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[LISTENED TO: December 2016] Nightmares! The Sleepwalker Tonic

2I though the first Nightmares! book was great.  I had listened to both of these books before, but what was fun about listening this time is that the end of book one gives a little hint at what book two would be about.

Towards the end of Book One, the story tells us that Charlotte’s business was doing well, although a new store had opened up in the next town and was also doing very well–possibly taking away her customers.

And that’s essentially what book two is about.  (No, not about small town commerce).

But let’s back up.  In book one, Charlie Laird and his three friends Paige, Alfie and Rocco prevented the evil president of the Netherworld from taking over the waking world.

Back up some more.  Nightmares aren’t bad.  They are there to frighten us, yes, but their goal is for us to face our fears and come out stronger.  They don’t want to hurt any of us. But the nightmares have an enemy–the goblins.  The goblins have been forced out of the nightmare realm never to return.  And they are constantly trying to get back into the Netherworld. (more…)

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[LISTENED TO: Summer 2016 & November 2016] Nightmares!

nightmresI loved Jason Segel on How I Met Your Mother.  I loved that Jason Segel was instrumental in bringing The Muppets back to the big screen.  And now I love that Jason Segel has written a series of really enjoyable–funny and frightening–children’s books.

This book is about–wait for it–nightmares.  But not in the way that you might expect.  Segel (and Miller–I have no idea how much she contributed to the book) have created a realm where Nightmares live.  It is a wonderfully realized and very well thought out world.  And I am really impressed with how well the whole story works.

It is the story of Charlie Laird.  Charlie is a pretty normal kid.  He does okay in school, he has friends, his family loves him.  But three years ago his mom died unexpectedly.  It was a harsh blow to him and his family.  Charlie has never really gotten over it.  And what has made it especially tough is that Charlie’s dad recently got remarried.  Apparently he got over it just fine.

If that weren’t bad enough, Charlie’s family moved from his old house–the house he grew up in and loved–into the mansion on the hill.  Not a far move–still in the city of Cypress Creek–but worlds apart from what he was used to.  Or what he wanted.

The mansion has always been there in town. It is huge and…it is purple.  It towers over the whole town–you can’t avoid looking at it–and it has always been rather creepy.  It was built a long time ago by Silas DeChant, and it has been in the DeChant family ever since.  So it makes sense that Charlie’s new stepmother, Charlotte, who is a DeChant, would want to live there.

But Charlie hates it  And he hates Charlotte, and he hates anything that tries to get him to see reason about his horrible stepmonster (I didn’t like the lazy use of this term, but it is rather appropriate). (more…)

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SOUNDTRACK: PENGUIN CAFE-Tiny Desk Concert #628 (June 16, 2017).

I recently found out about Penguin Cafe from a piece on All Songs Considered.  I learned that Penguin Cafe Orchestra was responsible for some cool/unusual classical/pop recordings back in he 1970s and 1980s.  And it’s likely that if you listened to NPR back then, you heard some of their music.:

The music of Penguin Cafe is like no other. Its origins date back to the early ’70s, within fever dreams Simon Jeffes had that were brought on by food poisoning. In those dreams he imagined a dispassionate world “where everyone lived in big concrete blocks and spent their lives looking into screens. In one room, there was a couple making love lovelessly. In another there was a musician sat at a vast array of equipment, but with headphones on, so there was no actual music in the room.” Eerily accurate.

But he also imagined a place, the Penguin Cafe, where folks could gather, for pleasure, cheer and music. He wanted to hear what that music would sound like, and so created the Penguin Cafe Orchestra. I was always a huge fan of that original music; listeners of NPR may have heard it often in-between news stories during the many years I directed All Things Considered.

But Penguin Cafe Orchestra is no more.

While Simon Jeffes died in 1997, his son Arthur has been creating new music infused with his father’s original inspiration. He calls his group, simply, Penguin Cafe. You can hear Brazilian sounds in the rhythms, classical and minimalism in the strings, Asia in its harmonium, African sounds in the kalimbas. But honestly, it’s none of these; it’s a universal dream state.

