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Archive for the ‘Marriage Trouble’ Category

karlove1SOUNDTRACKWHITEHORSE-“Pins and Needles” and Kickstarter campaign (2014).

photo-mainI really enjoyed seeing Whitehorse live.  I would absolutely see them live again.  I was delighted then that their album was also fantastic (I didn’t think it could match their live show…and it doesn’t but it is great in a different way).  In a very short time I became a big fan of the band.

THey havea  new song, “Pins and Needles” and a Kickstarter campaign.  The song begins with Melissa McClelland’s voice singing in it beautiful way–there’s guitar in the right ear and bass in the left ear.  Then Luke Doucet comes in for verse two.  And when their voices fill the bridge it feels so complete.  Until they get to the chorus when they push it even further and it sounds amazing.

  They sing so well together.  Her voice has a slight country twang, and his is a low baritone.  Their harmonies are superb as they sing the compelling chorus: “Fake Your Death and I’ll Fake Mine”

Lyrics are certainly interesting for the band.  How many times do you hear a woman singing a line like: “I’m the villain in this piece  And back when I was a thief, I broke hearts like they were teeth.”

I love this song.  And it may or may not end up on the new album for which there is a Kickstarter campaign.

And I’m in.  I’m a little unclear about exactly what they aim to do with the money they raise.  They say quite plainly that there will be an album regardless of whether they raise the funds.  And their label, Six Shooter, is totally behind the band.

Rather seems to be a way to raise some money and some attention for the band.  And, apparently it will give fans a glimpse of the album as it is being made–a sort of behind the scenes featurette that comes before the disc itself.  The prizes are varied and moderate–from a download, to the CD, to a T shirt, to sheet music (all for reasonable donations), all the way to the grand prize–for $8,000 they will play a private show for you.

I’m in for a CD, and I’m happy to pay regular ticket price when they come around again.

Check out the Kickstarter campaign for more details where you can also hear “Pins and Needles.”

[READ: April 24, 2014] My Struggle Book Two

maninloveI read an excerpt of Book Two in Harper’s well over a year ago So when I got to that section again (it’s the end of the book) I was trying to remember why it sounded so familiar–an accident during a soccer match that leaves Karl Ove with a broken collarbone and an unhappy girlfriend (who will be looking after three kids without him), and then I remembered the excerpt that started it all.

The translation of Book Two by Don Bartlett is fantastic, just as in the first book–I can only assume the original Norwegian is just as compelling.  Book one was 430 pages and now book two was 573, so I’m in to Karl Ove’s life for 1003 pages, and there’s four more books due (Book Three comes out next month).

As I mentioned for Book One, this series has caused some controversy because it is given the same title as Hitler’s Mein Kampf (Min Kamp in Norwegian), and also because he says some pretty mean stuff about people who are still alive.  Book One was about the death of his father.  It was pretty dark.  Book Two is about his first daughter and about falling in love with Linda, his children’s mom (although not yet his wife).  And it is also pretty dark.

I was trying to figure out why I like this series so much.  Not a lot happens, Karl Ove is not a very nice person and he seems to be pissed off most of the time.  And I think what I realized is that I share a lot of opinions as him, but he takes everything to the extreme.  And he is kind of an asshole.  I mean, anyone who writes a six part autobiography called “My Struggle” (okay, really it’s called My Head) is kind of an asshole.  But so when I see things that I would only think in my deepest recesses of my mind printed on a page, it’s strangely visceral to me.  I realize this means that I’m kind of an asshole too, but the key difference is that I don’t act on the things that I think, nor do I write 4,000 pages about them.

I told Sarah that she might laugh at some of the opinions that he lists but that she would not enjoy reading the books.  Indeed, this book, this series, is not for many, I’m sure.  But to me there is something strangely engaging about him and his strange life and his writing style.  And I really flew through this book, finishing it in about a week.

