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Archive for the ‘Military’ Category

SOUNDTRACK: TRUPA TRUPA-Tiny Desk (Home) Concert #44 (July 3, 3030).

Trupa Trupa is a band from Poland who play some really great indie rock.  They were supposed to be touring the U.S. and doing a Tiny Desk, but instead they are home.

In a little dirty rehearsal room basement in Gdańsk, we find Poland’s great rock band Trupa Trupa on lockdown. Had it not been for COVID-19, this band would have been behind my desk this week, but as it is, they’ve settled into their rehearsal space.

Their songs are pretty intense, but this Home Tiny Desk features lighter versions of the songs.

They open their set with “Another Day,” from the 2019 record Of The Sun.  It has a great throbbing bassline Wojciech Juchniewicz while singer Grzegorz Kwiatkowski plays acuostic guitar.  He says its the first time he’s played the acoustic guitar in a really long time.

There’s a cool theremin-type sound that is coming from Rafał Wojczal.  The credits say the instrument is called an ondes Martenot, but this is a homemade device–and it sounds pretty cool.

I’ve seen them perform this; it’s always had an apocalyptic feel, but now the words “another day, waiting for another,” prompts Grzegorz to mention how this has turned into a quarantine song.  Grzegorz tells us that life in Poland has been difficult in this young democracy, but they are staying optimistic and playing music.  There’s darkness in the basement, yet their music is a bright beacon.

“Dream About” starts with a snappy drum from Tomasz Pawluczuk.  Kwiatkowski plays as scratchy rhythm on the guitar before  Juchniewicz plays a great rolling bassline that runs throughout the song until it abruptly stops for a some single notes.  Then it resumes again.  Wojczal adds some guitar before bringing that Martenot back.

“None of Us” is slow and deep basslines.  Initial vocals come from Juchniewicz who has switched to guitar.  The acoustic guitar is more prominent on this song.  And Juchniewicz’  fuzzy electric guitar sound is deep and menacing.

Their U.S. Tour was cancelled, but they weren’t going to play near me.  Maybe when they come back they can squeeze in a Philadelphia date.

[READ: June 20, 2020] Bagombo Snuff Box

This is a short story collection that I read when it came out.  When I read all of Vonnegut’s books a few years ago, I decided to re-read this collection.  It has only taken me several years to get to it.

But what a great bunch of short stories.

The Preface explains that these stories were written in the 1940s and printed in magazines before he had written his first big novels.  After the War, there were many magazines that featured fiction, so Kurt was able to make some good money on the side while he worked at General Electric.  He left the company in 1950.

Vonnegut has an introduction as well.  He talks about the beneficial effect short stories can have on a person.  He also says he generally feels good about these stories although he feels a bit badly for the way some (many) of the women are treated–not that Vonnegut specifically treated them badly, but that was sort of the way it was then. (more…)

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31423478SOUNDTRACK: FABIANO DO NASCIMENTO-Tiny Desk (Home) Concert #43 (July 2, 2020).

fasbiFabiano Do Nascimento was born in Brazil and now lives in L.A.  he is an amazing guitar player, creating gorgeous soundscapes–‘an amalgamation of Afro-Brazilian jazz, folklore, bossanova and samba.”

For the first piece, “Nanã,” he plays what I think is a 10 string guitar (the fretboard is so wide!).  he starts a lovely melody and then the screen splits into four.  David Bergaud adds quiet piano and Julien Cantelm adds some complex drum patterns.  The fourth quarter is Fabiano again (it took me a moment to realize it, because he is in a different room).  He plays a lead guitar melody on a tiny ten stringed guitar.

The combination of his overdubbed rhythmic and melodic guitar lines, coupled with the delicate hands of piano player David Bergaud and drummer Julien Cantelm … flow into the first number, “Nanã,” a folkloric composition that “is the spirit that comes from African lineage and represents the forest … and is the primordial mother of earth.”

Up next is “Etude,” a composition by Fabiano inspired by Cuban classical guitar virtuoso Leo Brouwer.

For this piece, he switches to a six string guitar.  He has a different accompaniment.  Adam Ratner plays electric guitar (quietly) and Leo Costa play a some great complex drum (and cymbal) patterns as well as the chocalho.

Both Fabiano and Adam play leads, slow jazzy, pretty, while thr drums really do take much of the action.