If you’re looking to explore further be sure the listen to Penguin Cafe’s recent album The Imperfect Sea, which nods to Kraftwerk, Simian Mobile Disco and Franz Schubert. It’s none of these.

The band has a lot of strings: Oli Langford (violin) Clementine Brown (violin) Vincent Greene (viola) Andy Waterworth (double bass).  There’s also a ukulele (Des Murphy) which you can’t hear too often, but it is notable on the final song.

“Wheels Within Wheels” is cover of a song by Simian Mobile Disco.  It is nearly five minutes long with slow, building strings and a simple melody that seems to be never ending as it remains the same while the backing chords change.  In addition to the strings, there’s a guy (Neil Codling) playing a dulcitone on top of the real piano (he’s holding his hand up by the end).  And the percussionist (Darren Berry) seems to have a wooden plank to play on.  He uses mallets on the wood to get quite a deep sound.  It’s a really fun piece.

“Protection” has a catchy piano motif (played by Arthur with outstretched arm on the dulcitone) in 7/8 time.  But everyone else plays in 4/4, so the motif changes every time.  After a few bars, it switches to the real piano and the strings are really lovely while that’s going on.  The ducitone player has switched to a large ukulele and the percussion consists of drums sticks on the piece of wood–fast clicking sounds.

“Ricercar” is an old renaissance Italian term.  At the beginning of a fugue you embed a theme that is expounded on later.  This song opens the album and few themes come back later in the album.  Jeffes plays a quiet melody on the dulcitone.  About half way through the song he opens the piano and seems to be dampening the strings with his hand while playing the notes.  The percussion includes a shaker and the mallets on the wood once again.  It’s upbeat and catchy and a lot of fun.

This is a really enjoyable show–classical music for people who like to have fun as well.  As far as the original band goes, if you’ve heard anything by Penguin Cafe Orchestra, it’s probably this piece: “Music for a Found Harmonium.”

[READ: June 24, 2016] Amulet: The Stonekeeper

I have really enjoyed Kibuishi’s Explorer collections, so it seemed sensible to try out his Amulet as well.  And what a great, interesting and unusual story it is.

Although I must admit I was pretty shocked by the fact that the main characters Emily and Navin are in a car accident in the prologue and their father is killed.  What a way to start!

After the death of their father, the family (Emily, Navin and their mom) move out to an old country estate to get some perspective on things.  As they begin to clean up the old house, they go into a room of inventions by their ancestor Silas Charnon.  The story is that Charnon went missing one day and was never heard from again. While Emily is looking over some books, a creepy ghost creatures hovers behind her.

Navin and Emily look around (they don’t see the ghost) and soon, Emily puts her hand on a hand-shaped plate and a necklace–an amulet–is revealed.  Emily puts it on and when Navin complains, she says he can wear it tomorrow.  But that night the amulet speaks to her.  It tells her to stay with her family and keep the safe–they are in danger. (more…)

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SOUNDTRACK: PERFUME GENIUS-Tiny Desk Concert #627 (June 12, 2017).

Perfume Genius is a delicate-sounding band.  Singer Mike Hadreas has a gentle voice.  Oon the first song he’s almost drowned out by the (relatively quiet) guitar from Tom Bromley.  The songs are also deeply personal–he wrote most of the new album as a love letter to his boyfriend (the keyboardist Alan Wyffels).

Hadreas’ voice is really affecting, especially when you can hear him clearly.

“Valley” is in waltz-time (with the guitar keeping rhythm for much of the song before the drums and keys come in).  The drums (by Herve Becart) are simple but wonderfully deep and resonant

“Slip Away” reminds me (and I can’t believe how many singers have sounded like this guy to me) of the band Dear Mr. President, a kind of aching falsetto.  The guitar is a little louder, rockier.  But the best part of the song (and the part that does not remind me of DMP) is the gorgeous chorus where everyone sings along to some “ooohooh.”

The final song is an older one called “Normal Song” it is just Hadreas and Wyffels and it is the most tender and delicate song yet.  Hadreas plays some simple, quiet chords (in waltz time again) as he sings:

“Take my hand when you are scared and I will pray,”

“… And no secret, no matter how nasty, can poison your voice or keep you from joy.”