So this book begins (started in July 2008) with Karl Ove being pissed off.  He talks about finishing the first part of the novel (which I have to assume is Book One, given when this was written and how this book ends) just last month (in other words he is really churning this stuff out!).  He and Linda have been fighting (as the book opens they have three children, Vanja, Heidi and John–it’s also hard to believe that his children are young enough to not really know much about this series). The tension is high between them–glares, comments, nasty sniping.  Karl Ove says that he is afraid to say things around her because he knows how she’ll react.  But at the same time, some of things he desires are simply not defensible in a relationship or when you are parent.  And the main conflict seems to be that Karl Ove is selfish and Linda is (at least according to him) mildly suicidal and possibly bipolar).  And mind you, at the time of his writing this, I think they are still together….  (I could look that up, but it seems kind of fun not exactly knowing). (more…)

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may20014SOUNDTRACK: EXHAUST-Enregistreur [CST021] (2002).

exhaust2While Exhaust’s debut was a mixed affair, their follow up really showed some great improvement.  The band feels more unified, there aren’t any single songs that were remixed (which stand out in a bad way), rather the remixing was done throughout the songs.  And, best of all there’s a lot more of that spooky bass clarinet.

The album feels more organic, “Gauss” opens with waves of music setting a mood until about a minute into track 2 “Behind The Water Tower” when the drums kick in the atmospherics gains urgency. “Voiceboxed” has a feeling of contemporary Portsihead which is neat from an album that came out almost a decade earlier.  This one has some samples of commercials , but they’re a little low in the mix so its hard to make them out. Although the spoken word part that swirls around your head is very cool and a little startling. (Headphones are a must for this album). There’s also a funny standup routine (yes, in the middle of the song)—wonder who it is.

“Ice Storm” opens with a sampled piano & a lot of static.  It morphs into a lengthy play/commercial/PSA by Heathrow Wimbledon and is called “The Maternal Habitat.”  I can’t find anything else about it online.  It’s rather fun to listen to, although when the skit is done, the music becomes strangely slow and the last two minutes (of 9) go on too long.  It bleeds into “Dither” which is mostly sampled voices and more commercials.  I love this Negativland kind of pastiche

“Behind the Paint Factory” mirrors “Water Tower” in that the drums kick in after 2 minutes and the song sounds great.  “My Country is Winter” is mostly tape manipulations including a screaming guitar solo that runs around your head.  “Silence Sur la Plateau” returns to that sort of ominous Portishead vibe with the sound of loud crinkling plastic as its main “music.”  There’ also a lengthy silence in the track which seems rather pointless to me.  The album ends much like it began with “Degauss” which is mostly clarinet solo and atmospheric sounds

It’s much better than their debut but still feels like they could have made a tighter album if they’d gotten rid of some (but not all) of the nonsense.

[READ: December 1, 2012] “The There There”

I have enjoyed Nelson’s stories in the past, and I feel like it’s time to find a collection of hers (and I see she has a lot, too).

What I especially enjoyed about this one was the way the title was used in the story and also the way it encompassed the main character in a way that was unrelated to the way it was used in the story.  In the first instance, the family is on vacation and they overhear some tourists asking “Where the hell are we?” while standing in front of the Colosseum.  The son explains that’s “like not seeing the Grand Canyon until you fell in it, like it’s the there there.”

The story is about a family–a mother, a father, and two sons.   It opens with the sons and the mother discussing the perfect murder.  The husband disapproves of the discussion but only indicates this with a cleared throat.  We see that Caroline, the mother, was imagining her husband when she was describing her murder.

While the story is basically about the mother (although told in third person), it flits back and forth to the other family members and how their behavior affects her.  First we see that their oldest son, having gone off to college, has fallen in love with his landlady–a woman with children older than him.  Caroline is appalled at this especially when Drew reveals that she’s not all that pretty, that he would have chosen one of those daughters. (more…)

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salSOUNDTRACK: BECK-Morning Phase (2014).

morningThe release of Beck’s latest album is what got me investigating Beck’s back catalog–just to see how Beck arrived at this mellow chillout place.

I read a lot about this album when it came out and, even hearing Beck discuss it, I feared it would be a little too slow and mopey for my tastes.  It is slow, but it’s not really mopey.  It’s quite pretty, in fact.  And as I’ve come to learn by going through Beck’s back catalog, he likes to experiment in all sorts of ways, but at his core, he is just a really good songwriter.