Fabiano expresses

love for his motherland Brazil — an “endless foundation of inspiration” — is threaded deeply into the tapestry of his sound and ethos. If you’re looking for a musical moment of zen, this set comes highly recommended.

The final piece “Tributo” is a tribute to Brazilian composer Baden Powell de Aquino.  This piece is for solo guitar.

[READ: June 20, 2020] Make Your Bed

My son completed a leadership training course for the Boy Scouts and he was given this book as a gift.  I was intrigued by the title and because I like the guy who gave it to my son, so I thought I;d read it.

It’s a fast and easy read and I think a younger person (this was originally a college commencement address) could be inspired by it.  I’m a little too set in my ways t make many changes (although I have made sure my bed has been made ever since reading this).

The book is set up in ten chapters: the ten points that he made during the speech.  Each chapter gives a suggestion.  It is followed by the practical origin of that suggestion and then a more intense incident in life in which he used that suggestion. (more…)

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SOUNDTRACK: WIRE-Tiny Desk Concert #976 (May 27, 2020).

I feel that it is something of a failure on my part that I never really got into Wire.

Although I don’t know why, I will never forget that their 1988 album is called A Bell is a Cup … Until It is Struck (I was working at a radio station when it came out and “Kidney Bingos” was a minor hit).  But I never really followed through with them.

Bob Boilen, on the other hand, is a huge fan.

For me, it was beyond surreal to watch Wire performing at my desk, in broad daylight, in 2020. I spent many an evening over the past 40 years, listening to their original, artful bursts of noise and imagery, seeing them in dark clubs in the ’80s and beyond. From the time I first heard them in 1977, few bands have encapsulated my musical aesthetics like Wire.

There have been some hiatuses for Wire since their debut in 1977 (from 1981-1985 and 1993-1999) but each time they reunited, it was the original four person lineup.

It was only ten years ago that guitarist Bruce Gilbert officially left the band.  But at the Tiny Desk,

there they were, with three original bandmates: Colin Newman, singing his enigmatic poetry, and those driving rhythms of Graham Lewis on bass and Robert Grey (aka Robert Gotobed) on drums. Matthew Simms was the “new” bandmate, having now played with the band for the past 10 years.

Thankfully, Wire plays four songs (they still only play for 15 minutes and they are Bob’s favorite band).

What’s most remarkable is how the sound of songs such as “Cactused” from their 17th album, Mind Hive, sit so well next to “French Film Blurred” from their 1978 album — and one of my favorite records ever made — Chairs Missing.

“Cactused” has a cool chugging rhythm and bass.  Newman sings in his deadpan, almost spoken delivery.  Newman plays the little guitar leads while.  It stops on a dime.  This band is tight.

“Be Like Them” is also new.  I love this song.  It’s got a slinky guitar riff which is  accompanied by three loud thumps (drums and bass) to accent the verses.  Simms plays a really cool noise-filled “solo” (really just some noisy chords) in the middle of the song.  Newman is once again kind of deadpan reciting his lyrics.

“French Film Blurred” is from 1978. It’s got an unusual riff and Newman sings a bit more than speaks, although he is still restrained.  They make great use of the two guitars with Simms adding all kinds of sounds while Newman plays the main melody.

Everyone tunes and then Newman says they’re going to play “an obscurity from the 80s that we revived into the current set.”  “The Offer” is from 1989’s ITABA.  It’s slower and rather quiet.  There’s even some gently picked guitar parts from Simms. But as it nears the end the song gets louder and louder with Sims adding a distorted and a flanging guitar.   The songs seems like it’s over, but while everything is ringing out, Newman pays a few ending chords.

Try and imagine your favorite artist today, playing a concert in someone’s office in 2062 and still having an emotional impact with extraordinary new songs. As I said, it’s beyond surreal and genuinely thrilling.

Wire played their Washington DC show on March 9, so that’s probably when this concert occurred (and therefore MUST have been the final Tiny Desk Concert before the quarantine].  Wire were playing Philly on March 10.  I had considered going but I had a lot of other shows to see in March so I didn’t want to overload.

This set was so good, I wish I had gone to see them. Maybe they’ll be back in 2021.

[READ: May 20, 2020] Five Years #10

This is the final issue of Five Years (I think).

