry voice reciting some lines over bass.  A distorted guitar comes in and the chorus rocks out.  There”s some heavier stuff as the song ends, including a rocking solo.

What’s most notable about the song, and the disc though is the lyrics.  Certainly not the first or even the most “political” band, but for the supposed genre they are in, lyrically they are thoughtful if not thought provoking.  And, even with doses of humor, they’re a lot more than a sex drugs and rock n roll band.

But after that first track the album diversifies.  “Fate” is a ballad, with the singer’s hesitant voice opening the track.  “Love and Violence” sounds like a late 80s metal song, but with a twist: the singer’s voice is just off-kilter enough to keep it interesting.  Meanwhile “Where is the Love?” is positively funk-filled, with a slapping bass line and big horns.  And then there’s “Flesh & Blood” which has something of a smooth jazz trumpet solo as it winds down.  It also seems to get more mellow as the track progresses.  Keep a mental note about this song title.

As the disc continues, things get really weird: horns start featuring in the songs with more and more frequency.  And at one point there’s something of a disco vibe.  There’s even a song about wanting to dance like Fred Astaire. (full of sizzling keyboard blasts!).

“Reality” is  slow ballad with era-appropriate keyboard splashes in the chorus.  And “Fatal Desire” sounds not unlike a Pearl Jam track (except for the vocals of course). The last three tracks on the disc have their track number in red (the others are in white) which leads me to think that maybe they were bonus tracks?  They include an 8 minute song “Get It Together” that sounds like it could be a background soundtrack to a 80s show like 21 Jump Street, especially the atmospheric guitar washes.  This disc ends with a weird little 1 and a half minute thing called “Who Killed Santa Claus?”

Whats amazing is that even with the internet’s omnipotence, there is virtually no information about this album, or even the band, anywhere.  Nor what happened to them (I discovered that two of the members played on other bands’ records).  You can’t even find anything about their other band name.  For some reason, the powers that be didn’t like the name Dear Mr President, and they had to change the band’s name to Flesh & Blood.  They released the album as Dead White and Blue.  I’ve never actually seen that disc though.

But after some searching around, I found one article about the band.  It answers some questions, like about their name change.  And evidently I have one of the few copies of the original disc.  Huh.  And to think that I bought it on a whim back in college when I bought bands without knowing anything about them.

So, for all of your Dear Mr. President needs, check out this article.  There’s even two downloads, too!

[READ: March 27, 2009] “She’s the One”

This story is one of the few stories I’ve read that is about writing and writers in which the main character isn’t a writer.  Ally works at a writer’s workshop as the secretary.  She encounters all kinds of writers, but in this particular term, she encounters a Canadian woman with short, white hair named Hilda.  Hilda is in her late fifties, has lived a pretty full life, and since most of her faimily is in England, she has settled down there too.

Ally runs into Hilda at the supermarket and casually asks how her novel is going. Hilda is very guarded and quite rude, until a few minutes later when she apologizes and takes a keen interest in Ally and her life.  Ally, caught off guard, reveals a family secret that she never feels comfortable talking about.  And, she soon finds comfort in this off-putting stranger’s cozy cottage.

Ally also learns more details about Hilda’s novel, and her fascinating family story about a Canadian folk singer’s impact on all of their lives.

I really enjoyed this story both for its unconventional look at writers, and for its interesting dealing with family crises.  A very strong story.  Although I have a quibble.  Ally and her coworkers can only think of one Canadian folksinger: Robbie Robertson.  Now, I realize that I’m a Canuckophile and all but, come on.  At least include Neil Young in the list.

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Woody Allen–“Tails of Manhattan” (New Yorker, March 30, 2009)

Posted in Funny (ha ha), New Yorker, Short Story, The Airborne Toxic Event, The Church, Woody Allen, WRFF 104.5 FM--Philadelphia, PA on April 4, 2009| Leave a Comment »

newyorker3SOUNDTRACK: AIRBORNE TOXIC EVENT-“Sometime Around Midnight” (2009).

ateI’ve been hearing this song on the radio a lot lately (WRFF especially seems to play it a lot).  But they never said who it was!  I liked it, but I was sure it sounded like an old song.  Ack, but what was it?  I kept coming up with a band called Dear Mr. President.  And then I heard the truth.  It was the Airborne Toxic Event.

I’m still not sure that Dear Mr President is who I’m thinking of, but their song “Fate” has a similar vocal style at the beginning…it morphs into a different song altogether, but maybe that is what  was thinking of.

As for this ATE song, I really like it.  It’s got this weird quality that I find appealing.  It’s  a slow builder, but the vocals are what’s so intriguing about it…very understated with a whispered feel, until the big stadium chorus comes in.  And yet, there’s no chorus.  The song builds and builds to a chorus that never arrives.  Nice trick, guys.

Heh, I was just looking back over my previous post about Airborne Toxic Event, and I see that I do know this song from when I first listened to it on MySpace back in June 2008.  At that time I compared them to the Church.  I guess I can’t let them be their own band.