So it opens with 40 seconds of strings that act as  nice introduction to the tone of the album, but don’t prepare you for the pretty acoustic song “Morning.”  Lyrically it’s pretty dark, although with his falsetto, it’s kind of hard to realize that.  The melody and vocal line are really lovely (especially the weird echo they put on his voice).  And it has a surprisingly big sounding chorus–redemption even in sadness.  “Heart is a Drum” has piano and an acoustic guitar with swelling strings–once again, the chorus is big and (relatively) fun.  “Say Goodbye” is a sad song, and yet it is still catchy (which is nice), with a simple acoustic guitar.   “Blue Moon” has a wonderfully catchy verse structure and it picks up the tempo somewhat with beautiful swells of music.  And the chorus is dynamite too–it is a worthy single.

“Unforgiven” slows things down even more, making one of the moodiest Beck songs.  And then comes “Wave,” perhaps Beck’s darkest and moodiest song–just waves of strings with no drums and Beck’s longing voice over the top.  “Don’t Let It Go” has some very nice singing from Beck.  His voice has always been good, but he sounds like his voice is maturing somewhat here.

“Blackbird Chain” is the prettiest melody on the record, and it feels especially light after the downcast last few songs.  It has a great chorus and really strong verse melodies. My only gripe is the very brief string accompaniment in the middle of the song which feels like overkill–the piano solo is nice, bit the strings are too much.  But they’re very brief and don’t ruin the song.  “Phase” is a 1 minute instrumental that leads into “Turn Away.”  “Turn” has Beck’s layered vocals and a wonderful easy guitar sound.  The whole song has a sixties acoustic vibe, an again, the melody is great.  “Country Down” has a, yes, country feel (including harmonica solo ala Neil Young), and Beck’s lower, more powerful voice.  It’s a strange turn on this album, but it keeps with the mellow vibe.  The disc ends with “Waking Light” a slow, building song with more great vocals and a wonderful chorus, that makes good use of loud and soft.  It’s a very strong ending to an album.

Unlike other Beck albums this one is definitely a “have to be in the mood” for it.  There’s no pop singles, no dancey hits.  It’s all very mellow.  But it’s very pretty.

[READ: April 2, 2014] The People of Paper

An excerpt from this book was published in McSweeney’s #12.   Here’s what I thought of the excerpt:

This is an excerpt from Plascencia’s novel of the same name, a novel that I own but have not read yet.  And wow is this crazy.  There is, indeed a person made of paper and there are people made of meat, and there are different narrators.  Federico de la Fe is a grown man who wets the bed–as the story begins he and his wife (who tolerates the wet spot) are going to the water’s edge to fill it with new straw.  His wife has gotten used to it (ew), but once their young daughter is potty trained and her husband isn’t, she gets quite cross.  It is only after his wife has died that he learns of a cure–sticking his hand in the fire.  See, crazy–and we haven’t even gotten to the lady of paper yet.  I’m assuming that actually reading the full novel will bring some clarity to this story.

I included this as an introduction because this story is very very unusual, even after reading the whole thing.

In addition to the story being unusual (and, as it turns out, completely metafictional), even the physical product is unusual.

The story is broken into several styles, which are distinguished at the front of each chapter by either three lines, three dots or one dot.  In the three lines chapters, each page is broken into 3 columns–each column is about a character.  In the three dots section, the chapter is formatted normally, but different characters are written about.  And in the one dot section, the small chapter is about one person (you can read more about this in the interviews below). (more…)

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harperjanSOUNDTRACK: BECK-“Gimme” (2013).

gimmeThis was the final of the three singles that Beck released in 2013.

It is by far the weirdest of the three, and seems the most experimental.

The song is only 2 and a half minutes long.  It starts with vibraphone-like sounds. The vocals are layered and processed with random voices shouting “Gimme” throughout the track.  I have no idea what the lyrics are.

It is noisy and cluttered, although there is a melody under all of that.  And then it ends just as suddenly as it began.  This song may some end of the year lists, but it’s certainly not easy listening.