It was supposed to be released during the Coronavirus epidemic.  But Abstract Studios offered a special cover (so I don’t know what the proper cover looks like yet).

NEWS: We’re going to release a tiny print run of Five Years #10 for subscribers, & anyone who wants one really. This is for those reading the single issues who don’t want to wait months to read the final chapter. If not a subscriber, you can pre-order a copy in our store now. Just CLICK HERE.

The rumor is Diamond Comics will reopen this summer and we will be able to stagger release issue 9 and 10 to the general public then. 9 is sitting in their warehouse, waiting like a rodeo bull. For the small number hooked on the single issues, we feel you deserve 10 now, because without your monthly support the series couldn’t have happened at all.

So I bought the limited edition cover because I wanted to finish the series.  I didn’t think he could possibly end the series with this issue as it seemed like there was too much up in the air. (more…)

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SOUNDTRACK: LANKUM-Tiny Desk Concert #975 (May 18, 2020).

At some point “new” Tiny Desk Concerts are going to stop being released to the site.  Given what the blurb says, it’s possible that this is the last one they recorded.

The band is super tight musically and I really enjoy the way they play traditional Irish music with a slight modern twist.

Bob Boilen loves this band and if it was the last Tiny Desk Concert for awhile, it seems like it was a good one for him to end on:

All of this was a build-up to a Tiny Desk concert I’ll never forget. I, too, am a massive fan of the drones from the uilleann pipes, harmonium, concertina and the stunning voice of Radie Peat. The Livelong Day to my ears has as much in common with Irish tradition as it does to electronic music, though everything they do is acoustic.

“The Wild Rover” is a nine minute song that builds slowly from its opening melody.  Daragh Lynch plays a repetitive quiet guitar chord high up on the neck and Cormac MacDiarmada plays a slow fiddle.  Radie Peat sings (in her very Oirish accent) while (I guess) playing the harmonium (although she doesn’t seem to be pumping it).  Ian Lynch adds an occasional note from  baritone English concertina.   After each verse (about drinking) all four of them sing the harmony chorus.  And after each chorus the song gets a bit louder–more concertina, louder fiddle.

Then surprisingly at 5 minutes after building so much, all the music drops out except for Lynch’s quiet guitar high notes as all four of them sing in close harmony.   Then MacDiarmada plays a fiddle solo and by the 7 minute mark the band starts playing with real discord as the harmonium and fiddle start playing slightly askew notes at the end of each line–adding yet more tension.

The song feels like it has taken you on a journey of its own.

Ian Lynch tells everyone that they are from Dublin (what a strong accent) and that they had lots of problems getting here.

Lankum’s journey from Ireland to the Tiny Desk was a wild and bumpy adventure. First, visa problems forced them to cancel their late February date. A week later, much of the world is more worried about COVID-19, though daily patterns here hadn’t changed. They arrived in New York, hopped in their van to Washington, D.C., only to have that break down. Finally, after all that, some good news: While in their new van heading to the Tiny Desk, the Dublin quartet received news that its brilliant album The Livelong Day had won Ireland’s Choice Music Prize Album of the Year!

The next song “The Young People” sounds very different.  It feels very traditional.  Daragh Lynch switches guitars and plays without a capo.  The sound is so deep compared to the previous song.  Daragh and Ian sing this slow, quiet song. I think Cormac MacDiarmada is playing the viola.  Mid song, Ian Lynch plays a brief uilleann pipe solo while Peat plays the harmonium.

The final song is an instrumental.  They remove the stand that Radie’s harmonium is on and she begins the song with a fast traditional melody on the baritone Irish concertina.  MacDiarmada plays a similar melody on the violin while stomping on a box.  Daragh Lynch bows the guitar at the start.

Then Radie puts down the concertina and sits on the floor at the harmonium.

After a couple of minute there’s the slightest pause of silence as the song shifts gears into a very catchy middle section complete with uilleann pipe solo.  The song flows through to the end with this very pretty melody.

Bob sees a lot of concerts each year.  This was his last of 2020 (so far).

A week later I saw Lankum in concert. It was the last one I attended in a real venue and the world was rapidly changing. Their journey home, I trust, was frightening. The idea of getting on a plane was so very different from just a few weeks before. I know it was tough, but I’m ever so grateful for this life experience and grateful to be able to share it here.

