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Archive for the ‘Mind control’ Category

SOUNDTRACK: ART D’ECCO-“That’s Entertainment” (2021).

I saw Art D’ecco open a show a few years ago and I’ve become mildly obsessed with hi.  I’m delighted to see that he’s getting some promotion and success.

His new album In Standard Definition is a great synth pop retro dance infusion.  But in addition to that he has released two standalone covers.

This one, a cover of The Jam’s “That’s Entertainment” was a little concerning for me.  This song is one of my all time favorite songs and I’m always nervous when a song like this gets covered.

But Art D’ecco does a great job.  There’s acoustic guitars, a grooving bass line, cool harmony vocals and, best of all, he keeps the way the chorus offers the short “That’s” and the stretched out “en ter tain ment.”  He even does the falsetto note (of course).

But what’s most enlightening about is cover is D’ecco’s voice. He seems to be stretching out of his comfort zone a little and it really shows off how good a singer her really is.

[READ: April 21, 2021] Last Human

I’m not sure what got me on my recent Red Dwarf reading kick (finding out that they had just released a new series was certainly a spark).  I was sure I had read all of these books before and yet none of them were familiar to me at all.

The Grant Naylor team wrote two books and the second one ended on a cliffhanger.

Then for reasons I’m not willing to dig into, both Rob Grant and Doug Naylor each wrote a sequel to that book.  But neither book is like the other and they both go in very different directions.  Naylor’s book was really dark and very violent.  Grant’s was also dark and very violent, but in very different ways.

The previous book ended with an old Lister being sent to a planet where everything goes backwards so that he can de-age to about the same age he was when he was on the series.  They plan to meet him 36 years later at Niagara Falls.

In this book Naylor has the crew place Kochanski’s ashes on the planet Kochanski so she came back to life and she and Lister were able to live their lives backwards together for some thirty years.

But this book opens much further back–to the birth of the first humanoid. (more…)

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SOUNDTRACK: RHEOSTATICS-Jackson Triggs, St.Catharines, ON (August 12, 2017).

I have been catching up on the last few remaining recent (relatively) shows that the Rheostatics played.  These are all shows since the release of Here Comes the Wolves.

Great soundboard show from the beautiful Jackson Triggs Winery stage with Kevin Hearn on Keys/vocals and Hugh Marsh on violin. Very chatty show with one of the longest stretches of banter I can recall at over 8 minutes of straight comedy.

The show begins with the spoken introduction from Group of 7 “A tall white pine stands between me and the tree I’m trying to see … also a tall white pine.”  Then Martin starts a gentle “Northern Wish.”  It’s followed by “Legal Age Life” which has a wild keyboard solo.  Kevin continues to shine on a lengthy intro for Dave Clark’s fun new song “Supecontroller.”  It’s kind of a dopey song but it’s one of my favorites.

Kevin says to the audience, Say hello to Dave Clark.”  Dave says Jackson Triggs has treated us fine and gave us all kinds of good food.  (and plenty of wine).