[READ: April 1, 2014] “Subject to Search”

Sarah recently brought home a copy of Lorrie Moore’s Bark, and I’ve put it on my to-read list (somewhere near the top).  So browsing through this back issue of Harper’s I saw this story and figured it was probably in Bark (it is), but I decided to read it anyhow.

The story begins with an amusing exchange.  A man sits down and says “I have to leave.”  He and the woman are in a restaurant and she wonders if he has time to eat.  He tells her to order lamb couscous and she worries about her pronunciation.  It turns out they are in France and her French is passable at best.  She worries that there is a distinction between lamb to eat and lamb as a pet (like between pork and pig) in French and that she may end up with something totally unacceptable.

When the man returns he explains to her that he has to fly back to the States, and to us that he is in “the intelligence game.”

As the story unfold we learn more about him from the way she has perceived him (she assumed he was a drug runner from his story about driving cars in Holland).  He escaped from Iran just before the hostage situation broke out in the 70s.  And he paid for everything in cash.  But we also learn that she has known him for years. (more…)

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harperSOUNDTRACK: BECK/RECORD CLUB-YANNI: Live from the Acropolis (2010).

yanniAlthough there was no official notice terminating the club, this release has proven to be the final installment of Beck’s Record Club (for now).  And what a weird place to end.  Cheesy new ager Yanni’s live blockbuster album.  My buddy Joe (a major metalhead) got me into this album when it came out (really).  And I have to admit it’s pretty awesome–the musicianship is nothing short of spectacular.

So I was very intrigued at the premise of these guys covering the album.

According to the Beck/Record Club website:

This installment of the Record Club takes on ‘Yanni Live At The Acropolis’. The original album featured Yanni with a full orchestra at the Athenian Acropolis. A TV special of the concert was played repeatedly on PBS through the mid 90′s. To flesh out the complex arrangements, several studio musicians were brought in to read a heavily doctored score with interpolations of everything from Stravinsky to Bobby Brown (and others). Beck and Thurston Moore from Sonic Youth provided auxiliary music and noise, with Thurston improvising lyrics over the previously instrumental track ‘Santorini.’ Tortoise show up later on a few other tracks. Look for the complete rerecording of this musical monolith, originally captured at the bedrock of Western Culture, done here at Sunset Sound Studios on June 13th, 2010.

The big names for this release are Thurston Moore and Tortoise–who get to work together on two songs.  Thurston seems to be on most of them–playing noise and occasionally singing (I don’t think there are any words on the original).  I haven’t listened to the original album in ten years so I don’t really remember it very well.  I am quite certain it sounds nothing like this cover version. I’m actually looking forward to playing it again now that I’ve listened to this, mostly to see if there is any similarity at all between the songs.  But also to see if I still like it.  I’m also very interested in the unreadable score (for track 8)

Santorini (2:53) Thurston makes up lyrics.  The session musicians play a beautiful rendition.
Keys To Imagination (4:22).  Tortoise & Thurston play together and the noise and samples run wild.
Until The Last Moment (5:50).  This song is kind of muddy sounding with lots of cymbals and feedback.
The Rain Must Fall (2:55).  More vocals on this one.  With samples that sound like kids singing “rain must fall.”
Acroyali/Standing In Motion (5:46). This one has a cheesy synth tone.  I think the vocals are by Beck on this one.
One Man’s Dream (4:26).  Gentle piano and quiet feedback notes in this one.
Within Attraction (5:39)  Tortoise is back with more samples and sounds.  It also sounds like there are samples from the original Yanni disc.
Nostalgia (4:07) “Thurston and Beck team up again with a crew of heavyweight studio musicians to tackle an apparently unreadable score for another song from Yanni’s Live At The Acropolis, with Thurston adding lyrics.”  I don’t know what they’re playing then, but it sounds good.
Swept Away (4:11).  Gentle keys and “funk” interspersed with noise and effects.
Reflections Of Passion (8:21).  This song opens in a very Sonic Youth style (the slower version of SY).  It’s fairly delicate with vocals until about 3 minutes in when the big drums carry it through to the end.