His last show was four days after my last show (Destroyer on March 8).  I was supposed to go to a show on March 12, but decided it wasn’t safe.  In retrospect, I should have gone, if only to get in one more show before music went away for awhile.

[READ: May 20, 2020] Five Years #9

This issue makes me think that either this series isn’t supposed to end in ten issues or he’s planning another series to continue this story after issue 10.

Because, boy howdy, there’s no way he can wrap this up in one more issue.

This book continues with the opening voice over.  Although this one is from one of the guards that Zoe has just stabbed. He is dying and he hears the voice of an angel.

The “angel” is Zoe (uh oh).  Zoe is on a mission and needs the weapon that she’s stuck in the guy’s chest.  Talk about a darkly comic opening. (more…)

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SOUNDTRACK: CLEM SNIDE AND SCOT AVETT-Tiny Desk (Home) Concert #26 (May 23, 2020).

I’ve never given a thought to Clem Snide.  Well, my thought is that he was a country guy that I didn’t want to listen to  Turns out, Clem is not a guy but a band founded by Eef Barzelay, who had a solo Tiny Desk back in 2010.

I do know Scott Avett from The Avett Brothers (although I never really know which brother is which).

Barzelay and Avett not only maintained social distancing throughout their set, but also rigorously enforced it with the aid of a visible tape measure.

This is my favorite Tiny Desk Home concert so far since it is done in a barn–and the sound is great!

Recording a Tiny Desk concert at home naturally subtracts a lot of familiar elements…. But when Clem Snide (the three-decade-old project of singer-songwriter Eef Barzelay) and special guest Scott Avett (the Avett Brothers co-founder who produced and performs on Clem Snide’s latest album, Forever Just Beyond) performed together in Avett’s barn, they added a few new features you’ve never gotten to hear at the Tiny Desk — most notably a noisy flock of birds and the unmistakable cries of a nearby rooster.

We’ve had a few disruptive animals at the Tiny Desk over the years, from the occasional dog to Bob Boilen himself, but this had to be our first rooster.

Their voices blended warmly as they tackled three spiritually searching songs from the (great) new record, Forever Just Beyond.

For the “The Stuff of Us” they both play guitar.  Eef’s is a full size while Scott’s is a smaller one (I can’t tell how many strings).  Avett sings the rather impressive high notes.

After encouraging everyone to brew their own fermented ginger beer for the immune system.

He introduces “Jews for Jesus Blues” by saying “A doubtless faith is a dead faith.”  The song from Clem Snide’s 2005 album End of Love, is a bouncy folk number.  Avett plays banjo.  The lyrics are interesting: “Now that I’m found, I wish I was lost” and “now that I’m saved, I wish I was dead.”  When the song’s over, Eef says, “not too offensive.”

Before “Some Ghost” the roosters start crowing.  Clem jokes, tell them chicken to shut the hell up.  Avett plays a full sized guitar and even sings some lead vocals.  Their harmonies are wonderful, too.  As the song ends, the rooster crows: “chicken go it right that time.”

Clem picks up a different,smaller, guitar for “Roger Ebert,” a song based on Ebert’s actual dying words: “This is all an elaborate hoax.”  Avett provides only percussion and vocals on this lovely song.

[READ: May 22, 2020] Five Years #8

Terry Moore seems like a very nice guy.  He draws people in love so wonderfully.  He draws adorable children and he specializes in a mischievous grin.

It’s easy to forget that he can be incredibly violent.  Well, I don’t know about him personally, but his art sure can be.

This issue has two violent deaths in it.  One is bloody, the other is not.

The one that is not is Stephanie.  The woman who wrapped Katchoo up in the mystery.  In several pages of wordless panels, Stephanie breaks into a secure building. She walks through a series of rooms activating secret panels.

She gets what she came for and heads out.  But when she steps outside, an unkindness of ravens swarms on her.

She drops her satchel and one of the ravens picks it up and flies off. (more…)

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SOUNDTRACK: BUDDY & KENT JAMZ-Tiny Desk (Home) Concert #25 (May 22, 2020)

It’s fascinating to learn that there’s an artist (or two) who are apparently well-known enough to not need an introduction that you have not heard of.

Or that you have not only heard of one of them, but even posted about his Tiny Desk Concert just five months ago and since then you have completely forgotten about him.

