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Archive for the ‘Magazines’ Category

Zadie Smith–“Some Notes on Attunement” (New Yorker, December 17, 2012)

Posted in Bob Dylan, Books about music, Burning Spear, Chaka Khan, Duke Ellington, Essays, How to Destroy Angels, James Taylor, Joni Mitchell, New Yorker, Nine Inch Nails, Talking Heads, Zadie Smith on December 22, 2012| 1 Comment »

CV1_TNY_12_17_12Sorel.inddSOUNDTRACK: JONI MITCHELL-“The River” (2002).

joniMuch like Zadie Smith in the article, I was never much of a Joni Mitchell fan.  We may be one of the only houses in America without a copy of Blue somewhere.  Much of my ignorance about her comes from simply not being exposed to her.  Which also seems absurd and yet it is true.

I know her from covers, which should establish her as a great songwriter, if nothing else.  And by now I know a number of her songs, like this one.  This is kind of a Christmas song (it has the word Christmas in it), although it’s not very Christmassy.  I have a hard time believing that Zadie Smith’s husband never noticed that she is quoting the music from Jingle Bells in the beginning of the song though, as it’s really quite obvious.

It’s a  pretty song, and hey maybe it’s time to see what else is on Blue.

[READ: December 20, 2012] “Some Notes on Attunement”

I love hearing about Zadie Smith’s family–her hip black mother and her dorky white father.  I love that she embraces both sides of her life.  And when she writes about it, she presents it so fully.  So growing up her parents listened to Burning Spear and Chaka Khan and Duke Ellington and James Taylor and Bob Dylan and yet somehow never Joni Mitchell.  And she wonders how they didn’t know or perhaps why they didn’t like her.  [My parents were to old for folk music, so that’s my excuse].

She talks about the first time she heard Joni, at a college party (it was Blue, of course) and frowned at it.  Her friends, both black and white said, “You don’t like Joni?”  But, she explains, “Aged twenty, I listened to Joni Mitchell–a singer whom millions enjoy, who does not, after all, make an especially unusual or esoteric sound–and found he incomprehensible.”

And then at 33 she had another experience–listening to Joni Mitchell in a car with her husband on the way to Wales.  Which is where we hear her saying “And that bit’s just Jingle Bells.”  She says she didn’t expect to get much out of that line “and was surprised to see my husband smile, and pause for a moment to listen intently: “Actually that but is Jingle Bells–I never noticed that before.  It’s a song about winter…makes sense.”  Wait, how could he not hear that before??? (more…)

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Steven Millhauser–“A Voice in the Night” (New Yorker, December 10, 2012)

Posted in Dan Deacon, Holidays, New Yorker, Religion, Short Story, Steven Millhauser, Supernatural on December 20, 2012| Leave a Comment »

CV1_TNY_12_10_12Steinberg.inddSOUNDTRACK: DAN DEACON-“Electronica Hanukkah” (2010).

elechanDan Deacon is rapidly becoming one of my favorite oddball musicians.  I really don’t know very much about him, but he seems willing to give away music to various projects and put them for free on soundcloud (he has a proper album out as well this year which has been well received).

“Electronica Hannukah” is a paean to consumerism–set to a noisy processed electronic beat.  The superprocessed chorus voice is, well, super processed.  Deacon’s song is snarky and funny and yet the harmonies are actually quite pretty.

I’m not sure that this is what the holiday is about.  But you can determine that for yourself.

[READ: December 19, 2012] “A Voice in the Night”

This is a multipart story told in multiple sections.  We have three story lines labeled I, II, III and each story line is broken so that the next can continue.  That may sound more confusing than it needed to be.  So let’s step back.  In story line I, we see the biblical story of Samuel, whom God called in the middle of the night.  In story line II, we see a young boy staying awake in case God calls him in the middle of the night.  In story line III we see that boy as an old man whom God has not called.

There are four breaks in the story, one for each time Samuel was called.  The first three times, Samuel assumes it is his holy master Eli who has called him.  But Eli is asleep and tells Samuel to go back to bed himself.  On the third visit Eli says that it must be the Lord calling him.  And he should answer correctly.