I haven’t watched all of the videos in the Record Club because some of the earlier ones are “artsy” and just hard to watch.  But this one is great for seeing just what they did to make these sounds (and who is singing).  The INXS one was also good for this.

[READ: March 15, 2014] “The Mighty Shannon”

The mighty Shannon is of course the river in Dublin, even though it is barely mentioned in the story.  The story opens with a man in pain–a migratory pain that has moved from his lower back to his shoulders to his neck.  The doctors can’t find anything wrong with him and suspect it may have something to so with his personal life more than actual pain.  He is reluctant to admit that, but when we learn what is happening in his personal life, it is quite plausible.

The narrator is married, but he has been having an affair with his son’s Spanish teacher (shame on them both). They first met at a parent teacher conference (where his wife seemed unimpressed by her) and then they encountered each other at the park when they were each going for a run.  He offers her running advice for her upcoming marathon and the really seem to hit it off.  Soon they start sleeping together.  He feels badly about it but also believes that his wife, Sharon, (not Shannon) was having an affair first–based on a pocket dialed phone call. (more…)

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hiltonSOUNDTRACK: BECK/RECORD CLUB-SKIP SPENCE: Oar (2010).

skipOf the four Record Club discs, this is the only one I don’t own.  Although I do have a different covers collection called More Oar (which Beck also appears on). I may have never heard any of the original songs on this disc, so I can’t even compare them.

For those who don’t know (as I didn’t), Skip Spence was one of the founders of Moby Grape, a band who was vaguely successful in the late 60s and then sort of fell apart (especially when Spence tried to kill his bandmates and was put in an asylum for a year).

Beck doesn’t have anything special to say about why they picked this album.  But he must have been very excited that Wilco and Feist were around to play on it.  He says

This one took place last June when Wilco was in town for the release of their new eponymous album. They came by after a long day filming a TV appearance and still managed to put down 8 songs with us. Jamie Lidell was in the studio with me working on his new record. Leslie Feist happened to be in town editing her documentary and heard we were all getting together. Recording took place at Sunset Sound Studios in the room where the Stones did a lot of Exile On Main Street (and looking at the records on the walls it appeared that the Doobie Brothers recorded most of their output there too). Sitting in on drums, we had James Gadson, who’s played on most of the Bill Withers records and on songs like ‘Express Yourself’ and ‘I Will Survive.’ Jeff Tweedy’s son Spencer played played additional drums. Also, Brian Lebarton, from the last two Record Club sessions is back.

And if you don’t know what Record Club is, see the summary on yesterday’s post.

Wilco plays on 8 tracks (of 12) and they sound great.  Indeed, overall this is the most “professional” sounding recording.  Which is not to say that they don’t have fun. It sure sounds like they do.

Little Hands (2:59).  This has a traditional folk band sound.  It’s a great recording.
Cripple Creek (4:14).  This is not THAT “Cripple Creek,” by the way.  “Jamie takes the lead and Gadson gets behind the kit, while Beck and Brian back them.”  There’s a funky drum breakdown in the middle.
Diana (3:48).  Another good sounding song.
Margaret/Tiger Rug (2:27). This song is a little boppy and slightly silly sounding, but not really that silly.
Weighted Down (The Prison Song) (4:58) “Feist takes the lead this week with Nels Cline arpeggiating some ridiculous 64th notes on a toy guitar.”  Feist adds some beautiful vocals to this song.
War In Peace (5:04).  This begins a little slow and shambolic but it soon builds into a full band that gets even crazier when they start playing “Sunshine of Your Love.”  It was fun to hear them let loose.
Broken Heart (3:39).  This sounds like a traditional song.  A little drunken and fun–a nice duet with Feist.
All Come To Meet Her (2:02).  This is a simply beautiful harmonized a capella rendition.
Books Of Moses (7:21) “Gadson lays down the heaviest RC beat ever, while Jamie loops his voice into a voice army and Brian plays some kind of octagon shaped synth.”  This had a kind of Primus-y weird synth opening.  But as Jamie loops his voice over and over it sounds really good, although it is too long.
Dixie Peach Promenade (Yin For Yang) (3:56).  This is a synthy bouncy song.  It’s a little silly, especially with th Ace of Base coda at the end.  But it sounds good.
Lawrence of Euphoria (5:17).  The lyrics of this song are very silly. This version has a fake cowbell and  funky bass but is otherwise just electronic drums and vocals.
Grey/Afro (7:35).  This has echoed vocals and noisy bass.  It’s hard to figure out what’s going on here, especially at the chaotic ending. But it’s nice to hear them all let loose a bit.

