Feeds:
Posts
Comments

Archive for the ‘Nick Drake’ Category

SOUNDTRACK: BORIS-Akuma No Uta (2003).

Boris albums are never an easy thing to find.  This album was originally released in Japan in 2003.  Then it was reissued in America in 2005 with a vastly superior cover.  The cover to the right, a hilarious mock up of Nick Drake’s Bryter Layter album (left).  The original album (cover way below) was only 31 minutes, but the reissue was extended to 39 minutes because that’s how long the Nick Drake album was.

So this new album is quite different from the original: In addition to running an additional 7 minutes, the opening track of the newer version is a totally different take; both use the same riff from “Akuma no Uta,” but the original, shorter track repeats it far less and opens with over a minute of ambient, resonant amp noise absent from the longer version.

I have the newer edition and don’t know the original.  “イントロ” (Intro)” opens with a slow, simple infectious riff and then a sort of soaring siren sound starts.  The four note riff is enveloped in distortion while the backing chords cycle through slowly.  Then comes soaring guitars and washes of noise which stretch this song out to almost 10 minutes.

The opening track lulls you into a false sense of mellowness until “Ibitsu” comes blasting out with heavy rocking guitars, pounding drums and screaming vocals.  Most of the verses are just drums and Atsuo’s singing with an occasional riff from Wata. Then Takeshi joins in on the chorus and turns it into a big old crashing metal song. The middle is a three note riffs before a brief Wata solo and some wild drumming. The end is so loud it seems to blow out the speakers.

There’s a brief pause and then “フリー” (Furi) kicks off even faster and more intense heavy rock.  There’s a fast riff and a chorus that is super fun to sing along to even though I have no idea what they are saying.

“無き曲” (Naki Kyoku)” is a grooving slower song.  The first three minutes are primarily a solo by Wata.  The middle turns into a slow jam with stops and starts.  A slow grooving solo resolves into a another catchy rocking singalong before feedbacking out.  Around five minutes, the vocals come in.  The middle has another solo and some meandering bass from Takeshi–almost like a call and response musical section.

“あの女の音量” (Ano Onna no Onryou) is another big crashing rocker with heavy ponderous chords.  It’s got screaming guitars and shouted vocals but plenty of room for noisy feedback.

The album ends with “”あくまのうた” (Akuma no Uta).  A big gong introduces the three note riff.  Around two minutes the fast guitar riff begins and the song rocks out–a classic short heavy Boris rocker.

[READ: May 1, 2021] “Casting Shadows”

I haven’t read a lot of Jhumpa Lahiri’s stories, but she was very popular a while back.  I’m not sure if she still is.

Perhaps the most fascinating thing about this story is that it was written in Italian (translated by the author, which is also interesting).

Lahiri used to write in English but she has recently begun writing in Italian.  I find that fascinating, especially since she translated this work herself–how different is it than if she had written it in English first, I wonder.

This is the story of an older woman and how she interacts with the world around her. particularly the men.  She was

Never married, but, like all women, I’ve had my share of married men.

It’s a really interesting character study and shows a powerful woman who some people might (foolishly) try to take advantage of. (more…)

Read Full Post »

SOUNDTRACK: JULIE BYRNE-Tiny Desk Concert  #788 (September 19, 2018).

Julie Byrne plays a quiet acoustic guitar and sings in a melodic whisper (almost).  She reminds me of Nick Drake in many ways.

Even in an office in broad daylight, Julie Byrne sings with both a husk and a whisper as if she’s gone a long time without speaking – as if she’s been alone, as if she’s been traveling. Her opening number at the Tiny Desk, “Sleepwalker,” sings of the road as a source of freedom.

I lived my life alone before you
And with those that I’d never succeeded to love
And I grew so accustomed to that kind of solitude
I fought you, I did not know how to give it up

Byrne’s guitar playing sounds very full as is each string gets its own special attention.

Julie Byrne’s hypnotic fingerstyle picking conjures a sense of wandering, a style she adapted from her father and a sound she grew up with until multiple sclerosis robbed him of that companionship and comfort. She now plays her dad’s guitar.

After performing “Sleepwalker” alone, Julie Byrne was joined by her musical companions, Marilu Donovan on harp and Eric Littmann on electronics. Together they conjure an ethereal compliment to Julie’s love of the open landscape.

“Follow My Voice” begins with just Byrne.  After a verse or so, the harp enters, making the song seem somehow even more delicate.  And the keys are there just to add a bit more substance–but not to solidify this delicacy.

“I Live Now as a Singer” is just the keys and the harp.  It reminds me a lot of Enya, with the washes of keys and Byrne’s deep but delicate voice.

[READ: January 5, 2017] “The Short History of Zaka the Zulu”

This story is set in a boys’ Jesuit boarding school in Africa.  The narrator is relating the story of a boy they nicknamed Zaka the Zulu. The narrator explains that Zaka was always odd but that they had never expected that hew would be accused of murder.

He was a very smart boy and he succeeded very well–which made him a little unpopular.  But he became even more unpopular when made head prefect.  He was so upright and sincere; he would get boys in trouble for the slightest infraction.  His worst punishment was when he made the younger boys stay for an extra period so that they could not watch the Mary Wards (the girls from Blessed Virgin Mary school) go for their weekly swim.