Unlike Samuel, the boy in the second story line is not a believer   His father does not believe and the boy does not want to stay for the religious part of Sunday school.  And yet the story of Samuel stays with him all the time and he tries desperately to stay awake in case the Lord calls.  Which he may not really want anyhow, as it means a lot of work. (more…)

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Alec Wilkinson–“Music from the Machine” (New Yorker, December 17, 2012)

Posted in Alec Wilkinson, Books about music, Essays, How to Destroy Angels, Johnny Cash, New Yorker, Nine Inch Nails on December 18, 2012| Leave a Comment »

CV1_TNY_12_17_12Sorel.inddSOUNDTRACK: JOHNNY CASH-“Hurt” (2002).

cashI had never heard the Johnny Cash version of this song, but since it was mentioned in the article, I wanted to check it out.  I’ve never been a huge fan of Cash.  I like some of his stuff, but I’m not on board with the whole iconic man in black thing.  But I understand his tough guy schtick.

And that’s why I have a problem with Johnny singing this.  It s just too angsty for what I know from Cash.  Cash is a badass, he shot a man in Reno just to watch him die.  I just don’t buy “I hurt myself today to see if I still feel” coming from him.  And I don’t like the delivery of the verses.

On the other hand I like the chorus a lot.  The guitar sounds great here and it is less angsty than the verses: “I will let you down, I will make you hurt.”  That I can buy.  And I like the way he delivers those lines as well.

So I come away from this with a mixed feeling.  And yes, I still prefer the Nine Inch Nails version.

Interestingly, Reznor was really moved by the video, which I have not seen.

[READ: December 20, 2012] “Music from the Machine”

I was a little dismissive of Nine Inch Nails when Pretty Hate Machine came out.  I liked “Head Like a Hole” but felt the whole album was a commercialization of the industrial sound.  And indeed, it was, but I’m less of a purist now, so I can deal with it.

After Pretty Hate Machine, I fell head over heels for NIN, and I think that “March of the Pigs” and all of The Downward Spiral are amazing.  But after The Fragile, I lost interest again.  Perhaps NIN was a phase.

This article reintroduced me to Reznor.  I never really wanted to know that much about him, and thankfully, this piece only gives a little bit of background (unlike some of the really long New Yorker biographies, this one is nice and tidy with some family history but not too much).  It really focuses more on what he has been up to since he put Nine Inch Nails on hiatus (and since he won an Oscar!). (more…)

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Marisa Silver–“Creatures” (New Yorker, December 17, 2012)

Posted in Antlers, Death, KEXP 90.3 FM--Seattle, WA, Marisa Silver, New Yorker, Short Story, Threats, Unreliable narrator, Violence on December 17, 2012| Leave a Comment »

CV1_TNY_12_17_12Sorel.inddSOUNDTRACK: ANTLERS-Live at MusicFestNorthWest, September 10, 2011 (2011).

antlermfnwIt took me a few listens to really appreciate this band.  The initial problem is that I thought they were someone else when I downloaded the show.  I was expecting something a bit more chaotic.  But Antlers play rather pretty alt rock–mildly orchestral with soaring vocals (especially on “Hounds,” which really showcases the singer’s range).  But their music is also kind of somber, not my favorite style.

This concert was recorded during MusicfestNorthWest and comes from The Doug Fir.  All of the songs are from their 2011 disc Burst Apart.  Their previous album Hospice was critically acclaimed, but I didn’t want t listen to a concept album about a person with bone cancer.  Anyhow, this set has a retro 90s pop alt rock feel, and any one of these songs could have a been a slow dance hit at goth clubs.

The set is 28 minutes and I have grown to like it quite a bit.  You can check it out here.  I also have a full length concert that I downloaded from them.  I’ll have to see if their music holds up for an hour as well.

