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Archive for the ‘Magazines’ Category

CV1_TNY_06_10_13Schossow.inddSOUNDTRACK: ANNA VON HAUSSWOLFF-“Funeral for My Future Child” (2013).

anna-von-hausswolffThis was selected as one of NPR’s favorite songs of the year (so far).

It’s probably hard to like a song with a title like that, but there’s something strangely compelling about the whole proceeding–the great intricate percussion and drums that start the song, the ponderous pipe organ that lays down the melody, and then Anna’s voice which has a country-ish feel (kind of like Neko Case), but also has a kind of Dead Can Dance vocal style.   Or perhaps that’s just because she is Swedish.

By the time the chorus comes around, the ache of the song is apparent.  And the end has more of that amazing percussion.  I rather like the beginning and the end of the song more than the middle, which I guess doesn’t say a lot for it, but it is intriguing.

Evidently this album is primarily full of pipe organ, an interesting choice for a rock album.  I’d be curious to hear more.

[READ: June 17, 2013] “Twisted”

As if anticipating that I would not be able to write posts this week, the New Yorker has supplied me with a series of very short “True Crimes” pieces.  In fact, the whole issue is a fiction issue, which means a half a dozen or so stories as well.   But it’s these “True Crimes” that will keep me posting this week.

The first is from George Pelecanos, and it’s a story of his own crimes.  He explains that when he was younger, he did all manner of illegal things but had never been caught (aside from a few minor infractions).  He broke into houses and stole records from someone he didn’t like.  He rode in a stolen car, stole wallets from strangers at stores (at this point I really don’t like this guy).  But he doesn’t try to make excuses for himself.  He was a boy and he was having fun.

But the crimes continues long past adolescence.  In 1985 he was 28 and got involved in a high-speed chase.  He was drinking and smoking pot at a wedding.  He and his fiancée stopped at a convenience store where he backed  into someone’s car.  A gang of people came out and the threat of violence was imminent.  But he hopped in his car, drove on the sidewalk and sped off with the police in pursuit. (more…)

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CV1_TNY_06_10_13Schossow.inddSOUNDTRACK: NEKO CASE-“Man” (2013).

neko-case-the-worse-things-getIt was Neko Case who got me out of my NPR summer music doldrums. From her new,  wonderfully titled album The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You, comes this fast, rocking track.

It has everything that Neko does great—fast, clever lyrics over a simple but propulsive beat.  There’s a cool, unexpected guitar squiggle at the end of each verse that just makes the song seem that much faster.  But it is just an uptempo stomper from the great Case.

The song slows down in the middle with just a bass and drums and then as Case starts singing about her manliness, a harpsichord plays over the back giving it a nicely pompous air.  Which is quickly deflated by the buzzy guitar solo.  The song is clever and pointed and very well done.

The only thing missing is a great Neko Case wail, but the song (and the lyrics) are too fast for her to hold any notes for too long.  I’m really excited about this new album from her,.

[READ: June 18, 2013] “Scenes of the Crime”

The New Yorker doesn’t often tell you when something is an excerpt, but this time they tell us right up front.  This is an excerpt from an upcoming Ridley Scott film written by McCarthy called The Counselor.

Although I am told that I would love McCarthy, I have never read him with any seriousness.  And from what I have heard of his writing I don’t think I would like him.  This excerpt is more or less a useless attempt to try and get any sense for McCarthy as a writer.

There is no dialogue.  Rather, it is just a series of scenes–shot after shot, establishing the action of the movie.

I have no idea if there is dialogue in the movie or not.  I would be really impressed if there was no dialogue during these scenes and this whole sequence took twenty some minutes–with no dialogue at all.  That would be pretty cool. (more…)

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CV1_TNY_06_10_13Schossow.inddSOUNDTRACK: GAUNTLET HAIR-“Bad Apples” (2013).

stillsThis was the third song that NPR played in their summer preview show and I was a little concerned about the state of summer music because I didn’t love any of the first three songs.

Gauntlet Hair (what a crazy name) plays a kind of early-sounding Depeche Mode music with rather sedate and uninspired vocals.  I liked the second half more than the first half, probably because there was more instrumental music.