The delicate ringing keys in the middle of the song are really pretty and I like the way they don’t play while he is singing–it’s just him and his guitar.

[READ: December 28, 2011] “Fly Already”

The premise of this story is at once humorous and horrifying.

And on a reader’s note: as an American unless told otherwise, I imagine all stories are set here (I assume that’s not an uncommon reaction to fiction).  So even though I know that Keret is not writing in America, often his stories don’t really need a location (which is awesome).  But then he gives away one detail that makes you realize the story isn’t set here.  That detail will come in a moment.

As the story opens, a man and his son, P.T. are walking to the park.  En route they see a man on top of a building.  The boy (who is 5) says, “he wants to fly!”  But the father knows a more reasonable (and terrible) reason why the man is on the roof of the builidng looking over the edge. (more…)

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SOUNDTRACK: AVERY*SUNSHINE-Tiny Desk Concert #616 (May 1, 2017).

I had never heard of Avery*Sunshine and had no idea that she was a “soul maven.”  But boy did I enjoy this set.  She is a lot of fun, vibrant and playful and she really gets the crowd singing along.  Her lyrics are fun and improvisations are really fun.

Here’s what the blurb says:

When the soul maven visited NPR headquarters to perform her first Tiny Desk Concert, she gifted us with the story of her own redemptive love. And a whole lot of laughs in between.

Avery*Sunshine knows what love will make one do: Give up your favorite ice cream. Break up to make up. Even swear off of holy matrimony for good, only to fall head over heels again.

Newly married to her musical partner, guitarist Dana “Big Dane” Johnson, Avery*Sunshine broke down the meaning behind the title to her latest album, Twenty Sixty Four. But it was her playful charisma and those heavenly vocals that won us over, the same way she’s turned such legends as Aretha Franklin and Smokey Robinson into fans. Press play and prepare to fall in love, too.

And her band The Trustees is tight and hot: Dana “Big Dane” Johnson (guitar); Demonterious “Detoxxx” Lawrence (bass); Quinton “Q” Robinson (drums)

“Come Do Nothing” has a cool funk start and Sunshine’s sweet soulful voice.  It’s an interesting song of get away/come back, with the get away part being funky and cool and the come back being a bit treacly and sweet.  I loved this lyric: “I heard you found a girl.  I saw her pic online.  Yes I looked her up on Face Book (thump thump on Face Book).  She gets everyone to sing along “Come on Over here with me ; come do nothing here we me” before playing a joyful keyboard solo.

When the song ends, somebody jokes that “Big Dane” is not the one guilty of cheating.  There is much laughter as she explains that she and Dane got married a year ago.

Then she describes the song as a can’t live with you can’t live without you song:

“Go on, get out.  I put all your stuff out and you can come pick it up.   But when you come… ring the doorbell coz… I’ll be making gumbo.”

Then she talks about their marriage:  they were both married before and they swore that they would never get married again.  And then he proposed some time later.  And she prayed: Just give me until 2064 with this man.  I’ll be 89 and he’ll be 91. I won’t cuss anymore. I’ll eat all my vegetables.  I will be good.  That’s why the album is called 2064.

After they got engaged, she wrote “Ice Cream Song” as their wedding song.  It’s  sweet soulful ballad: “I’d give up ice cream just for you / I’d open my bag and sell my shoes.”

As she introduces the final song, Dane says, “You need to change the piano.”  “Will you do it, you’re so good to me.  He changes my keyboard sound for me, he’s so sweet.” And while he’s fiddling, she says, “The people are waiting, honey.”

She says that “Used Car” is a metaphor for divorced people.  Her mama said, “There;s nothing wrong with a used car.”  She says I’m not encouraging anyone to get divorced–but if you are, there’s no reason to not try again.  Just make sure its a certified pre-owned.

The song is bright and bouncy and  ton of fun with funny enjoyable lyrics.  There’s a cool break down with  funky bass line and she gets to talk about her cars, with the Trustees shouting : “a car payment is overrated.”  And man when she gets into it at the end she really shows off her pipes–boy she can sing.

They start chant at the end “used car” and she throws in lines like “I’m taking a selfie in my…”

The whole set is fun It’s a pretty great way to spend 17 minutes.