A delicate “Music is the Message with lots of violin including a solo.  Kevin introduces Tim and Dave tells a joke about the difference between a piece of cheese and a piece of string that I don’t get (something about crickets).  And then someone talks about playing and there were crickets after every song–it was pretty rough.
After a boppy “Easy to Be with You,” Kevin plays keys like at an ice skating rink as a segue into a soaring “Stolen Car” with a lengthy solo form Martin and Hugh.
They thank the opening band  Common Deer and say that High and Kevin will be with them all summer long: Hugh Marsh Kevin Hearn Summer Experience.  Tickets: $5.99 at your local fairground.
They mention CDs and Martin in great, funny form says, we’ve lived through many formats.  The wax cylinder the vinyl disc, the compact disc (Tim: “they said they’d never skip but all mine skip now”). Martin: they skip in the most painful, digital…  the universe conspired to make it more annoying than previously existed.  When a vinyl skipped you’d go hmm, weird did they write that like that?  When a CD skips deh deh deh deh deh–a drill to the center of the mind.  Unless you’re a Squarepusher.  Hugh had many intentional skips on his recording–the king of the skip.
Don’t bug Hugh.  Hugh has no way to defend himself except for his instrument.  Sure he does, he’s the best looking dude in the band.  And he’s like 73.
DB says, from 2067 it’s “PIN.”  I really got my FM radio voce on tonight huh?
Dave you’ve always had a voice that is delightful on the radio as when you hosted Brave New Waves in the early sixties?
DB says Dave Clark influenced my life so much when he said “Do you want to be someone playing the bands on the radio or do you want to be the band?”
Martin: That’s very good advice Dave Clark and also demeaning to people who promote  our music and celebrate it.  My opinion of you has changed.  You told that story and now I hate you.  Dave Clark does not have that fulsome overtone.  DC: But Ii have a better personality.  My teeth would have been straight by now.  How does the teeth work into that? CBC benefits! CBC teeth.
That could have been you on Corner Gas.
Dave Clark says he has a show to pitch to the CBC.
Kevin: I have an idea for this show–play the next song.
Kevin plays in Barenaked Ladies and they talk a lot. Kevin was so excited to play with us here as a band who doesn’t go on talking about nonsensical things.
Kevin: You’re even worse.  Dave B: “way worse.”
Martin: Kevin before BNL you were in a band called The Look People   “5 is the number that makes me want to boogie.”
After “PIN,” there’s some scratching sounds and a Mr. Rogers intro into Michael Jackson.   Nice harmonies at the end.
Soaring keys swell for the intro to “California Dreamline.”  Martin gets a little wild singing in the dolphins part.  Keyboard washes segue into “Claire.”
Big shout to those who came down form St. Catharine’s a city that supports the arts.  When I think of Niagara Falls. i think of Dale Morningstar and his shenanigans.  Ron Sexmith
Can I tell you one of Ron Sexsmith’s original jokes?  Hey, did I just sit in maple syrup?  You bet your sweet ass you did.
Kevin: By the way I was told we’re good for time as long as we don’t do any more fifteen minute intros.  Man they run a tight ship around her.
DB to an audience member: Want to come up and model our new shirt?  No I’m not going to sign it now, I’m working.  It says nothing on the back.  You can write your own inspirational phrase on the back.
Kevin: Are you finished?
DB: Yes but I was selling merch it’s important.
MT: This is from Saskatchewan the Musical (that’s bound to be next).  Martin sings:
I don’t know what I’m doing here
I feel so different from everyone else in this town
Saskatchewan.”
Coming in the fall of 2025.
Then martin gets serious, and sings the song properly but sings the end in a slurry drunken way.
Then introduces: “This is Queer: The Musical.”
A jam in the meddle where Kevin plays nearly two minutes of keyboard fills before they jump to the bouncing ending.  It’s followed by a lively “Dope Fiends featuring a lengthy drum solo.
At the end as they sing “dark side of the moooooon,” Tim starts playing Pink Floyd’s “Money.”
After an encore break, Kevin comes out and starts playing pretty chords.  “Shaved Head” sounds very different with gentle keys.
It’s a great summer set and a very fun show.

[READ: April 21, 2021] Backwards

I’m not sure what got me on my recent Red Dwarf reading kick (finding out that they had just released a new series on DVD was certainly a spark).  I was sure I had read all of these books before and yet none of them were familiar to me at all.

The Grant Naylor team wrote two books and the second one ended on a cliffhanger.

Then for reasons I’m not willing to look into, both Rob Grant and Doug Naylor each wrote a sequel to that book.  But neither book is like the other and they both go in very different directions.  Naylor’s book was really dark and very violent.

Grant’s book is also dark but in very different ways.

The previous book ended with an old Lister being sent to a planet where everything goes backwards so that he can de-age to about the same age he was when he was on the series.  They plan to meet him 36 years later at Niagara Falls.

But this book opens with a prologue about Arnold Rimmer aged 7 and how he continues to fail in school.  His teachers suggest he be held back, but his mother interferes and that lets him move on.

