Feeds:
Posts
Comments

Archive for the ‘Billie Eilish’ Category

SOUNDTRACK: BORIS with MERZBOW-Gensho (Disc One: Boris) (2016).

In 2016, Boris teamed with Merzbow to create Gensho, a 2 CD package that was designed to have both CDs played at the same time.  Not the easiest thing for many people, but with the advent of digital recordings it’s now pretty easy to play both discs at the same time (this release is on Spotify).

Disc 1 was all Boris.  Disc 2 was all Merzbow.

When you play them together, you get the drumless Boris with all of the glitching electronica of Merzbow sprinkled around it.  The songs are set up in a very clever way with one of Merzbow’s songs being exactly equal to two or three of the Boris songs.

I played the CD of Boris and the stream of Merzbow on Spotify.  It was cool to be able to raise and lower the volunme of one to change the intensity of Merzbow’s glitches.

Merzbow’s “Planet of the Cows” plays over the first two Boris songs “Farewell” and “Huge.”  Farewell’s quiet drone tacks on Merzbow’s squeals and glitches which fill in the gaps quite nicely.  When “Farewell” ends, the Merzbow continues until the loud gongs heavy chords of “Huge” ring out.  The Merzbow chaos sounds almost like a solo over the slow low heavy drone chords.  Atsuo’s low growling even complements the spare noises.  Both parts ends with squealing feedbacking sounds–analog from Boris and digital from Merzbow.

Merzbow’s “Goloka Pt. 1” plays over three Boris songs “Resonance” “Rainbow” and “Sometimes” (the My Bloody Valentine cover).  “Resonance” is mostly percussion–kind of randomly hit in a slow rhythm.  Merzbow’s noises sound like static in a distance echoing signal from outer space.  “Rainbow” is a piece I don’t know.  This version features Boris playing some quiet guitar and a grooving bass with Wata singing vocals. Merzbow’s electronics sounds restrained here, adding louder noises when the vocals back out  This song has some tasty soloing from Wata with the electronics almost keeping pace.  It segues into “Sometimes,” with its loud thumping echoes and eventual wall of noise.  The vocals are pretty well buried but you can hear the melody of the MBV song.

“Goloka Pt.. 2” plays over “Heavy Rain” and “Akuma No Uta.” “Heavy Rain” starts out with noisy stabs of sound–it’s actually hard to tell who is making what, but then things mellow out as Wata sings.  The guitars drone loudly and the vocals mix in with the electronics.  It ends with the noisy guitar buzzing from Boris while the noises from Merzbow continue between songs–sounds of noise and electronic bleeps.  “Akuma No Uta” starts slowly with washes of guitar build up. The glitching Merzbow adds keeps it from being purely a drone.  The drone gets louder and louder and I like the way Merzbow’s glitches seem to back off as the man riff enters the song.  As it nears the end, glitching sounds to me like a menacing voice coming through the static and heavy riffage.

The final song is Merzbow’ “Prelude to a Broken Arm” which plays over “Akirame Flower” and “Vomitself.”  It starts out with watery sounds before the big chords and vocals kick in.  Merzbow’s noise is like a screaming train underneath the slow crooning.   The main riff from Wata has some electronic percussive sounds tacked onto it.  As the final chord rings out the song segues into the musch noisier “Vomitself.”   It introduces a huge wave of low chords as Merzbow’s noise amps up to correspond with a lot of low growling percussive sounds. As the song rumbles to an end the squealing intensifies like feedback added on top of the roar with the last notes sounding like a person raging.

It’s interesting how I don’t really like the Merzbow tracks, but how they add interesting textures to the Boris songs.

[READ: February 19, 2021] Caliente

Matu Santamaria is an Argentinian illustrator and his work is really stunning.

This book has a big warning: 18+ but it’s not fully explicit.  There are drawing of naked women and sex acts, but there’s only a few things that are NSFW.

Santamaria’s work is full of clean lines and and dramatic colors.  I really enjoy looking at it, regardless of the content.

This book contains a lot of his most recent work.  It seems to be split between positive messages about sexuality, body positivity and appreciation for frontline workers during the Coronavirus.  There’s also some celebrity pictures as well.

After some definitions of the word caliente, the book opens with series of pictures of women exploring the sexuality with each other.  Interracial women kissing and a woman taking her top off with the comment–“and without realizing it, it’s poetry.” (more…)

Read Full Post »


SOUNDTRACK
: BILLIE EILISH-Tiny Desk (Home) Concert #71 (August 26, 2020).

There’s so much to say about this Billie Eilish concert.

The biggest artist in the world has just done a Tiny Desk Concert!