[READ: March 10 2017] “Solstice”

The story opens with a man in Dublin looking for his car.  It has gotten dark in mid-afternoon–it is the twentieth of December–and he can’t remember what floor he was parked on.  It felt like the longest night of the year, because it was.

And he marveled that at 10:44 AM the next morning the solstice “the event” would happen:  “Somewhere in that moment whether he believed it or not, the sun would pause in the sky above him, or seem to pause.  It would stop its descent and start its slow journey back to summer and the middle of the sky.”

I love that the next line undermines the wonder: “or this year, he thought, it might not bother.”

He drives home out of the city into the country where the night was very big. (more…)

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SOUNDTRACK:  CHICANO BATMAN-Tiny Desk Concert #613(April 17, 2017).

In the blurb for this show, Felix says that he was sol by their name.  And I am too.  It’s a great name.  And yet it is not entirely useful in terms of musical style.  But he summarizes pretty nicely:

a sound that perfectly captures dark lounges, quinceañera dances, car shows and backyard parties.

That lounge sound is completely evident with the keyboard tone–old fashioned and bachelor pad-like.  But this is no bachelor pad music, because behind the keys are some groovy and at time funky bass (from Eduardo Arenas) and some cool guitar wah wahs (from Carlos Arevalo) and more.

Holding it all together is Gabriel Villa on drums and then on keys and guitar and vocals is Bardo Martinez.  Martinez sings in such a cool, laid-back manner.  It’s often a gentle falsetto but it always feel like he is just chillin’ and singing these groovy songs.

And they also wears suits with bow ties.

“Freedom is Free” is a delicate and groovy song with lots of wah wah guitar and a cool echoing guitar solo.  It’s also got a great bass line.  The song is sweet and catchy with a great wah wah build up at the sudden ending.

“Friendship (Is A Small Boat In A Storm)” has been quite popular on the radio here and man is it catchy.  The loungey organ and vocals are a great start, but the way the chorus just burst forth after the first verse–the backing singers (Nya Parker Brown and Piya Malik) hit the marks perfectly and then the staccato guitar riffs after that.  Its irresistible. (Parker Brown and Malik are from the band 79.5 and have been touring with them).

The ladies leave for the final song, “Jealousy.”  There’s a great funky bass line and fun drums before the song turns rather mellow.  I love the between chorus riffs.  Although I find the main song a little too slow, it probably works well between faster songs.

And they are all so polite and charming, I’m sure I’d enjoy seeing them live.

[READ: February 20, 2017] “The Prairie Wife”

I recently read another story by Sittenfeld in the New Yorker and really enjoyed it.  And this one was not only great and wonderfully written, it was full of surprises.

It’s hard to write about without giving away some of the surprises because they were so good.

But here’s a spoiler free attempt.

Kirsten is married with two kids.  The family has a routine and it involves Kirsten waking up and getting the boys up in time for school.  But lately she has been using her morning time to look at Lucy Headrick’s Twitter feed. (more…)

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SOUNDTRACK: SAN FERMIN-Tiny Desk Concert #315 (October 28, 2013).

When I first heard San Fermin I was immediately grabbed by the female lead voice (the song was “Sonsick”).  It was so powerful and gripping. I didn’t realize then that the female leads were the lead singers of Lucius (who I also didn’t know at the time).  San Fermin is the creation of Ellis Ludwig-Leone.

Since then I have enjoyed other songs by them as well, although I find that the songs sung by Allen Tate to be somewhat less exciting to me– I feel like his voice could one day hit me as amazing but it’s almost a little to understated for me.  And yet musically I love the orchestration and chamber poppiness.  As Bob writes:

San Fermin’s music bursts with ambition, talent and extreme joy. Its self-titled debut is charged with great storytelling and amazing vocals by both Allen Tate and Lucius singers Holly Laessig and Jess Wolfe. Then there are the arrangements: little gems that turn these songs into cinematic vignettes using trumpet, sax, keyboard, violin, guitar and drums.

San Fermin is the musical vision of Ellis Ludwig-Leone, who wrote these songs with Tate’s dark, rich voice in mind. Here at the Tiny Desk, Rae Cassidy makes the album’s female vocal parts her own.