Then the book starts properly with the crew of Red Dwarf: Rimmer, Cat and Kryten landing on Reverse World and trying to locate Lister.  Because everything goes in reverse (which takes some time to wrap your head around) all of your actions are predetermined.  And, essentially, if you do something dangerous, you know that if you’re not already hurt, you won’t get hurt because you would be hurt to start with.  What?  You’ve already jumped off the cliff, now, you’re doing it backwards.  But you already landed, so you’d already be hurt and going backwards would un-hurt you.

It also means that you un-eat food, good to sleep when you are refreshed, wake up when you’re tired.  And you don’t even want to think about going to the bathroom. (more…)

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SOUNDTRACK: CLIPPING-Tiny Desk (Home) Concert Meets SXSW: #190 (April 5, 2021).

Every year, NPR Music participates in the SXSW music festival, whether it’s curating a stage or simply attending hundreds of shows at the annual event in Austin, Texas. Last year, the festival was canceled due to the pandemic, but it returned this March as an online festival. We programmed a ‘stage’ of Tiny Desk (home) concerts and presented them on the final day of the festival. Now, we present to you Tiny Desk Meets SXSW: four videos filmed in various locations, all of them full of surprises.

clipping. is an intense band.  I had the pleasure of seeing them live opening for the Flaming Lips.  I was hoping to see them again before the pandemic hit.  This Tiny Desk doesn’t in any way replicate a live show because they play a little visual trick on the viewer–and they keep it up for the whole set.

Leave it to clipping. to innovate around the central notion of the Tiny Desk; to take the series’ emphasis on close-up intimacy and transport it to new heights of, well, tininess.

clipping is a dark, violent band

Producers William Hutson and Jonathan Snipes craft a bed of hip-hop, industrial music and noisy experimentalism, then set loose rapper Daveed Diggs, whose violent imagery summons ’90s horrorcore and a thousand bloody movies. The band’s last two album titles — There Existed an Addiction to Blood and Visions of Bodies Being Burned — offer up a sense of the vibe, but Diggs’ gift for rapid-fire wordplay also acts as a leavening agent.

That’s right, Daveed Diggs.

The guy won a Tony Award for playing Thomas Jefferson and the Marquis de Lafayette in Hamilton, and he still knows how to sell every word that leaves his lips.

So it’s especially amusing to see them have a lot of fun with the Tiny Desk (Home) Concert.  The video opens with a few scenes of tables and gear.  But when the show starts, Daveed Diggs picks up a microphone that’s about the size of a toothpick and starts rapping into it.

  And when William Hutson and Jonathan Snipes come in they are playing laptops and other gear that’s barely an inch in length. I have to assume that this stuff doesn’t actually work and yet they are taking their job very seriously–touching and sliding and tapping and looping on these preposterous toys.

“Something Underneath” starts quietly and then Diggs shows off some of is incredibly fast rapping skills.  Then the guy on the right (I’m not sure who is who) comes into the cameras and starts messing with his tiny gear.  After about 2 minutes the guy on the left comes in and starts making all kinds of distorted beats.  It starts getting louder and louder and louder until the noise fades out and its just Diggs’ voice looping “morning” as he moves the camera and he starts the slower track

The only movement in the video is Diggs moving his camera around to different angles for each song.

“Bout That” is fairly quite until a few minutes in when the song launches off.

Diggs shifts his camera and is finally fully on screen before they start the creepy “Check the Lock.”  It’s got clanking and scratching and pulsing noises for the line

something in this room didn’t used to be / he ain’t ever scared tough / but he check the lock every time we walks by the door.

Midway through the guy on the left starts cranking a tiny music box and he plays it through the next two songs.

It segues into “Shooter” [is there a name for this style of rapping–each line has a pause and a punchline–I really like it].

The music box continues into “The Show” which starts to build louder and louder, getting more an more chaotic.  It fades and builds noisier and chaotic once more until it reduces to a simple beat.  And the guy on the right drinks from his can of BEER.