Such is the case with Buddy, who had a Tiny Desk in January, although I don’t think that Kent was there.  All I remember about that Tiny Desk (after looking it up) is that Buddy wanted to smoke a joint in the office.  And maybe that’s all I needed to take away.

Buddy and Kent Jamz aren’t just the life of the party, they’re the last two to leave. … So in the vein of Method Man and Redman, Cheech and Chong, and other mischievous pairings, they bring us the after-afterparty. For their Tiny Desk home session, or Jank session as they put it, they mirror the cover of their new project, Janktape Vol. 1: seated on a couch, red cups and bottles scattered, with the 1990s cult classic cartoon Bebe’s Kids projecting on the wall behind them. From their quarantine quarters in Los Angeles, they trade melodic bars and hooks from Janktape, with a little help from socially distanced Brody Brown on bass and keys.

I was surprised to see that this set was only 11 minutes long. The songs flow together pretty seamlessly.  Their rapping and singing is chill  and they are clearly enjoying themselves.  I enjoyed some of the lyrics

“She Think” has this fun intro

She saw me on TV and she think she falling in love
she smoke up all my weed and she think she falling in love

Kent says this is by Axel Foley who I know is an Eddie Murphy character, so is that the name of a rapper or are they just messing?

“For The Ladies” has a cool retro dance sound.  I wonder if the songs are more than just a loop when properly played without just Brody Brown (appropriately masked) playing everything.  Obviously this song is for the ladies.  This verse made me smile

one time for the groupies
two times for the hoochies
hop in the Jacuzzi
this is gonna be a doozy

Pretty much the entire lyric of “Inconsistent” is “she says I’m inconsistent.”  But “Terrified” has a bouncy melody.  I guess like an after party, this is nice to hear but easily forgotten.

[READ: May 20, 2020] Five Years #7

There’s not much left in this story, so how can Terry Moore spend an entire issue where nothing (really) happens?

Because this issue is wonderful.

There’s some great art, an amazing flashback and a fascinating action sequence.

Katchoo flies to Russia and in the voice over she says she’s never been there before (which is surprising) and doesn’t know the language.

Tambi got her a room so she doesn’t have to worry about that.  It’s no Marriott, thats’ for sure. (more…)

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SOUNDTRACK: SYLVAN ESSO-Tiny Desk (home) Concert #24 (May 21, 2020).

Is it possible to make dance music while sitting on a couch?  Is it possible also to dance to that music while sitting on a couch?

These pressing questions are answered in this Tiny Desk Home Concert

Sylvan Esso, the Durham, N.C., couple of Amelia Meath and Nick Sanborn gives us three songs from their home couch using modular synths, a rhythm machine and Amelia’s heartfelt vocals.

Sanborn sits in front of box with all kind of wires patched into it. It’s an unholy mess and he manages to make the melody by pushing the buttons between those wires.

Meath sits in front of another box and supplies most of the beats. It’s neat watching her sing verses and then push a button as the drums enter or leave “Die Young,” a fun dancey song.  She answers one of the above questions in the middle of this song which has a “dance break” as Meath waves her arms and gently bounces on the couch.

“Rewind” is a slower song.  Sanborn walks off camera while Meath starts the simple drum rhythm.  I assume he’s playing a synth, although midway he picks up a guitar (how frustrating that he’s off camera–c’mon Esso!).

In keeping with Tiny Desk tradition, bands I actually like–like this one–do a set that is less than 15 minutes, while artists I’ve never heard of or don’t especially like ramble on for over 20.

So they have only one more song.  But before playing it, they plug their new release

This home concert stands in sharp contrast to Sylvan Esso’s remarkable new film, WITH, which features a host of their dear friends reshaping and reimagining their brilliant catalog of songs during the duo’s 2019 tour. Add that to your list of things to do while sitting on your couch, hopefully with someone you like.

After some technical troubles (the sound is totally wrong), they start “Radio” a very familiar dance song.  There’s more couch dancing and even some dancing from Sanborn as his finger move all over that cluttered machine.

[READ: May 20, 2020] Five Years #6

This issue makes everything seem like things are going according to plan, there’s even a lot of levity.

We see Rachel in Russia. The morgue attendant, Yana, has brought her home.  They speak Russian, although Rachel’s Russian “sounds ancient, like something she only heard at university once or twice.”  Yana wonders why she is not dead.