So it’s interesting that the songs were meant for Tate.  I want just some more oomph from him.  especially here in this set.  And that’s because Rae Cassidy absolutely rules this set.

“Oh Darling” begins with a gentle piano and Cassidy’s pretty, delicate voice.  After a verse from her, Tate’s voice comes in and it’s almost comically low and formal (and actually perhaps a bit too quiet).  But when they all come in and sing it is just beautiful–the women in particular.

For “Sonsick” Cassidy sings lead with just drums.  As the song builds there’s a great chorus where the backing vocals (including Tate) sing in falsetto.  This version is quite stripped down compared to the recorded version and it really allows Cassidy’s voice to shine.  When she hits those incredibly high notes with such power, it gives me chills.

In the final song, “Renaissance!” Tate sings lead over a slow piano and violin.  The women sing backing vocals.  I like the way that the song builds in intensity with more instruments, but his voice is a little too flat for me–although he does kick in extra at the end.

There’s a really stunning version of the first two songs with the band singing live in a street and cafe and France.

Incidentally, Cassidy has since left the band and gone solo, and I wish her much success.

[READ: December 28, 2016] Humans of New York Stories

Sarah got me this book for Christmas.  I knew of Humans of New York, of course, but I wasn’t a follower of it.  So while I knew of it I didn’t really know that much about it.

There’s a brief introduction to this book (which is his second HONY book) in which he explains that HONY grew from five years of experimenting.  It evolved from a photography blog to a storytelling blog.  His original inspiration was to photograph 10,000 New Yorkers.  But then he decided to start including quotes from some of them.

He started interviewing people and found their stories became the real heart of the blog.  Of course, he thanks the community of readers and participants, because without them, he has nothing.

The rest of the book–425 pages–collects the photos and the stories. (more…)

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  SOUNDTRACK: BLUE MAN GROUP Tiny Desk Concert #567 (September 26, 2016).

This Tiny Desk Concert is probably the most fun right from th get go.

It opens with three men in blue marching through the NPR offices.  They go through backstage places, grabbing items.  The go through the DJ booth and even interrupt Corva Coleman’s weather forecast.

They even pull Bob away from his desk as they set up.  And then we see the blue men in action.

I remember seeing ads for Blue Man Group when I worked in Manhattan decades ago.  But I never actually saw them (something i regret).  And indeed, I’m not the only one who remembers their humble beginnings:

Josh Rogosin, our engineer for the Tiny Desk, first saw them in their early days, some 25 years ago at New York’s Astor Place Theatre. He told me how the Blue Men would retrofit some of their theatrical magic — including their custom-made instruments, confetti cannons and streamers — to fit this small desk space.  instead of installing their entire signature PVC instrument, what ended up behind the desk was about a third of it. On the right side of the desk, their Shred Mill makes its internet debut: It’s a drum machine triggered by magnets that changes rhythm depending where they are placed on the home-made variable-speed conveyor belt. They also invented something called a Spinulum, whose rhythmic tempo is controlled by rotating a wheel that plucks steel guitar strings.

So the guys, covered in blue (closeup cameras suggests to me that they are wearing gloves and masks?) play a number of home-made instruments (you can read a full description on the instruments below).  In addition to thw home made instruments, there is a Chapman stick bass guitar and a conventional drummer.

And they sure do get some cool sounds out of these items.

“Vortex” has its melody on the PVC pipes with the spinumlum and once the song really gets going in the middle, with the stick playing a cool melody and the cimbalon playing a sweet plucked melody, it’s really quite a pretty song.

For “The Forge,” the stick plays some cool scratchy melodies while two guys play the PVC tubes (I like that there’s a mirror mounted above them so you can see what they’re doing).  The cimbalon is put to good use in more pretty melodies.

“Meditation for Winners” is hilarious.  They play an old scratchy record with a really intense guy doing intense meditation.   They play really catchy music behind it.  They go into the audience and grab people to breathe in and out, and stretch.  Or doing dragon breath.  Then they chant a positive affirmation “I am the best at being relaxed.”  The way the meditation goes from Namaste into something else is pretty great as are the confetti cannons.