Noisy squealing introduces “Nothing Is Safe.”  Daveed is pretty intense as he raps “death comes for everyone” pause and then full on sound as he resumes.

clipping is not for everyone–certainly not for people who want to see the guy from Hamilton (he was doing clipping before Hamilton, by the way).  But it creates an intense mood.

The blurb says that Chukwudi Hodge plays drums, but I didn’t see or hear any so i assume that’s a mistake.

[READ: April 21, 2021] Better Than Life

I don’t recall when I started watching Red Dwarf–some time in the 90s, I suspect.  I don’t even know of the show was ever very poplar here in the States, so it’s kind of a surprise that these two Red Dwarf novels even had a U.S. release.  But they did. And I bought them sometime when they came out.

So Grant Naylor is the cleverly combined names of Rob Grant and Doug Naylor–back when they were working together (I’m not sure why one of them left).   They penned two Red Dwarf books together, then they each wrote a Red Dwarf book separately.

This second book picks up from where the events of the previous book cliffhangered us.  There is a TV episode called “Better Than Life” and this book is kind of an super- mega-hyper-expanded version of that episode.  Except that the things that happened in the episode don’t even really happen in the book, either.

The basics of the episode are that Better Than Life is a video game that allows your deepest subconscious fantasies to come true.  And since everything is your fantasy, this game is indeed Better Than Life.  It’s easy to leave the game.  All you have to do is want to.  But who would want to leave a game when everything in it is better than what you’d be leaving it for?

As such, your body stars to wither and decay because you don’t eat, you don’t move, you just exist.  It’s a deadly game.

Rimmer’s fantasy at the end of the first book was that he had married a supermodel–a gorgeous babe whom every man wanted.  Except that she wouldn’t let him touch her for insurance reasons.  Rimmer has a problem or thirty with his self image.  But he was still super wealthy and women everywhere adored him. However as this book opens, he has divorced his babe and married a boring woman who also doesn’t want to have sex with him.  As thing move along, he loses his fortune and, ultimately his hologrammatic body.  He becomes just a voice.  Through a serious of hilarious mistakes, he winds up in the body of a woman.

One of the nice aspects of this book is that Grant Naylor have Rimmer see what a douchey sexist man he’s been all this time–believing all women were either his mother or a sex bomb.

The Cat’s scenario is pretty much all libido–Valkyrie warriors serving him and he gets to do pretty much whatever he wants–his clock doesn’t have times, it has activities: nap, sex, eat, nap, sleep, etc.

The one difference is that Kryten is there with him.  Kryten’s deepest fantasy is leaning, and so he keeps finding new things to clean in Cat’s world.

There’s another wonderful bit of anti-religion in this book (there’s always some anti-religion aspect in these stories).  In this one they talk about Silicon Heaven.

The best way to keep the robots subdued was to give them religion. … almost everything with a hint of artificial intelligence was programmed to believe that Silicon Heaven was he electronic afterlife….

If machines served their human masters with diligence and dedication, they would attain everlasting life in mechanical paradise when their components finally ran down.

At last they had solace. They were every bit as exploited as they’d always been, but now they believed there was some kind of justice at the end of it.

Lister’s fantasy is the same as it was before.  He’s living in the city from It’s a Wonderful Life and he’s married to Kristine Kochanski and he has two boys.  As the book opens there’s  a wonderfully touching moment with his family and his kids.

But it is abruptly demolished when a woman driving a tractor trailer crashes the truck in to Bedford Falls.  Literally all of Bedford Falls–every building is demolished or caught on fire.  There’s virtually nothing left.  And when the woman gets out of the truck dressed as  a prostitute and claims to know Lister, well, Kristine takes their boys and leaves him.  He has nothing.

It should come as no surprise that the woman is actually Rimmer.

What about Holly, the ship’s computer with an IQ of 6,000?  Can’t he save them?  Well, no.  He can’t get into the game, plus, he’s going a little crazy from being alone for so long.  So crazy in fact that he decides to start talking to Talkie Toaster, a gag gift that Lister bought for $19.99.