Rachel doesn’t die.

Then some short scenes: (more…)

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SOUNDTRACK: RAUL MIDÓN-Tiny Desk (Home) Concert #23 (May 16, 2020).

Raul Midón performed a Tiny Desk Concert back in 2018.  He was solo then (the blurb says he usually has a band with him) and he’s solo here now.  So there’s not a lot of difference between the two.

Except that in this home concert he plays five new songs.

It kicks off with two tracks from The Mirror, an album released just as we entered our quarantine period in mid-March: “I Love The Afternoon” and “I Really Want To See You Again,” a song that poetically captures the joy of friendship.

For both of these songs, Midón plays a very percussive guitar.  Whether it’s actually slapping the guitar like a drum to open the first song or the way he practically has the strings slap back against the guitar as he plays his complicated melody, there’s all kinds of rhythm going on.

He also has a light, fast, handpicking style.  And in “I Love the Afternoon” he adds a trumpet solo just with his mouth.

Midón’s jazz-influenced vocal phrasing throughout comes to the fore with just his acoustic guitar as accompaniment, illustrating once again why he’s normally one of the bright spots on our musical landscape and even more so at this moment.

Introducing “A Certain Café” he says Boris Karloff played bass.  Then he stops himself and laughs, Boris Kozlov–that’s from too much old-time radio.  It’s a slower, pretty song with a much gentler playing style.

He says that “Disguise” has fluegelhorn on the record but he’ll replace it here with his vocal fluegel, which is pretty cool.

“You’re The One” ends the set with a beautiful guitar introduction.  I was disappointed to hear that he raps the verses because the chorus is really catchy.

[READ: May 20, 2020] Five Years #5

This issue has two components.

In the first, Zoe is taken to see “Rachel’s” body. She fantasizes about killing Vlad in two spectacularly violent ways.  Zoe obviously realizes the body is not Rachel and the morgue attendant signals her in someway–although I can’t decipher it.

As they leave, Vlad offers Zoe a job since she has so much talent and potential.

Then we see Tambi parachute out of the sky with someone (is that Kathchoo?  It’s hard to tell). (more…)

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SOUNDTRACK: ASHLEY McBRYDE-Tiny Desk (Home) Concert #21 (May 14, 2020).

Ashley McBryde is the latest country singer who I enjoyed very much until she started singing.

Ashley is charming and funny.  She tells us that she and her band mates self-quarantined and then washed their hands in front of each other for 20 seconds.  And she is so happy they did because she had taken it for granted hearing other people sing with her.

She even drew her own little Tiny Desk sign (she googled it) because she was supposed to be behind the Desk but was denied.

We were scheduled to host a Tiny Desk performance by Arkansas-born country singer Ashley McBryde on March 31. Obviously, we had to postpone McBryde’s visit.

McBryde sang four songs (which I assume is one more than she would have gotten at an actual Tiny Desk).  All four songs are country songs.  Which means they are catchy and have (mostly) interesting lyrics, but that Arkansas twang is just too much for me.

The first song,

“Hang In There Girl” which opens both the album and this set — is a perfect song for this moment, not that there’s ever a wrong time to hear someone sing, “Trust me when I say, you’re doing fine.”

Matt Helmkamp plays a solo, so I guess it is nice to have three guitars.  Chris Harris sings nice backing vocals.

Before the next song she says that they are playing live and she even made a setlist.  But that she misspelled “One Night Standards” as “Standars”  NPR called it “one of our Best Songs Of 2019.”

For “Velvet Red” Harris switches to mandolin and has to tune all eight strings–“it was in tune when he bought it” and they play the bluegrass- (and wine-) inspired love story featuring “basically all of the rule-breaking.”

McBryde is sporting a “Wash Hands Please” T-shirt, and encourages everyone to follow CDC guidelines before ending the set with “Sparrow.”

She’s very funny and I’d enjoy watching her banter between songs.  If she is going to have a proper Tiny Desk soon, what songs will she play if she played all of these already?

[READ: May 16, 2020] Five Years #4

This book’s voice over is by Kachoo.  In addition to getting everyone up to speed about the Phi bomb, she has been sitting on the beach for hours.