This makes me wish I had seen them 25 years ago even more now.

[READ: February 15, 2017] Chew: Volume Twelve

This is the concluding arc to the amazing (and disturbing) series Chew.  It covers issues 56-60 and includes Demon Chicken Poyo.

Chapter 1 begins with an introduction to Tony Chu, Cibopath.  By now we know who he is and what he does–he eats things (or people) and knows the history of whatever he just ate.  We are reminded that the only food that he does not get a psychic sensation from is beets.

The end of the previous book showed the death of Mason and his instruction that in order to save the world Tony must eat him.  Tony does not want to (obviously) but he must.  But the joke is on him because the last thing that Mason ate before killing himself was a big plate of beets–meaning he is totally blocking Tony’s abilities and that Tony will have to suffer through Mason’s long and tedious explanation of everything (this makes Colby crack up, which is quite funny). (more…)

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SOUNDTRACK: TYPHOON-Tiny Desk Concert #314 (October 26, 2013).

As the show begins, you hear Bob inviting all the short people up front.  Bob suggests the band could organize something like that at their shows: Height night–order everyone as they come in where to stand, that way everybody meets different people and people who never get to see a show in their lives could finally see.  The lead singer says he hates to go to shows for that reason (he seems quite short), although the drummer is way over 6 feet tall.

I first heard Typhoon from NPR, where the song “Young Fathers” was strange, somewhat disjointed and incredibly catchy.  I loved the full band sound and big backing vocals.

The blurb notes: The group from Portland, Ore. crafts rock anthems like emotional tidal waves, propelled by the stories of frontman Kyle Morton. His deeply personal tales are often full of grief and loss. But just as often they celebrate and praise life’s simple wonders. Morton himself is a very grateful (and lucky) man who writes songs as if he were living on borrowed time. That’s because a random bug bite when he was a child left him with a monstrous case of Lyme disease that led to multiple organ failures. Morton’s own father donated a kidney to save his son’s life.

I love when Bob gets excited by a band, as when he talks about Typhoon:

At 27, with a backing band of a dozen musicians, Morton and the rest of Typhoon are making some of the most poignant pop tunes around. We’ve been following this group for a few years now, but Typhoon has never done anything quite like what you can hear on its latest album, White Lighter. The songs are by far the best arranged and most compelling of the group’s nearly 10-year run.  Somehow everyone in Typhoon not only managed to fit behind the Tiny Desk, but also managed to shine in this performance.

The opening of “Young Fathers” is so distinctive, the way the chords start and then pause completely for a second before starting again. When I first heard the that opening section, I was hooked.  The drama is still here in this Tiny Desk, although it’s acoustic so a bit less so.  But the backing vocalists sound great.  The whole band is really tight and it’s impressive that a dozen or so people can be and so quiet when they need to be.   And then singing in harmony and loudly!  Mid song the sound drops out and the two women sing a quick and gentle melody. As the song gets near the end all of those clappers and singers pick up their horns and add a cool melody.

“The Lake” has a simple and beautiful melody all the way through.  I also really like the guitar’s sliding low/high “solo.”  When the vocals join in singing some ooohs, it’s quite lovely.  The end of the song slows down to some staccato horn blasts,  almost martial, which leads to a dramatic ending.

The final song is the surprisingly named “Dreams of Cannibalism.”   There’s another gentle guitar introduction with some cool drums and cymbal buildups.  Once again, there are some dramatic moments where things grow quiet and it’s just him and his guitar and then he gets to belt out the lyrics (his voice is so interesting–raspy and powerful with a slight Oregonian accent).

I’ll leave the last word for Bob: “If you’re looking for music that touches your heart, that helps you appreciate the everyday, sit back and get ready for Typhoon to carry you away.”

[READ: July 8, 2016] Chew: Volume Ten

Book Ten covers issues 46-50.  And it open with Poyo in hell.  He has everyone there running scared.  Although there is a Disclaimer: “this doesn’t happen.”