[READ: December 15, 2012] “Creatures”

This story was really well done.  When the reveal is finally given at the end I was genuinely shocked.  And not because the author didn’t earn the shock but because of the wonderful way the story was foreshadowed as well as obfuscated.  There were several possible outcomes, but  I didn’t expect the one we received.

This story is about guns and children (I know, the timing is terrible).  As the story opens we learn that a couple’s little boy is being violent in school.  He’s three and he is in preschool, but he is running around “shooting” at people with a stick.  He in particular seems to pick on one boy (who he ultimately winds up biting).  The parents feel that the school is overreacting, because they don’t allow their child to play with toy guns and they have never see anything but sweetness out of him. (more…)

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Simon Rich–“I Love Girl” (New Yorker, December 17, 2012)

Posted in All Songs Considered, Anachronisms, Art, Death, Funny (ha ha), New Yorker, Pg. 99, Sex, Short Story, Simon Rich, Violence on December 13, 2012| Leave a Comment »

CV1_TNY_12_17_12Sorel.inddSOUNDTRACK: PG. 99 Document #8 (2005).

doc8In yesterday’s post I talked about a pg. 99 concert in which they played the entirety of this album.  Since the album is available for streaming (and download) at Robotic Empire, I figured I’d give it a real listen.

While there’s no mistaking that this is the same band, I was surprised by just how nuanced this recording proved to be.  That almost seems like a joke because it is a blistering punishing punk album, but there are a lot of moments where the band is quiet and there’s only one instrument playing, or when you can actually hear lyrics.

The disc opens with a sampled quote about “Playing whatever you want as sloppy as you want.  As long as it’s good and has passion.”  This album is not sloppy at all–it’ s very noisy and chaotic, but the chops are there–the band is very precise.  I also like the unusual guitar sounds in “Your Face is a Rape Scene.”  “The Hollowed Out Chest of a Dead Horse” sounds much better on album than live–you can really hear all of the diverse parts and the interesting tones that the lack of noise produces.  And the ending is really quite beautiful (maybe if it has been in the middle it could have broken up some of the pummeling).

There are two more songs on the album than were played live.  In the concert, the singer said  that they only learned  those seven songs, which may well be true.  I love the title of the one extra track, “The Lonesome Waltz of Leonard Cohen.”  The Final Track, “The List (FILTH)” has a completely different recording style and sound, so I assume it must be some kind of bonus track.  Indeed, some research tells me that these are both bonus tracks, which makes sense as the end of “Horse” does sound like an album ender.

[READ: December 13, 2012] “I Love Girl”

I’ve said before that I really like Simon Rich’s super short jokes.  And I’m a little less enamored of his longer jokes.  This one was three pages and there was a lot to like about it, but something that kind of bugged me as well.

This “story” is about Oog.  He’s a caveman (duh) and he speaks like a caveman (which mostly means leaving the word “a” out before nouns).  Oog is Rock Thrower.  Oog is not too smart–he can’t make words good and although he understands the numbers one and two, he has trouble with three and four.  And forget about five.  But Girl is smart.  And once in school Girl helped him with his math by saying that four was just two twos.  He still doesn’t understand what she meant.

Oog loves Girl.  But Girl belongs to Boog.  Boog is an artist.  He draws pictures of horses and demands respect from everyone.  He also has sex with Girl right in front of everyone. (more…)

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Stephen Marche–“Flesh and Numbers” (The Walrus, December 2012)

Posted in All Songs Considered, Canadian Content, Conor Oberst, Death, First Aid Kit, Joan Baez, Prostitution, Sex, Short Story, Stephen Marche, The Walrus on December 10, 2012| Leave a Comment »

decwalrusSOUNDTRACK: FIRST AID KIT Live at Newport Folk Festival July 28, 2012 (2012).

jacobs-folkfest-44I discovered First Aid Kit through NPR and I liked the two or three songs so much I bought their album, The Lion’s Roar.  And here’s a full set at Newport Folk Festival.

There’s three members of First Aid Kit, two sisters and a boy drummer all from Sweden.  I don’t know if coming from Sweden has any impact on their singing, but their voices are extraordinary  especially when they harmonize.  “Blue” is one of their great songs and it sounds amazing live.