The sequence with the toaster is hilarious on the show (it only wants to talk about bready products!) and it translates perfectly to the book as well.  Essentially, Talkie Toaster encourages Holy to increase his IQ (which has been slowly leaking away) at the risk of shortening his life span.  Unfortunately, things go a little awry and Holly’s IQ eclipses 12,000. But his run time is cut to a number if minutes.

So he need to turn everything off if he wants to stay alive. (more…)

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SOUNDTRACK: VOIVOD-Lost Society (2020).

Voivod have been around for over 30 years.  In that time, they’ve releases only four lives albums.  The first one was from the period when their original and current singer had departed, so that doesn’t really count.  In 2011 they released Warriors of Ice, a live album that featured the reunited original lineup minus deceased guitarist Piggy.  The third was a limited release from the 2011 Roadburn Festival.

Thus, we have this new release to acknowledge the excellence of their 2018 album The Wake.  This show was recorded at Quebec City Summer Fest on July 13, 2019.  I saw them on this tour on April 5, 2019.  The setlist was largely the same, although they played more in their hometown (and I would have loved to see “Astronomy Domine”).

Being in front of a hometown crowd has the band fully energized.  It also allows Snake to speak French to the audience, which is fun.

Most of Voivod’s music is really complicated and difficult (the chords that Piggy and now Chewy came up with are pretty hard to imagine).  And yet they play everything perfectly.  There’s not a lot of room for jamming when the songs are this tight and complex, but it’s clear the band are enjoying themselves anyway.

Since this is touring their new album, the majority of songs (4) are from it with two more songs from their 2016 EP Post Society.  The rest of the set is pretty much a song from each of the albums prior to 1993 (excluding the album with the best name: Rrröööaaarrr).

They interfile the new songs with the older ones, and it feels really seamless.  This shows how much of a student of Piggy new guitarist Chewy turned out to be.

The few times that Snake speaks in English, he says that Angel Rat’s “The Prow” is “time to dance time to party have fun” something one wouldn’t expect to do at a Voivod show, but compared to their other songs, it is pretty dancey.

My favorite Voivod album (aside from The Wake, which is really outstanding) is Nothingface, so I was really excited to hear “Into My Hypercube” and to hear that Rocky’s bass sounded just right.

Their older stuff is a little less complex and proggy so a song like 1987’s “Overreaction” is a bit heavier and straight ahead.

One of the more entertaining moments is during the opening of “The Lost Machine” where Snake stands between Chewy and Rocky and waves his arms to strum the chords first guitar, then bass, then guitar then bass, etc.

It is strange to think that this is only one-half of the classic line up.  In fact, drummer Away is the only person to have never left the band.  I assumed that when Piggy died, there was no point in continuing, but these replacements were really great.

And, Snake makes sure we never forget Piggy.  They end every show with the song that has the same name as the band.  And before they play it, he starts a chant “Piggy! Piggy!”  In this live recording, you can hear the audience screaming along to “voivod,” a nonsensical word that remains strong thirty-five years on.

The setlist for the album is at the bottom of the post.  I sure hope they tour around here again someday.

[READ: April 20, 2021] Infinity Welcomes Careful Drivers

I don’t recall when I started watching Red Dwarf–some time in the 90s, I suspect.  I don’t even know if the show was ever very poplar here in the States, so it’s kind of a surprise that these two Red Dwarf novels even had a U.S. release.  But they did. And I bought them (and read them, I think, although it’s all new to me 30 years later) sometime when they came out.

So Grant Naylor is the cleverly combined names of Rob Grant and Doug Naylor–back when they were working together (I’m not sure why one of them left).   They penned two Red Dwarf books together, then they each wrote a Red Dwarf book separately.

This first one is basically an expanded version of some of the episodes from the first and second season.

Most of the jokes from the episodes are present here–so it’s easy to picture the characters saying the lines.  But there’s also a ton of new stuff.  Much of it fleshes out things that happened in the show, but still other things are brand new.

The book starts with the death of a Red Dwarf crew member.  He is now a hologram and rather than being excited about being alive, he is horrified to think of all the things his wife will get up to now that he is dead but aware of what is happening.  We also meet another man who is about to die–this time by suicide.  He is in debt for a lot of money and decided it was better than being beaten to death by the men he owed money to.