Indeed, as the song ends and the Depeche Mode-vibe comes to the fore, I rather got into it.  Especially the pianos at the end.

Shame about the vocals.

[READ: June 18, 2013] “Happy Trails”

I haven’t read a lot by Sherman Alexie, but I have enjoyed what I’ve read.

This story was quite short and was all about the disappearance and presumed death of his Uncle Hector.

One day Hector said he was going to hitchhike to Spokane.   He walked out the door and was never head from again.  The narrator says that Hector was his favorite relative (although he later says that he really wasn’t that great of a guy).

As the story picks up, it is four decades later and the narrator has decided to have a funeral for him.  His mother says that she doesn’t think he’s actually dead but the narrator says that it has been forty years, he could have come back or written a letter.  Or called. (more…)

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CV1_TNY_06_10_13Schossow.inddSOUNDTRACK: ScHoolboy Q “Collard Greens” (2013).

colalrdgreens-f7ef9a5569c897652952a2688c4af9911361663a-s1NPR opened their summer preview show with two rap songs.  This was the second.  The bass line is very neat—propulsive and continuous and there’s this little keyboard sprinkling across the top.  This is West Coast rap style and I like the music quiet a bit.

The rapping is unusual—some amusing voices and nonsense words, but I admit I didn’t really get into it until about half way through when the rapper (ScHoolboy Q or guest Kendrick Lamar I don’t know) comes in with an unusual-sounding voice—sped up and goofy.  And he does one of my favorite rap things—singing really fast in a high voice then ending with a low word (Gawd).

The song feels atmospheric, although overall, I’m not a fan.  The DJ who introduced the song says that he is part of the “supergroup” Black Hippy, along Ab-Soul, Jay Rock and Kendrick Lamar.  She describes ScHoolboy Q as the darkest of the bunch, which makes me think I should check out the rest to see what other kinds of things they do.  [I did, and I didn’t like them–lyrically they are remedial at best].

[READ: June 18, 2013] “Rough Deeds”

This story is set in New France, (also known as Canada).  Duquet is a timberman, seeking his fortune by amassing the largest area of woods to be exported both to the Americas and back to Europe.   He connected with a man named Dred-Peacock (I included him mostly for his name) who set him up with a connection in Scotland.

Duquet wasn’t exactly sure about trading with the enemy, the English, but money is money and they had lots of it and need for lots of wood.  And soon a fortune was made.

Then Dred-Peacock encouraged him to head to Maine where thousands of acres were there for the asking.  Indeed, Duquet was able to buy twenty thousand acres at 12 cents an acre.  But when he and his man Forgerson went to investigate, they found a crew cutting down trees on his property!  When he accosted them, they fled.  The youngest member of the thieving team had a limp and fell behind–which gave Duquet the opportunity to hurl his tomahawk at him, felling him instantly.

When the boy won’t talk, Duquet cuts off two of his fingers (Duquet does not mess around) and the boy reveals that he works for McBogle.  The boy already had an infected leg and Duquet had no intention of healing him, so he allowed the boy to die, ultimately killing him and burning his body in McBogle’s makeshift mill.

While Duquet was doing this, Forgerson was off scouting a new way to get the timber to the mill and finding people to work with them.  When he returned, he wondered where the boy had gone, but said nothing.

And there were no consequence for Duquet. (more…)

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CV1_TNY_06_10_13Schossow.inddSOUNDTRACK: KANYE WEST “Bound 2” (2013).

yeezus-51d72498d1b9891010bf6a62582ee1be614b4806-s1I dislike Kanye West.  He strikes me as a colossal ass.  So I was shocked how much I really liked his last album.  In addition to great melodies, I liked how audacious it was.  And now he has a new album (with no cover apparently) and this new single.