They also do a stunning cover of Joan Baez’ “Diamonds & Rust,” and on their final track, “King of the World,” Conor Oberst gives a guest vocal (he’s on the album too).

Lyrically, the band is interesting too.  I love the premise of “Emmylou” and the phrasings in “The Lion’s Roar.”  In this show, they dedicate “Hard Believer” to Richard Dawkins, so the band are definitely not lightweights.

It’s a great set and a wonderful introduction to this compelling Swedish band.  I hope they get some more airplay in the States.  You can check it out here.

[READ: December 10, 2012] “Flesh and Numbers”

Stephen Marche publishes a lot of stories in The Walrus, and I find that I’m hit or miss about him.  And, indeed, I was even hit or miss about this story.  I feel that Marche is often trying to go for shock in his stories–and this one has two kinds of shock in it.

The first is that a husband pays his wife for a blow job.  (A bright red Canadian $50).  And later he starts paying her a $50 every time they have sex.  This all begins because she wants to buy a pair of boots that she deems too expensive.  The story kind of looks at the idea of prostitution and power roles in marriage, but only glancingly.

The story talks about their financial situation (they are both successful, although there is a marked discrepancy in who makes how much and how they divide up the bills).  But once this casual money-for-sex situation arises, she finds that she is enjoying the feeling of getting the money.  Indeed, since he always pays with a red 50, she stars getting mildly turned on whenever she sees them in her daily life.  They both find that they are having sex more and doing more interesting things in bed.  In fact, hen the new iPad comes out she offers anal sex as an option for more cash. (more…)

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Roberto Bolaño–Woes of the True Policeman (2011) [translated 2012]

Posted in Aterciopelados, Big Books, bolanobolano.com, Boredom, Death, Foreign Books, Harper's, KEXP 90.3 FM--Seattle, WA, LGBTQ, Natasha Wimmer, Roberto Bolaño, Set at School, Short Books, Translation, Violence on December 8, 2012| Leave a Comment »

woesSOUNDTRACK: ATERCIOPELADOS-Live at Bumbershoot, September 5, 2010 (2010).

atercioA rock en Español band who have returned after a brief hiatus, Aterciopelados have changed a bit since their early more punk days.  Their last album Rio came out in 2008, I knew them back in the mid nineties.  This brief set (7 songs) at Bumbershoot showcases their more mellow tracks (there’s pan pipes) on “El Estuche.”  The Colombian band has always been political, but it seems like they are much more explicit about it on this record.  As singer Andrea Echeverri introduces a number of song, she talks about how they are “important” and are meant to bring attention to the troubles of Colombia.

“Ataque de Risa” has a wonderfully catchy melody (and I believe she says her daughter is singing with them on it).  The song “Bandera” (which means “Flag”) is pointedly directed at Arizona’s anti-immigrant law.  She introduces it as saying that all peoples are together under a rainbow flag.   It’s a more angry sound for Echeverri’s voice, but she does a great job.  Her voice is really impressive.  “Rompe Cabezas” has a rollicking chorus that’s a lot of fun and “Bolero Falaz” ends the set with a very cool and catchy song.

Here’s a video of El Estcuhe

[READ: December 2, 2012] Woes of the True Policeman 

This is yet another unfinished novel from Roberto Bolaño.  Bolaño knew that he was dying and he created a lot of work in anticipation of his legacy.  The afterword of the novel says that they found all of the various parts of this novel in various locations among his work–hand written and computer drafted.  And they all mention this titles, so they are pretty certain about the order and that it is as finished as it could be.

Unlike some of his other posthumous releases, this one must be deemed pretty significant since it was published by Farrar, Straus and Giroux instead of New Directions (publisher of most of Roberto Bolaño’s other smaller works).