Somehow it looks like she’s in the Tiny Desk studio!

Why does she only play two songs?

My daughter and I were supposed to see her back in March and she cancelled her tour about three nights before our show was supposed to happen.  What a bummer!  Especially because who knew if people would even want to see her again in a year (I’m pretty sure they will).  And would her stage show and song style change over that year?

The answer to that seems to be a dramatic yes.  Especially if these two songs are anything to go by.

For these two songs Billie embraces her torch song inner child.  She has a really lovely voice–delicate and emotional.

These songs are personal and lovely–there’s no “Duhs,” there’s no snark.  Compared to what I expected, they were kind of dull, actually.  Very pretty, but kind of dull.

These are the two new singles.  For “my future” Billie plays keyboards and her “real brother” Finneas plays guitar and sings some backing vocals.

On “everything i wanted” they switch places, with Finneas playing the pretty piano melody and providing a lot of nice backing vocals.

These two songs seem like they would go very nicely in the middle of a set of bangers for a few moments of cool down.  I hope when her show is rescheduled that she still brings all the excitement I;d heard her shows typically have.

As for the background…at first I thought it was just a cute idea.  But after six months, it was really comforting to have musicians look like they were playing the actual Tiny Desk.

[READ: August 28, 2020] Diary of a Wimpy Kid: Wrecking Ball

This is the book that started my resurgence into reading Wimpy Kid books. I bought this one for my daughter.  This story had me laughing out loud once again.

This book has a lot to do with the Heffley’s house.  I don’t know if middle school kids can appreciate jokes about household maintenance, but as an adult I sure can.

The book opens with Greg’s mom wanting to do some cleaning up.  That means going through the closet in Greg’s room.  He tells us that he basically just throws things into it, so it’s like an archaeological dig.

He starts sifting through things and finds old toys and things to feel sentimental about which is pretty funny.  But with all this junk, he decided that rather than throw it out, he should make some money off of it and have a garage sale.  Cue: Family Frolic magazine and their “great” ideas for a garage sale.  [I love when he makes fun of this magazine].

Greg has labelled his tables in creative ways: “Great gifts for your grandkids”(stuff from his grandparents that he doesn’t want).  “Pre-written birthday cards” (with his name white-outed). Mystery socks (which is just a pile of junk for 50 cents) and Rare Items (like an invisibility lotion and a freckle remover (an eraser or soap I guess)). (more…)

Read Full Post »

[POSTPONED: CANCELLED March 16, 2020] Billie Eilish / Denzel Curry

indexUPDATE: On December 3, this show was officially cancelled.  What a bummer.  I hope her future tour is as good as this one was supposed to be.

March was going to be a very busy concert month for me.  This was to be the third of four shows in five nights.  This show was going to be for me and my daughter–her opportunity  to see the biggest pop star in the world–Billie Eilish.

I actually managed to get us decent seats and I was pretty excited to see what this show would be like as well.

I have to assume that this show will get rescheduled.  It’s one of the few shows I go to where I actually have a seat and not just GA, so when it gets rescheduled I assume they’ll give us the same seats?  I also hope it’s not on a school night.

Opening for this show was a rapper named Denzel Curry who I don’t know.  I don’t really have an opinion about whether he opens next time or not.

This turned out to be the third of dozens of shows cancelled or postponed by the coronavirus.

Obviously, my main concern is for everyone’s safety, including the bands!

My selfish concern though is that once the shows are rescheduled that all of these shows will be scheduled on the same day!

Let’s hope the rescheduled dates also do some social distancing.

eilish

Read Full Post »

SOUNDTRACK: BILLIE EILISH-“Bury a Friend” (2019).

A lot of the music I listen to is weird and probably creepy to other people, but I don’t necessarily think of songs as appropriate for Halloween or not.  So for this year’s Ghost Box stories, I consulted an “expert”: The Esquire list of Halloween songs you’ll play all year long.  The list has 45 songs–most of which I do not like.  So I picked 11 of them to post about.

There’s a ton of reasons why Billie is an unlikely pop sensation.  I won’t bother going through the myriad reasons, I’ll just talk about the music of this song–a suitably creepy song to kick off a series of Spooky Stories.

The song starts with a muted, almost musical drumbeat and clicks.  Then Billie’s processed voice sings with what I assumed is a slowed down version of her voice singing parallel with her.

After a muttered “come here,” and a screech, the verse starts.  It’s no less creepy and possibly more hypnotic.  It leads to a bridge in which at the end of each features a voice that cries quietly (and then reverses n the next line).

The repeated refrain of “I wanna end me” is probably the least creepy section of the song.