As I said, I don’t know how this compares to the original, but I really enjoyed it.

[READ: March 23, 2014] White Girls

This book was madly hyped and I was pretty excited to read it (even though to be honest I didn’t know if it was fiction or non-fiction–and wasn’t even entirely sure as much as half way through the first piece).  I knew Als’ name from the New Yorker, although I wasn’t really conscious of having read anything by him.  It turns out I read one of these essays in McSweeney’s 35 about four years ago.  The fact that I didn’t remember reading that essay does not speak all that well about it.  But overall I enjoyed most of the essays in the book quite a lot; however, the two longest ones I found, well, way too long.  And I honestly don’t understand the title.

Overall the book is a collection of essays (often told from an interesting perspective, like from the dead person’s first point of view).  The problem with pretty much every essay in the book at least for me was that Als presupposes a base knowledge of these people.  Without that, the essays can be frustratingly vague and unclear.  But again, these people are all famous enough that it seems likely that one would have that base knowledge (even if I don’t).  I do wish there was a small bio or even a photo with these essays (as there was with the Truman Capote one) as I feel that grounded me nicely.

I was a lot more confused by his essays that were more personal.  I didn’t really understand the context for what he was talking about, since i know very little about him.  And as you’ll see from the first essay, he covered a lot in a very un-straight way. (more…)

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Harpers-1404-302x410SOUNDTRACK: BECK-Guero (2005).

gueroGuero is one of Sarah’s favorite albums, I would say.  It’s hard for me to believe that it is almost ten years old.  It’s a return to the more wild style of Odelay!, but it’s a bit more modest in scope–there’s a lot of different styles, but it’s not quite as manic as his earlier record.  And the sampling is not quite as excessive.

It opens with “E-Pro” a big loud guitar riff and lots of fun sing along material.  The drums are loud and snappy, and it all hearkens a great return to form.  the manic sampling is not present.  There is a return to rap-lite (and lots of Español) in “Guero.”  I like the horns and the street chatter.  “Girl” is an incredibly poppy, almost synth poppy song although just what is he saying in that chorus?  It’s a really pretty summery anthem.

“Missing” slows things down but keeps some great sounds (including big strings) and cool percussion.  It’s got an unusual melody that I find really memorable.  “Black Tambourine” has a great thumping drumline and pumping rhythm and is so much fun to sing along to–whoah oh oh oh oh oh.  “Earthquake Winter” brings in more sitar and a weird tropical vibe to this slow song.  But the chorus is just great, especially the way it rises out of the murky verses.

“Hell Yes” is a very weird song with a funky staccato bass line and weirdly processed vocals.  It’s the first song that really stands out as being unlike the rest and hearkens back to his older style.  It’s also really cool.  “Broken Drum” slows things down again.  I like the melody but I feel this is a little too slow for this record. (Although I like the guitar melodies that are overlaid on top of the song).  Scarecrow” brings back an uptempo beat and a slinky guitar sound.  “Go It Alone” has big handclaps and a stripped down sound but lots of great backing vocals.

“Farewell Ride” has  very creepy stripped down sound with weird (almost out of tune) acoustic guitar and creepy harmonicas.  It’s like a demented western song, and it works very well.  “Rental Car” returns with another great fuzzy guitar opening.  It has a super fun chorus (of yeahs and harpsichord ) and very funny sample of women singing very fast la la las.  “Emergency Exit” is a slow handclappy song that ends the disc with a bit more variety.

Although this album may not reach the intensity of Odelay! (and the singles may not be quite as catchy) overall, I think this record is probably Beck’s best.