There were 40 or so Mary Wards every year.  They didn’t live with the boys, of course, but they were all part of the same school–the girls got the best Jesuit education the country could offer.   Only senior boys were allowed to mingle with the girls–particularly at the one or two dances each year.  It was felt that the girls had a civilizing effect on the boys. (more…)

Read Full Post »

[ATTENDED: December 17, 2017] Henry Jamison

We had never heard of SOPAC when I got tickets for this show.  We were supposed to go to see Darlingside in Bethlehem, but it was the same night as a Boy Scout event (which, frustratingly we did not go to, anyhow).  But I hoped that they would be playing somewhere else nearby and huzzah, they were playing in South Orange!

Well, the theater is charming and the sound is phenomenal.  I can only hope that other people that we like will play here.

Main Street also had some yummy looking restaurants, but we didn’t have time to check them out.  We did arrive in plenty of time to claim our 2nd row (!) seats for this show.

As the lights dimmed and we were told to power off our phones (three humorous times).  Then Henry Jamsion walked out with his phone on–saying he had to have it on during the show.

He never introduced himself, just started playing. (more…)

Read Full Post »

SOUNDTRACK: THE RESIDENTS-Meet the Residents plus Santa Dog EP (1973/1972).

Like a proto- Negativland meets Primus, The Residents took the world by storm in 1973.  Their debut album (pictured here) bore the unmistakable tagline: The First Album by North Louisiana’s Phenomenal Pop Combo.  And so it is.

Read more about the album in the Jon Savage essay below.

“Boots” is a sampled and remashed version of “These Boots Are Made for Walking.”  “Gylum Bardot” sounds like a Primus demo.  “Breath and Length” is noise and noise and effects and a soothing female vocal singing the title.   “Consuelo’s Departure” is a noisy soundtrack to nothing and “Smelly Tongues” sounds like a hammered dulcimer with a menacing bassline behind it until the vocals come in: “Smelly tongues looked just as they felt”.   And all 6 of these songs last less than ten minutes total.

“Rest Aria” changes tempo of things.  It’s five minutes long.  It starts as a simple piano track (slightly out of tune) but it slowly adds crazy horns and what sounds like children’s instruments.  The other longish song, “Spotted Pinto Beans” comes with a kind of faux chorus (female and then male) singing a kind of call and response which is overtaken by noise.

The one-minute “Skratz” comes between these two longer songs and is mostly  mumbling spoken vocal.  “Infant Tango” sounds like a normal song.  It opens with a funky wah wahed guitar.  Of course, the skronking horns and mumbled bass vocals tell you this is not going to be a hit.  It runs 6 minutes long with a strange little “guitar solo” in the middle.

“Seasoned Greetings” (with it’s weird holiday wishes at the end) segues into the 9 minute “N-Er-Gee (Crisis Blues”).  “N-Er-Gee” is a piano “melody” which is really someone banging the same notes very hard on the piano.  The voice on both tracks sounds like the aural equivalent of blackface until the sample (a very long sample that apparently voided placement on some releases) of “Nobody But You” morphs into a manipulated sampling of the word “boogaloo” and eventually becomes a dissonant chant of the title.

The appended Santa Dog is a bit more song-like.  Totally weird songs yes, but there’s actual melodies and lyrics.  Like on “Fire”: “Santa dog’s a Jesus fetus.”  “Aircraft Damage” is mostly a bunch of people reciting bizarre lyrics over each other.  The whole EP was about 12 minutes.  It’s weird but more palatable than the LP.

Despite how much this album foreshadowed loony alternative bands in the future, there is a clear predecessor in Trout Mask Replica.  Although Captain Beefheart followed a (relatively) more conventional song structure, you can hear elements of the Beefheart within.  This album is also notable for being made in the early 70s when the technology to do this easily was very far away.  You could whip this album up in a few minutes now, but back then with splice and paste, it would take ages.

It did not sell as well as the similarly titled Meet the Beatles.

[READ: June 16, 2011] Five Dials Number 11

Five Dials Number 10 was a special issue, but Number 11 goes back to the format we know.  It sort of has a theme about lists.   It contains half a dozen short essays and one long short story by Paul Murray (author of Skippy Dies).  This issue is also something of a surprise as it weighs in at a fairly small 16 pages (sometimes smaller is perfectly fine).  The issue also raised a couple of totally weird coincidences which I will point out as they come up.

CRAIG TAYLOR-A Letter from the Editor: On Wilton’s and Lists
Number 10 was designed to be ready for an evening at Wilton’s Music Hall on February 26th.  But the real theme of the issue is lists.  In part this is inspired by the Raymond Chandler entry, it’s also inspired because Taylor keeps lists around the office.  At the end of the letter he provides a list of all of the notes he’d left to himself in the office.  Some are about the issue (Paul Murray manuscript), other are seemingly more random (USA 5 Canada 3, men’s Olympic ice hockey result;  Canada 7-Russia 3, men’s Olympic ice hockey result; ‘Range Life’–Pavement).  And the one that is most coincidental to me–(The Umbrellas of Cherbourg–Jacques Demy).  This is coincidental because on the day that I read this, my friend Lar wrote a post about this very movie, which was completely unknown to me. (more…)

Read Full Post »