The song samples Brenda Lee (of “Rockin’ Around the Christmas Tree” fame) Ponderosa Twins Plus 1 and has no actual beats.  And the amazing thing is that Kanye does his own thing—his own particular form of rapping—over the repeated do wop sample “Bound to Fall in Love.”  (That’s the Ponderosa  Twins).  It’s not quite right—his flow doesn’t quite follow the melody that‘s playing.  And of course, this old school sweet song has “I wanna fuck you hard in the sink” rapped over it.  There are times when it sounds like he is rapping despite the song that is playing along—as if someone was playing it and he had to fight to be heard over it.

I respect how contrary the song is.  Especially when a new nicely sung part comes across—it may be a sample (Charlie Wilson), I’m not sure, but it comes out of nowhere and brings in a beautiful melody.  And it is interrupted mid flow as well.  The whole song feels like pieces thrown on top of each other.  And after two or three listens it starts to make sense.

Kanye may be crazy, but he knows music.  Ah ha, honey.

[READ: June 18, 2013] “An Inch and a Half of Glory”

When I saw that Hammett was the first author in this Fiction issue of the New Yorker, I automatically assumed that the stories would all be noir (especially since they all have a black and white cover picture).  Perhaps that was presumptuous as I have never read Hammett before, (although he is known for his detective stories).  But indeed, this story isn’t noir at all.  Nor is there any detective work involved.  It seems tied to the issue by virtue of his name, not the actual story (which had not been published before).

The story is simple enough,  There’s a fire on the second floor of a building,.  A crowd has gathered to watch and wait for the firemen.  Then someone notices a small child in the third floor window.  The child isn’t afraid and there aren’t any flames yet so the people kind of just watch the kid and say that the firemen will be along any second.  But when a woman in the crowd chastises the men for not helping the baby, the men as a group (7 or 8  of them) charge into the building.

They hear sirens almost immediately and they all leave.  Except for Earl Parish.  Parish decides that he is going to do something about this.  Even though he knows the other men will be mad at him for continuing on when they all left.  Then he changes his mind, but he knows he can’t leave now…now that he has stayed.  So he plunges onward, finding the boy and bringing him out to safety.

The next day in an inch and a half column, he is referred to by name as having saved the boy from the fire. (more…)

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CV1_TNY_04_08_13Ulriksen.inddSOUNDTRACK: THE POSTAL SERVICE-“A Tattered Line of String” (2013).

postalI enjoyed The Postal Service record but I wasn’t as big of a Death Cab for Cutie fan at the time.  Now, having enjoyed DCFC so much in the last couple of years, this song sounds much more like a DCFC song but with keyboards (Ben’s voice is so distinctive).

This song has been released with the reissue of the Postal Service album.  It’s not on the original but it also sounds like it might be a remix (the skittery backing vocals make me think remix).

Either way this is a supremely catchy song (Gibbard knows from melody) and when you throw the keyboards and dancey beats on it, it’s even more poppy than DCFC’s stuff.  I wonder why the album wasn’t bigger when it came out.

[READ: April 21, 2013] “Valentine”

Tessa Hadley has written another story that I enjoyed–with that same quaint feeling of love in 1970s England.

The story opens with the narrator Stella and her friend Madeleine waiting at the bus stop.  They are fifteen, have never kissed boys, and think about nothing else (especially since they go to an all girls school).   Madeleine is willowy with long curls a “kitten face” and “luscious breasts” while Stella is small, plump and shapeless.

As they wait for the bus, Valentine approaches (yes I though the title was about the day not a person).  He is in school as well but he is new to them.  Valentine has just moved to the area from Malaya.  And, as he sizes them up, offering them each a smoke, when it comes down to it, amazingly, he chooses Stella.

She likes him because he is different as she is different–they are clearly soulmates.  While her parents (well, Gerry is her stepdad) don’t ‘t approve of him (his hair, his dress, his attitude).  He barely talks to her parents when they interrogate him and then he imitates their voices when they are alone.  Regardless of what others thought or really, because if it, they are soon hanging out all the time.  And soon he is her boyfriend.  And soon enough she had lost weight (because all they did was talk and smoke), they died their hair black (a proto-goth in the hippie 70s) and they basically began to look alike. (more…)

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CV1_TNY_03_25_13Juan.inddSOUNDTRACK: THE SMITH WESTERNS-“3AM Spiritual” (2013).

smith-westerns_cvr-208198ccccc71e78a954f8e32cfa71f6abe43e63-s1This album is currently streaming on NPR.  It is a sweet acoustic pop album with elements of retro electric guitar sounds.  It has lots of elements that I recognize (name any folkie power pop band and you can hear them in here).  But the biggest element here is The Beatles–later period Beatles–especially on the instrumental break of this song.