Tony is furious with Colby and refuses to work with him.  So instead he is paired up with D-Bear.  Their first assignment is to look into a destructive candy scene. A CEEOSAKARER who can turn anything with glucose and fructose into machinery.  He appears to have gone insane and destroyed a town with gummi tanks and a jaw-breaker cannon.  And his message was about the coming dominance of E.G.G.  But he proves to be under the spell of the MINTHAMPERIOR who can hypnotize with peppermint candy.

D-Bear turns out to be a surprisingly good detective, and they work well together, even taking down a VECTUCIBORUTARE who can produce a noxious eruption (A fancy-assed word for “burps”) based on the age of what he eats.  But then Tony gets news that Mason has escaped from the hospital and taken Tony’s daughter Olive and Tony’s wife Amelia with him.  That’s the last straw.

Book 3 opens with FDA director Mike Applebee and special agent Cesar Valentino returning to duty.  The doctors have each been given one mechanical enhancement.  Caesar’s is a big claw while Mike’s is more… dramatic. (more…)

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SOUNDTRACK: SUPERCHUNK-Tiny Desk Concert #309 (October 7, 2013).

I’ve been a fan of Superchunk for years and I was excited to hear this Tiny Desk Concert.  Superchunk is a band full of manic energy.  Sorta punk, sorta poppy but mostly just fast, catchy songs.  So I was a little surprised to see them play an acoustic set for this concert.

I appreciated some context for this show from the blurb:

 The North Carolina band got its start in 1989, and here it is in 2013, with a new record called I Hate Music that demonstrates an undying passion for punk-fueled story songs with catchy phrasing. The band recorded its 10th album with a lineup that has held for most of its history: Mac McCaughan on guitar and vocals, Laura Ballance on bass, Jim Wilbur on guitar and Jon Wurster on drums.

At the Tiny Desk and on tour, it’s a shame not to have Ballance in the fold — her hearing problem worsens on tour and in loud venues — though Jason Narducy fills in admirably here. This set in the NPR Music offices includes songs from I Hate Music and 2010’s Majesty Shredding, but the group also digs deep to perform a song from 1995’s Here’s Where the Strings Come In. All in all, it’s a joy to have Superchunk translate its electric sound to acoustic instruments in such an intimate way.

It’s fascinating to see Mac sing so close up—you’d never expect that voice to come from him.  “Out Of The Sun” is so mellow.  I have I Hate Music, but I don’t actually know the original very well.  “Digging For Something”  I know this song well. I like the original of this so much that I find the slower acoustic version a little less fun than the original rocking version.  And yet it is still supercatchy and fun.  I love that the drummer has his wallet on the drum head—muffling the snare?  “Animated Airplanes Over Germany” is a great fun old song, I was really surprised when they started playing it and it sounds great regardless of the speed.  “Me & You & Jackie Mittoo” is a fun catchy song from their news album and it is well served acoustically.  Although the song title is pretty odd and I never could figure it out.

I’ve never seen Superchunk live and I assume I never will, so while this is a good look at the band, it probably doesn’t really capture their full live show experience.

[READ: July 8, 2016] Chew: Volume Nine

Man do I like this series.  It is so gross and yet so compelling.  Book Nine covers issues 41-45.  And it features a lot of Poyo!

I hate reading these books so far apart because it takes me at least an issue to get up to speed and by the time I’m flowing with the story again, it ends!

Chapter 1 opens with The morning after in Las Vegas.  And as Tony Chu is being woken with news of an emergency, we see that he and Amelia are in the honeymoon suite having just gotten married.  Then we flash back to the day before at the FDA convention.  Chu is being hailed as a hero, except by Director Applebee (who still hates Chu).

And then we flash to a bar in which Tony & Amelia are drinking together and Applebee and Colby are drinking together.

Tony answers the phone and hopes to not have to go on assignment.  Why not send in Poyo! (he is on special assignment–double splash pages–vs Unisaurus Rex).

Tony is called downstairs where everyone is covered in deadly fudge.  And we meet Professor Anazani, the FDA’s lead Armavictologist–he deals with weaponized food.  But this attack is not from the egg cultists, it is from the Collector.  Tony quickly solves that case and is even more of a hero much to Applebee’s eternal consternation.  The final page ends with a hilarious surprise. (more…)

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