There’s one more part, a quickly spoken line ending with three thumps that lead to the next line.

Then it all repeats.

There’s no prettiness, no poppiness. It’s like a slightly more dancey version of Portishead.  It’s pretty darn cool.

I have no idea why it/she is so popular.  But good for her.

And the video is really freaking creepy too.

[READ: October 17, 2019] “The Foghorn”

Just in time for Halloween, from the people who brought me The Short Story Advent Calendar and The Ghost Box. and Ghost Box II. comes Ghost Box III.

This is once again a nifty little box (with a magnetic opening and a ribbon) which contains 11 stories for Halloween.  It is lovingly described thusly:

Oh god, it’s right behind me, isn’t it? There’s no use trying to run from Ghost Box III, the terrifying conclusion to our series of limited-edition horror box sets edited and introduced by Patton Oswalt.

There is no explicit “order” to these books; however, I’m going to read in the order they were stacked.

Gertrude Atherton had a story in the previous Ghost Box.  I was pretty impressed by it.

This story is also pretty twisted–fans of the macabre should really check her out.

(more…)

Read Full Post »

SOUNDTRACK: ADIA VICTORIA-NonCOMM 2019 Free at Noon (May 15, 2019).

I saw Adia Victoria do a Tony Desk Concert back in 2016.  I liked her and thought it would be interesting to hear her when she wasn’t holding back for a Tiny Desk.  And here she is rocking out.

her music is a little hard to pin down, she describes it as blues, but there’s a lot more going on:

her songs were structured like mainstream R&B hits, but in her most memorable moments Victoria turned away from the traditional styles of blues and soul, and turned instead toward something more macabre–like the moody trip-pop of Billie Eilish.

This sound is the direction she went in on her new album.

The set began with “The Needle’s Eye” as a pulsing synth morphed into a danceable rhythm (electric and acoustic drums).  Victoria sang in a breathy voice.  After the chorus, two saxophones provided a noisy distorted solo.  She sang “I’ve been a fool, I’ve been afraid, I’ve been asleep, but now I’m awake.”

She introduced herself “My name is Adia Victoria. This is my band. We done come all the way up from Nashville to play my blues for you.” Then, after a beat, “Lucky you.”

Her introduction for “Different Kind of Love” was brief and mirthless. “It’s about getting dumped,” she shrugged, without even a moment of heartache over the one who dumped her.

This song continues in that dark vein with rumbling drums providing most of the “melody” along with more sax.

Up next was “Bring Her Back,” which she called “a song for my ancestors.” This song used an organ to change the tone.

Victoria played “Heathen” at the Tiny Desk on an acoustic guitar.  I thought it would be better louder.  And it was.  Especially knowing its origins:

As she introduced her final song, “Heathen,” Victoria mentioned some of the frustration she experienced as a young woman with dreams of becoming a professional performer. “My little voice would break and my knees would shake, but I had this song and I made no mistakes,” she rhymed. Victoria explained that she wrote the song “after I realized that there were two sets of rules — one for men, and one for women. When it came time to gettin’ your freak on, I was very naïve. So I wrote this song. It’s a nice little ‘screw you’ to the patriarchy. We play it tonight for every single woman in Alabama right now who’s got these men trying to make moves on their body. We say, ‘That’s bullshit.’” Victoria had aimed her criticism at Alabama’s state legislature, which recently passed a highly restrictive anti-abortion bill…. “This song is called ‘Heathen’ and it’s about giving no fucks,” she declared before counting it off.

The song was much darker and more raw than the Tiny Desk version. It also felt a lot more bluesy than her newer songs (with a lot of sax blowing around the simple chord pattern).

She finished with a gritty chorus of improvised scatting; each syllable landed somewhere between a laugh and a snarl. Afterward, she addressed the Philadelphia crowd resolutely once more and gave a single deep bow. “Thank you, goodnight.”

Adia Victoria is an intriguing performer for sure and I’m curious how her sound will expand in the future.

[READ: May 20, 2019] “Taking Pictures”

Two days ago I posted a story about someone stealing pictures.  Now here’s the title “Taking Pictures.”  They are not related in any other way.

This story is about a woman who has just gotten engaged.  And her relationship with Sarah at work–the bitch.

Sarah is

a washed-out sort of strawberry blonde with fine bones and small features.  She is fading to white.  She is constantly insulted by men.

Sarah at work also has a personality problem

Which is to say her problem is that she does not like other people’s personalities.

The narrator is surprised that Sarah is seeing someone.  Sarah says he won’t “do Saturdays.”  Maybe he’s a bisexual. (more…)

Read Full Post »