It opens with jangly guitars and a falsetto vocal (with lots of ah ha has at the end of the verses).  There’s a soft keyboard and some wooooah yeashs.   So far so good.

At the two-minute mark the song gets much bigger–the “whoa yeahs” get louder and there’s a guitar break which lasts for a few measures and which seems like the song will be ending (it is a power pop song after all).  But the chord changes and the song stops and the pizzicato piano comes in.  And it’s followed by that fuzzed out classic rock guitar solo sound.   All of which is brief enough to keep the listener guessing while the song swings back into some Whoa Yeahs until it ends.

It’s a simple pop song, but it has enough going on to not be completely obvious.

[READ: April 21, 2013] “The Judge’s Will”

I read this awhile back and never posted on it.  So here it is.

This is the story of a judge and the women in his life.  He has survived a second heart attack but knows he is not long for the world.  The judge is married, but he has been keeping a woman on the side for twenty-five years.  And she is concerned for her future–he has always taken care of her but she has no legal rights.  He has ensured that she will be okay in his will, but he is afraid that his wife and son will cause trouble when the time came.

His wife Binny did not react at all when he told her of his multi-decade infidelity–she acted like it was idle gossip.  But she did share the news with her son Yasi.  They knew the judge wouldn’t leave everything to the other woman.  The judge is rather surprised by this reaction and indeed, it proves to be false.

When the judge went back to the hospital, he called on Yasi and asked him to bring things to the other woman.  Which he did–although he says he left as soon as he could.  When the judge returns home, he asks Yasi to bring the other woman, Phul, to their house. Binny was upset, but accepted the news. (more…)

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CV1_TNY_05_27_13Juan.inddSOUNDTRACK: CHANCE THE RAPPER-“Juice” & “NaNa”(2013).

chancetherapper-acidrapNPR has raved about Chance the Rapper, both at SXSW and now with Acidrap as one of their favorite albums of 2013.

Chance the Rapper has a couple of different vocals styles (kind of Jamaican, kind of falsetto, also a deeper voice) and his lyrics are crazily all over the place.

I have no idea what “Juice” is about (I’m not hip to the slang, man), and of the two I like that one less.  “NaNa” is just crazy fun–it’s got a great bass riff–weird and all over the place, like slow funk.  He sounds more Jamaican here, and the lyrics are just nutty

In terms of rap, his style is quite different–fun and weird (there’s a lot of laughing during “Juice”).  The chorus of “NaNa” is a kind of whine and taunt.  And various things keep interrupting the song (is that part of the video or the song?  I don’t know).  And by the end, the song keeps telling him (or us) to shut up.

It has a feel like Childish Gambino, which i like. And I like that he’s doing something different.  I suspect with a few listens this could be a great mixtape.  You can get the whole thing for free at his website.

[READ: June 9, 2013] “Thirteen Wives”

I’ve read a number of Millhauser stories before, although I don’t recall if I generally like him or not.  (hmm, it seems that I do).

This story seemed more like an exercise or a challenge—can I write about 13 different women and given them all different characteristics.  For indeed, that is what the story is.  The narrator explains that he has 13 wives and they are all equal in his eyes.  After some perfunctory explanation about how this works, he sets out to describe them all.

And then we get the 13 one-dimensional women that he has married and the one defining characteristic about her (the one who is always in sync with him, the one who is submissive, the one who is bitchy, etc).

And really that’s all there is to it. (more…)

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CV1_TNY_06_03_13Hall.inddSOUNDTRACK: DEAFHEAVEN-“Dream House” (2013).

deafheavenNPR’s Lars Gotrich always picks songs that I like–even if I would never have found them any other way.