Turns out, this man outranked the first man and since the Red Dwarf mining ship could only support one hologram, this man was brought back at the expense of the first one.  A lot of ground is covered in these first two chapters and we haven’t even met any of the main characters of the show yet.

Dave Lister comes along in Chapter 3.  For those unfamiliar with the show, Dave Lister is the main character and also the last human being alive.  In the show he is three million years into deep space.  But he had been in stasis so he is only 27 when he is brought out and told the news that everyone is dead.

But as the book starts, Lister is miserable on a planet Mimas.  He got really drunk at his birthday party in Liverpool and, by the end of the night, he was on a planet very far from home with no money to get back. (more…)

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SOUNDTRACK: CONTROL TOP-Control Top (2019).

Control Top is an intense punk/new wave band from Philly.  They are a must-see live.  Ali Carter is a dynamic front person.  Al Creedon’s guitar is a blast to see live and Alex Lichtenauer’s drums are even better when you can feel them.

This is their debut album.  A couple of songs run over 3 minutes, but most are in the two and a half minute range (the album is ten songs in 29 minutes).  While the music is mostly hardcore-ish, they have a very cool early new wave sound–robotic and precise.  There’s angular rhythms and interesting juxtapositions all underneath carter’s (mostly) screamed vocals.

“Type A” sets the mold with screamed vocals, interesting lead riffs and heavy chords.  Creedon makes all kinds of interesting walls of noise which never detract from the melody of the song itself.  “Office Rage” has thundering drums and a cool change of guitar sounds midway through the song.  not to mention when Carter sings “service with a smile,” the band pauses and she shouts “eat shit.”  How they manage to squeeze a guitar solo into this 3 minute song is beyond me.

“Chain Reaction” has jagged guitar chords and a robotic vocal delivery.  I love the way Carter’s bass holds down the melody while the guitar is just playing a wall of noise.  “Unapologetic” runs to almost four minutes with two distinct parts, the main verses that have distorted harmonic guitar notes and Carter’s staccato delivery and the piercing high notes of the “who’s” the bull in the China shop now?” part.

“Straight Jacket” is less abrasive than the other songs with a more new wave feel and Carter’s vocals more melodic.  “Covert Contracts” plays a lot with empty space–there’s moments with just bass and moments with just drums but the loud guitars are never far away, ready to fill in with squalls just when the song seem like they might be getting too quiet.

“Betrayed” returns to the angry style of the earlier songs–harsh guitars and appropriately angry vocals.  “Ego Deaf” has a few pummeling drum rolls in just over two minutes with a bass and drum-only portion before the ringing solo comes in.  “Traffic” is only 90 seconds long and it soars with harsh notes and angry vocals. Amazingly, it even has time for a slower middle section and a pause before the speed resumes.

“Prism” is a terrific new wave song.  The verses start with just bass and drums and vocals.  The chorus is crazy catchy, yes catchy.  Although the noisy guitar squalls after the chorus keep it from being too poppy.  The disc ends with “Black Hole” which shows off more of those drum fills and that rumbling bass.

This album is a cathartic blast and when the 30 minutes are over, you’ll want to start it again.

[READ: November 10, 2020] Mind of My Mind

I recently read (and loved) an excerpt from one of Octavia Butler’s stories.  So when this book came across my desk (perhaps all of her books are getting reissued in trade paperback?) I immediately decided it was time to start reading her books.

Obviously one wants to read a series in order.  But this was the book I so I hoped I could start here.  I had seen there was a prequel to this book, but that it was written after this one.  Just to make things more confusing, none of the books in the Patternist series were written in chronological story order.  Here is the story timeline (and when they were written).

1 Wild Seed (1980)
2 Mind of My Mind (1977)
3 Clay’s Ark (1984)
4 Survivor (1978)
5 Patternmaster (1976)

So this is the second book written and the second book chronologically.

At any rate, I didn’t need the other books to appreciate or understand this one.

The premise is fairly simple, but the execution is outstanding. (more…)

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