And really what it reads like is a kind of prelude to 2666.  For this is the same Amalfitano as in 2666.  But it is his story from before he moves to Sonora, Mexico–before all of the murders started.  Indeed, there are parts of 2666 which make Amalfitano’s past seem like it is unknown but this story fills in the gaps quite well.  One of the details in 2666 is that Amalfitano’s teaching contract had expired at the University of Barcelona, although this book gives the behind the scenes reason why it expired.

Bolaño has many many stories in which he explores the past of a character from a different story.  Typically, it is a novella in which a minor character from a bigger novel gets his or her own story told.  And that seems to be the case with this as well.

The story is set up in five sections (just like 2666).  Section I of this story (part of which was as excerpted in Harper’s recently) is called The Fall of the Berlin Wall and tells how Amalfitano, a professor, fell for a young poet named Padilla.  He wound up having an affair with him, which ended his career (I’m unclear whether it is because he is a student or because the affair was homosexual that the University wanted him out).  Amalfitano had never had homosexual desires before, and he was a proud husband and father, but he found that Padilla really affected him.

And so Amalfitano and Rosa, his daughter, moved to Sonora and the only school that would have him. (more…)

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Chang-Rae Lee–“Manhattan” (New Yorker, December 3, 2012)

Posted in Beer, Chang-Rae Lee, Deerhoof, Essays, Food, KEXP 90.3 FM--Seattle, WA, New Yorker on December 6, 2012| Leave a Comment »

CV1_TNY_12_03_12Thiebaud.inddSOUNDTRACK: DEERHOOF-Live on KEXP, February 1, 2007 (2007).

deer2Deerhoof is noisy and chaotic, indeed much more noisy and chaotic here than on their 2008 set.  The introduction has the band posing a very funny question in which they asks the DJ about how the show will be streaming in various formats.  He imagines easy listening–a good joke for this uneasy listening band.

There are five songs in this set, although “The Eyebright Bugler,” “+81” and “Wrong Time Capsule” are played as a medley.  This is an interesting set because they play songs from various albums, not just their newest release.  The set opens with “Milkman” (from Milkman) with a quick jump to “Twin Killers” (From The Runners Four).  Then there’s an interview which is, as always, very funny, they’re a very enjoyable band.    It also reveals that a middle school has taken Milkman (I assume the whole album) and made a ballet out of it.

“Eyebright Bugler” (from Reveille) merges easily in “+81” (from Friend Opportunity).  “+81” is one of the most catchy oddball songs I know–a simple riff that seems to project excitement and yet not a full rocking sound.   The DJ even says that people have called up and asked not to play that song because it is such an earworm they can’t get it out of their head (the band takes this as a compliment .  Finally “Wrong Time Capsule” also comes from The Runners Four.    It merges all of the sounds-noisy guitars , conventional bass and the always enchanting vocals.

 Check out the strangeness here

[READ: December 6, 2012] “Manhattan”

The final “Gut Course” in this issue isn’t about food at all but about a drink.

Chang-Rae Lee remembers the summer when he lived with his girlfriend Nina in her parents Fifth Avenue apartment.  He lived in a maid’s quarters while Nina and her friend Carol shared Nina’s room.

This was just before his senior year of college, when the opportunity of living with your girlfriend must have been mindblowing.  But what he remembers most is her father’s request for a nightly Manhattan.

He explains that his family (indeed I have to assume most families in 1986) did not have a cocktail hour.  Chang says that his own father had an occasional Genesee Cream Ale, and hardly finished it.  But Nina’s father (who was a New York sophisticate) taught him how to prepare the perfect Manhattan. (more…)

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Tony Earley–“Nighthawk” (New Yorker, December 3, 2012)

Posted in Essays, Food, KEXP 90.3 FM--Seattle, WA, Marriage (Happy), New Yorker, Peter, Bjorn & John, Tony Earley, Universities on December 5, 2012| Leave a Comment »

CV1_TNY_12_03_12Thiebaud.inddSOUNDTRACK:  PETER BJORN AND JOHN-Live at KEXP May 10, 2011 (2011).

pbjkexpPeter Bjorn and John play KEXP every couple of years.  This set is promoting their most recent album Gimme Some.  I haven’t heard much of Gimme Some.  I found the last album to be kind of dark, but this one seems to have upped the poppy quotient a bit.  I was surprised when they opened the set with “Second Chance” which is the theme from 2 Broke Girls (and is the best thing about the show, I hope they get a ton of cash from that!).  If you ‘ve seen the show, you may be surprised that there are lyrics, but there are, and it works as a full length song, too.