His favorite album of the year so far is by this band Deafheaven whom I have never heard of.  The song is 9 minutes long and it combines big loud guitars, super fast crashing drums, and cookie monster vocals (mixed so low in the mix that they almost sound just like noise–a neat trick).  The waves and layers of sound give it a kind of My Bloody Valentine feel.

For the first half of the song, the drums are absolutely speed metal fast–pounding and pounding with wild cymbals.  But they too are mixed low in the mix–setting a beat but not dominating the song.  For really this song seems to be all about the guitar–which is not exactly playing along with them.  Sure, there are fast  moments, and the guitar is largely distorted and noisy.  But the tone of the guitar is very bright–especially when he starts playing some simple but pretty riffs (amid the noise).

And then about half way through, the noise drops away and the music become quiet and pretty.  Two guitars interweave slow melodies.  Until the music crashes back in, but with a different tempo and a feeling like Explosions in the Sky or Mogwai.

I know many will be turned off by the vocals (I think I might even like it more if it were purely instrumental), but the way they are mixed, shows that the music is the dominant sound, and I can get behind that.

[READ: June 12, 2013] “Company Man”

I always enjoying reading a David Sedaris Personal History (interestingly I haven’t read all of his books—I seem to stick to the articles instead).  This one is about having a  guest room.  He considers it a true sign of aging gracefully that his new house has a guest room (with its own bathroom).

Their previous house in Normandy had nothing of the sort and he gives typically humorous anecdotes about being embarrassed for the guests who don’t have any privacy in the bathroom (“we’ll be going out for about twenty minutes if you need anything.”)  But now they have this new space.

Which means of course that they have guests.  I enjoyed the part when Hugh’s friends come to visit–based on his father’s behaviors, David is allowed to leave in the middle of a conversation because he is not the one entertaining the guests).  But the bulk of the second half concerns David’s family.  (more…)

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CV1_TNY_06_03_13Hall.inddSOUNDTRACK: DJ KOZE-“Track ID Anyone?” (2013).

koze-electronic-beats-amygdalaThis album was selected as one of NPR’s favorite of 2013 (so far).  I really don’t know what to make of it. It opens with what sounds like a massage going on–there’s talk of things feeling good.  And then the music kicks in, or shambles in.

The main riff is weird and stifled, awkward.  But in a way that’s hard to look away from.  Then after almost 3 minutes of a 5 minute song the vocals come in.  They are quiet and harmonied.

The write up of the album says that it is quirky and compelling.  It’s definitely quirky, I’m not entirely sure ho compelling it is.  I was really intrigued where a song with that opening would go, but I wasn’t really that excited by the route it took to get there,

[READ: June 10, 2013] “We Didn’t Like Him”

This was a fascinating story about the growth of a bully named Manshu.  The narrator (I honestly couldn’t tell the gender of the narrator—I assumed it was a girl until much later when I changed my mind.  Actually I see now that the opening says “boys his own age” so I guess the narrator is a boy, but it was never really explicit) is embarrassed by Manshu.  Manshu is “my father’s sister’s husband’s sister’s son” and as such, he is “family” with the narrator.  But Manshu doesn’t play with boys his own age—he plays with the younger kids (like the narrator) and he always beats them—in whatever.  For example, in cricket he would keep batting all day.

There was some degree of sympathy for Mansu because his father died when Manshu was six and his mother had diabetes, but he was still a pain.  Then Manshu’s mother unexpectedly died.  And Manshu changed.  He lived with the narrator’s aunt’s husband who did not like him.  Manshu became quiet and, if possible, spiritual.

The rest of the story concerns Manshu’s spirituality and the community’s temple.  The narrator’s father was on the committee which oversaw the temple and when their current pandit, Gaurji, was deemed to be doing an insufficient job at the temple, he was kicked out and Manshu took over the position.  Of course, there were cries of nepotism, but Manshu seemed to be very holy now.

Until he started to go seemingly against their Brahmin ways.  Well, first he married a woman out of his caste.  Then he started asking about how to get on TV.  Then he started promising that praying in his temple could cure cancer. (more…)

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