[READ: March 19, 2014] “Coup de Foudre”

I have only read a few short things by Kalfus so this is more or less a first for me.  And wow, what a lengthy and detailed story to start with.

There is a ton of stuff going on here, but I’m not willing to go into that much detail in reviewing it.  Primarily because the detail is the emotion and heart of the story, and his descriptions of what happened are designed to influence your opinion of the narrator.

So, the nutshell version of the plot is that the narrator is David León Landau, a powerful banker who can absolutely influence global monetary policy.  He has Timothy Gueithner’s ear and is soon to be meeting with Angela Merkel to talk about the Greek economic collapse and Germany’s potential role in the bailout.  He is that important.

He is writing a letter to Mariama, a maid in a very expensive hotel in New York City.  He has been arrested for sexually assaulting her, and she has effectively brought his entire career (and presidential plans), not to mention his marriage, to a grinding halt.

Simple enough.  So why is he writing to her?  He is writing to her to explain in great detail everything that happened in the days leading up to what he did.  He seem contrite, and yet he also knows that his lawyers prevented him from getting in as much trouble as he should have.  He also knows that she will never read this, but he needs to write it anyway, just to get it out, like a confession.  Even though he knows that if anyone were to see it in print it would mean the end for him. (more…)

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hewSOUNDTRACK: RHEOSTATICS-Angry Buddaz Kitchener, ON (November 7, 1999).

07Dec1999For reasons I’m unclear about there were only two available shows from 1998 for the Rhesotatics.  Similarly, there are only three from 1999.  Actually, I’m surprised there are so many shows available from so long ago at all, so no complaints, but it’s funny to see the drop off in these final two years.  These late 90s shows are notable for being short, primary because of technical glitches.  Like this one, which sounds great but because of technical snafus the first 8 songs of the show were missed.

It’s a particular shame because the show sounds so good.  They play some Harmelodia songs which is fun.  Beyond that the version of “Stolen Car” is awesome.  “Feed Yourself” has a very lengthy jam including some poetry.  They also have some fun with it being near the new millennium with a funny “outer space” sound.  And they play some “jingles” like a made up one for Snapple and one for Marlboro–the smoke that hurts.

The final song, which comes from Harmelodia has a very country music feel in this version, which is interesting–it’s not something they do much.  So this was another good show, shame about us missing so much of it.  And about the fact that Angry Buddaz does not come up on any searches as a real club.

[READ: March 6, 2014] The Swearing Jar

Once again a flurry of books have come across my desk which I felt compelled to read (even though I have other things waiting impatiently for me).  But how to resist a play called The Swearing Jar.

This play is set up in a nonlinear style which is excellent for the way the story is told.  It is actually a very simple story of love and loss.  And swearing.

As the play opens we see Carey and Owen on a stage (in fact the way the play opens sounds quite ingenious–and involves audience participation).  They are on stage performing for Carey’s husband’s birthday.  She has written many songs including, as the play opens properly, the first one which she actually wrote for him before they met.

Then there are flashbacks.  We see Carey and Simon together (we don’t see them meet)–we see them happy together as she explains that she is pregnant.  We also see that he was going to tell her something but is now holding off because of her news.  Despite their happiness, their relationship is somehow fraught–not really in danger, but there’s a lot of bickering and simple misunderstandings which imply I think more volatility than actually exists. (more…)

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relishSOUNDTRACK:RHEOSTATICS-World Next Door Festival, Winnipeg, MB (September 5, 1998).

wndI was pretty excited to hear this outdoor festival version of the Rheostatics.  I knew the show would be short (and it is at about 45 minutes), but i imagined the entire feel of the show would be different in this setting.  What surprised me is that the recording is taken from a CBC radio broadcast of the show (which in and of itself is pretty cool).  But the recording is terrible!  The sound is bad and there are dozens of stops in the tape.  Bummer (especially when Aliens gets cut off).

Perhaps the most enjoyable part is when Dave says there’s going to be a double neck guitar war between Martin and Gordie Johnson (he was the front man for Big Sugar, a band I don’t know.  They apparently headlined the festival and he plays a mean double neck guitar).