I’m certainly going to have to check out their CD

[READ: March 26, 2009] “Tails of Manhattan”

I don’t always include the one page pieces from the New Yorker, but since I like Woody Allen, I figured I’d include this one.  It also gets a special mention because in Allen’s collected essays he often has jokey pieces that are topical, and it’s rather rare that I am completely aware of the topical reference.

This piece is about two old Jewish men who are reincarnated as lobsters (funny in itself), but it also concerns Bernie Madoff.  And since it’s unavoidable, I know who Madoff is an what he did.  I assume this piece would be funny in even you didn’t know who that was (or in 5 years when we forget), because the idea of lobster revenge is always funny.

Allen’s New Yorker pieces aren’t always funny, so it’s nice to see that he can still do a concise little piece like this that really hits the mark.

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David Sedaris–“Author? Author” (New Yorker, March 30, 2009 )

Posted in Books about writers, Canadian Content, Consumerism, David Sedaris, Funny (ha ha), Neurotics, New Yorker, Short Story, WRFF 104.5 FM--Philadelphia, PA on March 31, 2009| Leave a Comment »

newyorker2SOUNDTRACK: WRFF 104.5 FM.

1045I stumbled upon this station by accident one day.  I was working outside, trying to tune in a radio station, and, although I was near a classic rock station from New York, I heard a very cool alternative song.  So, I tuned in this staticky station and later learned that I was listening to 104.5, WRFF out of Philadelphia.

It’s weird to me that these “90’s” stations are popping up, and that it’s a retro sound, but then, there is a market for those of us Lollapaloozers.  This station plays a great selection of 90’s rock, with an occasional dip into the 80s and of course, new music by any of these bands.  They don’t go too heavy, although they’re not afraid to really rock out.

Now if only I could get that signal a wee bit clearer.

[READ: March 26, 2009] “Author? Author”

This was a very short, but very funny piece about Sedaris’ book tours.  He started and ended this tour in a Costco…and trying to picture Sedaris in a Costco is about as funny as anything he wrote about.  Having said that, the bit about condoms and strawberries with optional olive oil had me laughing all day.

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Joyce Carol Oates–“Pumpkin Head” (New Yorker, January 12, 2009)

Posted in Canadian Music, Constellation Records, Drinking, Funny (strange), Joyce Carol Oates, New Yorker, Polmo Polpo, Sandro Perri, Set in New Jersey!, Threats on March 22, 2009| Leave a Comment »

ny112SOUNDTRACK: SANDRO PERRI-Plays Polmo Polpo [CST042] (2006).

polmoThis EP has Sandro Perri, mastermind behind Polmo Polpo, playing previously released songs by Polmo Polpo.  Why? You may ask.  To rework them entirely, of course.  The original pieces were electronic and very textured, creatively designed that you almost forget there are songs underneath. And so Perri has brought back the songs underneath the songs, creating an acoustic soundtrack that brings out the subtlety of the originals.

And yet, that’s not exactly correct either.  Because three of these tracks appear on the Polmo Polvo release Like Hearts Swelling, in much longer versions.  In fact, “Sky Histiorie” drops from 13 to 4 minutes.  Indeed, aside from lyrics, the songs are almost unrecognizable except as kernels of ideas from the original.

This is a delicate EP, acoustic and either solo or with suitable accompaniment.  It’s not going to blow your mind, but it might get you hooked.

[READ: March 5, 2009] “Pumpkin Head”

As Hadley is waiting in her house, a pick-up truck pulls into her driveway.  She vaguely recalls asking Anton Kruppev to stop by.  And yet she is full of trepidation while the truck sits in her driveway.  As the driver gets out of the car she sees that it is in fact a large pumpkin-headed man.  The pumpkin head becomes more sinister as it gets nearer and nearer, unspeaking.  Although surely it must be Anton, for that is his truck.  Lest  you think that JCO has gotten all surreal, the pumpkin head is actually a jack -o-lantern carved out by Anton and worn on his shoulders.

Despite her obvious nervousness, Anton laughs off the joke and presents her with the very large jack-o-lantern as his gift to her. Hadley ‘s thoughts wander as Anton offers to do some work around her house.

Hadley is recently widowed and while she’s not terribly attracted to Anton, his rugged good looks and physical strength let her ponder some possibilities.   After inviting him in for a drink, she immediately regrets it.

Anton wanders around her house scrutinizing all of her things, her prizes, her memories of her husband.  And, as he drinks more, he grows more belligerent.  Belligerent about the head of his laboratory who has stolen Anton’s work (and gotten him fired in the process) and against America itself (a supposedly tolerant nation).

JCO pervades the story with tension.  Every move that Anton makes, from his initial awkwardness to his eventual drunkenness is fraught with meaning.  And yet the whole time, you get the feeling that Hadley’s just being foolish in her fear. You want her to lighten up. She knows this guys, he’s harmless, almost childlike.  But even though she doesn’t let up her guard, her worst fear comes true.

It’s available here.

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