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Archive for the ‘Bartees Strange’ Category

SOUNDTRACKBARTEES STRANGE-Tiny Desk (Home) Concert #172 (February 22, 2021). 

WXPN has been playing the song “Boomer” a lot.  I really like it–it’s super catchy and fun.  I hadn’t heard anything else by him, so I was delighted to see he had a Tiny Desk Concert.

Bartees Strange and his band are in a basement, surrounded by electrical wiring and DIY sound-proofing, but also green plants that no doubt have names. In Falls Church, Va., the indie rocker is a stone’s throw from the much-missed Tiny Desk space in D.C., yet offers a set just as cozy and crammed.

And he starts it right off with “Boomer” which is just so catchy, with that slinky bass line from John Daise and that outrageously catchy chorus.  Dan Kleederman plays the guitar leads throughout while keyboardist Graham Richman plays rhythm.

The rest of his set proves that musically he is open to anything:

hip-hop bombast meets sprawling indie-rock riffs and mind-numbing electronic beats. “Sonically it doesn’t make sense,” Bartees Strange told NPR Music, “but it makes sense because it’s me and I think that’s like an important part of music – the person.”

For “Mustang” Richman hands Bartees his guitar and plays keyboard instead.  He says that Mustang is about where he grew up–Mustang, Oklahoma.  This time Bartees plays the pretty guitar riffs and Kleeederman adds slide guitar.

For his Tiny Desk, Bartees Strange keeps the bluesy rock and roll bravado of “Boomer” and the loping smooveness of “Mustang,” stripping down the drum kit to include a sheet music stand as an extra cymbal.

He answers the question of what has inspired him this year by saying he has been trying not not to pay too much attention to the transition, so he’s been focusing on music.  He loves Yves Tumor’s Heaven for a Tortured Mind. And Aaron Dessner for being the Indie rock Michael Jordan.

It’s in the back half where Bartees Strange does the switch-up, as “In A Cab” flows seamlessly into “Flagey God.” On record, these are louder and noisier songs that explore very different sides of his 20-sided die, but here, they become laid-back jazz club jams, deceptive in their ease, but beautifully ornate as the arrangements open up to his world.

“In A Cab” opens with a quiet but cool drum pattern from Carter Zumtobel and a sweet combination of guitar lines.  It segues quietly into “Flagey God” a more mellow song that has a great catchy guitar riff.

I’m going to have to check out the whole album.

[READ: April 15, 2021] Under the Pendulum Sun

I’m not sure how I heard about this book, but I saw a rave review and it inspired me to actually buy the book, sight unseen.  I didn’t realize the book was put out by Angry Robot, a publisher I have been recently introduced to and which publishes esoteric and unusual fiction, that seems to have a religious aspect.

So this fit right in.

This is a long book and it is written in an old style–slightly formal with lots of biblical components.  The writing at times felt stiff, but not unreadable.  And, this is the weirdest part, I simultaneously felt like the book was moving too slow and yet I felt like I was flying through the chapters.

Each chapter opens with an epigram.  Most of them are fictitious but there are some from real authors and these may or may not be real quotes.

The book opens with Catherine Helstone talking about how she and her brother Laon (how in the heck do you say that?  It plagued me for the whole book) grew up fantasizing about new worlds.  But neither one of the ever fantasized about Arcadia, the land of the Fae.

Now that they are older, her brother has left for Arcadia to become a Christian missionary–to convert the souls of the Fae–if they can even be converted.  Several years later, Catherine has now set off to find him.  She has a ship and his compass in hand. But the key to reaching Arcadia is to get hopelessly lost and then the entrance will appear.

Neat. (more…)

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