Francine doesn’t like it.  She knows what a visit from Tambi means (I haven’t seen Francine this angry in a while–I didn’t like it).

Francine is distracted so the girls get to take advantage of it: “can we have ice cream [for breakfast]?” “Mm Hmm.”  The scenes with the girls are the only levity in this dark issue. (more…)

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SOUNDTRACK: JESCA HOOP-Tiny Desk Concert #965 (April 3, 2020).

I really liked the Tiny Desk Concert that features Sam Beam and Jesca Hoop.  So much so that I bought the CD and it made me want to see both of them live.

Jesca Hoop last appeared at the Tiny Desk as a duet with Sam Beam (Iron & Wine) in the spring of 2016. They sang songs from their collaborative record Love Letters For Fire.

This time it is just Jesca and I have realized that I liked her more as an accompanist rather than a lead singer.  Actually, that’s not exactly right.  Her voice is lovely.  I just find the songs a little meandering.

This time around, Jesca Hoop came to the Tiny Desk with just her guitars, her lovely voice, and brilliant poetic songs. She has a magical way with words, and she opened her set with “Pegasi,” a beautiful song about the wild ride that is love, from her 2017 album Memories Are Now.

“Pegasi” is nice to watch her play the fairly complex guitar melodies–she uses all of the neck.  The utterly amazing thing about “Pegasi” though comes at the end of the song when she sings an amazing note (high and long) that represents a dying star.

She wanted to sing it today so it could live on Tiny Desk.

The two songs that follow are from her latest album, Stonechild, the album that captured my heart in 2019, and the reason I reached out to invite her to perform at my desk.

“All Time Low” is a song, she says, for the “existential underdog.”  She switches guitars (to an electric) and once again, most of the melody takes place on the high notes of the guitar.  Her melodies are fascinating.  And the lyrics are interesting too:

“Michael on the outside, always looking in
A dog in the fight but his dog never wins
If he works that much harder, his ship might come in
He gives it the old heave-ho.”

After the song, she says, I’m going to tune my guitar, but I’m not going to talk so it doesn’t take as long. If you were at my show, I’d be talking the whole time and it would take a long time.

And for her final tune, she plays “Shoulder Charge.” It’s a song that features a word that Jesca stumbled upon online: “sonder,” which you won’t find in the dictionary. She tells the NPR crowd “sonder” is the realization “that every person that you come across is living a life as rich and complex as your own.” And that realization takes you out of the center of things, something that is at the heart of “Shoulder Charge” and quite a potent moment in this deeply reflective and personal Tiny Desk concert.

This word, sonder, came to my attention back in 2016 when Kishi Bashi first discovered it and named his album Sonderlust for it.

The song is like the others, slow and quite with a pretty melody that doesn’t really go anywhere.

I found that after three listens, I started to enjoy the songs more, so maybe she just writes songs that you need to hear a few times to really appreciate.

[READ: March 2020] Ducks, Newburyport

I heard about this book because the folks on the David Foster Wallace newsgroup were discussing it.  I knew nothing about it but when I read someone describe the book like this:

1 Woman’s internal monologue.  8 Sentences. 1040 pages

I was instantly intrigued.

Then my friend Daryl said that he was really enjoying it, so I knew I had to check it out.

That one line  is technically (almost) accurate but not really accurate.

The story (well, 95% of it) is told through one woman’s stream of consciousness interior monologue.  She is a mother living in Ohio.  She has four children and she is overwhelmed by them.  Actually she is overwhelmed by a lot and she can’t stop thinking about these things.

She used to teach at a small college but felt that the job was terrible and that she was not cut out for it.  So now she bakes at home and sells her goods locally.  She specializes in tarte tatin.  This is why she spends so much time with her thoughts–she works alone at home.  Her husband travels for work.  Whether she is actually making money for the family is a valid but moot question.

So for most of the book not much happens, exactly.  We just see her mind as she thinks of all the things going on around her.  I assume she’s reading the internet (news items come and go in a flash).  She is quite funny in her assessment of the world (how much she hates trump).  While I was reading this and more and more stupid things happened in the real world, I couldn’t help but imagine her reaction to them).  She’s not a total liberal (she didn’t trust Hillary), but she is no conservative either (having lived in Massachusetts and New York).  In fact, she feels she does not fit in locally at all. (more…)

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