“Dig a Little Deeper” has a kind of reggae feel and an amusingly long drum opening because “Peter dropped his guitar”.  It’s a poppy catchy singalong with lots.  “May Seem Macabre” is a funny title for a song that is as poppy and danceable as this one.  “Eyes” continues that upbeat poppy flavor.   This is a very fun set and I’m going to have to check out the album as well.  Peter Bjorn and John have proven to be a consistently great band where every album sounds different. You can listen to this show here.

[READ: December 5, 2012] “Nighthawk”

Tony Earley’s essay in the food issue differs from the others because it is not about a specific food, but about cooking.  Or, lack of cooking.  It’s a pretty funny essay about a boy of a certain age and time who was, if not spoiled exactly, simply waited on–by his mother and his grandmother.

His mother would make on demand fried bologna and onion sandwiches (wow, that sounds gross but I’ll bet it’s pretty good), and his grandmother would have waiting for him anything he desired when they visited.  Even when he went to college, he lived close by so he just went home for meals.

It wasn’t until he moved to Tuscaloosa that he realized he had no idea what to do in the kitchen (the description of the muffin tin and his inability to even conceive of its use is very funny).  And then, like other students, he subsisted on frozen meals and whatever else he could whip together with his meager skills.  His point though, is that eating alone is okay, but it really takes a toll on the taste of food–no matter how much cheap wine you drink with it to appear sophisticated.   (more…)

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Judith Thurman–“Trout” (New Yorker, December 3, 2012)

Posted in Culture Shock, Essays, Fishing, Food, Judith Thurman, KEXP 90.3 FM--Seattle, WA, Nada Surf, New Yorker, Philip Gourevitch on December 4, 2012| Leave a Comment »

CV1_TNY_12_03_12Thiebaud.inddSOUNDTRACK:  NADA SURF-Live at Bumbershoot, October 2, 2008 (2008).

KEnadakexpXP presents this concert from the Bumbershoot Festival.  I have listened to a number of Nada Surf shows and they never disappoint.  They always sound great and their harmonies are spot on. This show is no exception. Although there appears to be a glitch at first because Daniel is in Spain for a couple of weeks (recovering from a leg injury) so they have a sub for him on bass (you’d never notice).   The band plays very well without him and Jose Galvez fills in perfectly.

Most of the set is taken from their then new album Lucky, a really great album.  There is also one song from Proximity Effect and two from The Weight is a Gift.

The set was performed in the Bumbershoot Music Lounge in a stripped down format. Ira plays the drum box rather than the kit and Matthew only plays acoustic guitar.  And it still sounds amazing. I especially enjoyed in “Weightless,” when they asked the audience to sing the backing vocals (ahhh ahhh) which sounds very nice.

There are nine Nada Surf concerts available on the KEXP site for your enjoyment, although this one is not one of them.  To see a video of the show (and Ira’s drum box), watch here.

[READ: December 3, 2012] “Trout”

As Philip Gourevitch talked about his unfamiliarity with a bear, Judith Thruman talks about her unfamiliarity with a trout.

It’s another article about volunteering to do something and being a little unprepared (although Thurman is a bit more successful in the end).  Thirty years ago Thurman went on a two-week wilderness course in Wyoming (the same location as Gourevitch, Wyoming must be pretty bad-ass).  There were fifteen adventurers in total.

She explains that they all brought supplies (like three camp stoves) and enough grains and staples so that no one would starve in even the most dire circumstances but they were a three-day hike from the nearest phone (it’s hard to imagine such a place exists in the U.S.).  Aside from the grains, they had to forage for greens and berries and for any protein they wanted to eat. (more…)

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