Strangely enough I can’t find out anything about this festival which apparently doesn’t exist anymore.

[READ: March 5, 2014] Relish

Sarah read and really enjoyed this graphic novel. She said I would like it too and she was right.

This is a collection of memories from Knisley.  She writes about growing up in a family of foodies and how at a very young age she at anything.  She even began to crave unusual foods (in one short piece, she says that as a child she craved sautéed mushrooms).  But what’s cool about the story is that although she was raised in a snobby food way (you she see her father’s reaction to McDonald’s and her mother’s reaction to ketchup) she still appreciated junk food. She says, “Anyone who can fail to rejoice in the enticing squish/crunch of a fast food French fry or the delight of a warmed piece of grocery-store donut, is living half a life.”

At the end of each chapter is a recipe for something from the book.  The recipes are pretty simple, although some of them have extravagant ingredients (like her Chai Tea which sounds amazing, but is frankly too full of expensive ingredients for me to ever make–cardamom pods, star anise? No way.).  However, her recipe for marinated lamb sounds delicious and uses only the most basic ingredients. (more…)

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briefSOUNDTRACK: RHEOSTATICS-Spiral Club, Guelph Ontario (December 18 1997).

spiral This show has an interesting technical glitch that the owner thankfully fixed. It was a soundboard recording (which is awesome), but evidently there was static in the right channel that rendered it unlistenable.  So he simply removed the right channel and mixed it mono.  The sound is actually excellent—one of the best early shows they’ve done.  But since there is only own channel, you miss a lot of what, I think, is Dave’s guitar.  When guest Tyler McPherson plays his solo, I believe you can’t hear it.  Yet despite that, it still sounds great.

I feel like the band was a having a lot of fun on this Thursday night in Guelph (every night in Guelph is a weekend). They mention that their Nightlines episode was aired on the night of Lady Diana’s death (so they feel some kind of weird connection to her).

There’s a few firsts in this set as well.  It’s the first time they plated “Junction Foil Ball” (from Nightlines).  They seem to have finally settled in with “Harmelodia” not “California” in “Easy to Be with You.”  They toss in a bit of “Tubthumping” at the beginning of “Horses,” and a bit of the Monkees, song “Look Out Here Comes Tomorrow)” at the beginning of “Queer.”

Of course there are some flubs as well.  Martin messes up California Dreamline big time and Dave gets lost in the counting of “Four Little Songs” (and then says he never went to school).

But it’s the banter that is the fun part of this show.  They ask the crowd not to shout out requests for a couple of songs.  There’s a very funny sequence in which they try to play a Coors lite anthem.  And Martin says he’s out of his mind.  Dave says he’s a madman and Martin calls him a manatee.  And then someone offers Dave an Islanders jersey which he says he can’t accept—it is too generous, but he’ll always remember it (and now so will we).

Before the end of the set, they offer the crowd some of the food they have backstage (if you like olives). But then they say that $18 was a bit steep of a ticket price for the show (can you imagine?).  So they’re going to play extra long because the ticket price was so high.  Man, how cool is that?

[READ: Summer 2013] Brief Encounters with Che Guevara

Several years ago (long before Billy Lynn’s Long Halftime Walk) I read about Ben Fountain…somewhere.  I was reading an interview with a writer who talked about some new writers that he liked.  Ben Fountain was one of them, and this writer specifically mentioned this collection.  A week or so later I was in a dollar store of all places and saw this book on their piles of books.  I couldn’t believe the serendipity. So I bought it (for a dollar).  And then kind of forgot about it (so much for my theory that if I buy a book I’ll read it).  But I did eventually get around to reading it and now sadly not only do I have no idea who originally introduced me to Fountain, I can’t even find it with online searching (and frankly I could have read it anywhere).  Also, Fountain has since written Billy Lynn which received all kinds of praise (and which I haven’t read), so trying to find specific praise for Fountain from 7 years ago is a lost cause.

And just as I forgot to read it I forgot to write about it until now.  This was his first collection of stories.  There are eight in total.  Even though it has been awhile, most of the stories were so powerful and well constructed that I remember them quite well. (more…)

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