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Archive for the ‘Music’ Category

Colin Jost–“My High-School Commute” (New Yorker, March 16, 2020)

Posted in Boats, Colin Jost, David Lynch, Essays, Funny (ha ha), Goonies, Joanne Kyger, Julie Doiron, Mount Eerie, New York City, New Yorker, NPR/PRI/PBS, Saturday Night Live, Set at School, Tiny Desk Concert, Trains on March 17, 2020| Leave a Comment »

2020_03_16 (1)SOUNDTRACK: MOUNT EERIE-Tiny Desk Concert #945 (February 12, 2020).

maxresdefaultI’ve heard of Mount Eerie, but I didn’t really know that much about them. And when I say them, I really mean him, Phil Elverum.

Phil Elverum’s songs come full circle, swooping down like vultures and floating up like ashes from flames. Throughout his work in Mount Eerie and The Microphones, idealism comes up against realism, existence entangles with impermanence and love discovers new forms. So when he sings, “Let’s get out the romance,” in close harmony with Julie Doiron at the Tiny Desk, there’s a history going back nearly two decades to an isolated cabin in Norway where he first wrote the phrase.

I have never really enjoyed quiet, sad music.  It’s just not my thing.  So this Tiny Desk is definitely not my favorite.  Although I can appreciate the intensity of his lyrics and the beautiful way his and Julie’s voices combine.

They recorded an album, Lost Wisdom Pt. 2, last year.

the sparsely decorated, deeply felt album meditates on a heart still breaking and mutating, but also gently reckons with a younger version of himself. That refrain on “Belief” is performed here with only an electric guitar and a nylon-string acoustic bought in Stockholm during that Scandinavian trip many years ago.

“Belief” opens with quiet acoustic guitar and then the two of them singing together.  And it’s pretty intense:

Elverum remembers himself as a young man who begged “the sky for some calamity to challenge my foundation.” We then become the Greek chorus, witness to the unfolding tragedy: first, the death of his wife and mother to their child, the musician and illustrator Geneviève Castrée, in 2016; then the marriage to actor Michelle Williams in 2018 and their divorce less than a year later. “‘The world always goes on,'” Doiron sings in answer, quoting a Joanne Kyger poem, “‘Breaking us with its changes / Until our form, exhausted, runs true.'”

Doiron’s guitar contributions are so minimal, she doesn’t play for most of the song.   The song runs almost seven minutes and does seem to end mid-sentence.

When “Belief” suddenly ends, seemingly in the middle of a thought, Elverum’s eyes search the room. The audience responds with applause, but a version of this dynamic plays out everywhere he’s performed for the last three years — long silences broken up by tentative claps, nervous laughs struck by grief and absurdity.

The second song, “Enduring The Waves” is only three minutes long.  He begins it by speak/singing “Reading about Buddhism” and I wasn’t sure if it was a lyric or an introduction.  It’s a lyric.  This song features Julie and Phil singing seemingly disparate lines over each other until their final lines match up perfectly  The construction of this song is really wonderful even if it is still a pretty slow sad song,

“Love Without Possession” Julie sings the first verse and after her verse, Phil starts strumming his guitar in what can only be described as a really catchy sort of way.  They harmonize together and Doiron includes minimal electric guitar notes.  This is my favorite song of the bunch.

[READ: March 13, 2020] “My High-School Commute”

Colin Jost is one of the presenters on Saturday Night Live‘s Weekend Update.  I think he’s very funny and has a great sarcastic tone.  Although, I have to agree with the title of his new memoir: A Very Punchable Face.

This is an amusing essay about his daily commute to high school, in which he took “a journey by land, sea and underground rocket toilet.”

His grandfather always told him about the value of an education–protect your brain! was his constant refrain.

It was his brain that got him out of Staten Island.  It got him into a Catholic high school called Regis* *Regis Philbin was named after my high school but went to Cardinal Hayes High School which was full of kids who beat the shit out of kids who went to Regis.

Regis is one of the best schools in the country and it is free–tens of thousands of kids apply for 120 spots. (more…)

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Billie Eilish / Denzel Curry (Prudential Center, Newark, NJ, March 16, 2020) [CANCELLED]

Posted in Billie Eilish, Denzel Curry, Newark, NJ, Postponed, Prudential Center on March 16, 2020| Leave a Comment »

[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

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Matthew Klam–“The Liver” (New Yorker, March 16, 2020)

Posted in Babies, Fears, Hospitals, Laura Stevenson, Matthew Klam, New Yorker, NPR/PRI/PBS, Short Story, Tiny Desk Concert on March 16, 2020| Leave a Comment »

SOUNDTRACK: LAURA STEVENSON-Tiny Desk Concert #946 (February 14, 2020).

maxresdefault (1)I don’t know Laura Stevenson, but she has a very pretty voice.

She is a singer-songwriter who I gather plays fairly stripped down songs.  But Bob Boilen wanted to spruce things up–I’ve never heard of him directly interfering in a Tiny Desk before–I wonder how often he does,

It was supposed to be so simple. Laura Stevenson, a singer-songwriter whose new material radiates warm intensity, would come in and knock us out with an intimate acoustic solo set … So I came to Bob with the idea … but Bob is nothing if not a pesky dreamer — a man who lives his life in pursuit of beauty and the creation of hard work for other people — so he suggested a wrinkle. What if we commissioned string arrangements for three songs from Stevenson’s newest album, The Big Freeze?

And there they are.

So arranger Amy Domingues, who doubles as a marvelous D.C.-area cellist, dreamed up some charts and gathered a small ensemble (herself and violinists Shelley Matthews and Winston Yu) for accompaniment so gorgeous, Stevenson couldn’t stop remarking on it between songs.

After the first song, “Lay Back, Arms Out” she says “.”  Then she talks about being six months pregnant and how she wasn’t pregnant when she booked this show.  She says she has to move her guitar a bit but it looks cool.

“Living Room, NY” is really lovely–Stevenson’s voice is clear and pure and makes the lyrics even more poignant.

The final song is called “Dermatillomania” (which she doesn’t even define, but which is chronic skin-picking).  She says it’s the saddest one but it is the happiest-sounding.

And that’s true, at least the happy-sounding part–it’s super catchy.

But apparently the most exciting part happened after the set was over

we also got to witness what’s almost definitely the first-ever Tiny Desk marriage proposal. Shortly after Stevenson’s set had ended, Jonathan Zember got down on one knee as unobtrusively as possible and proposed to his girlfriend, Dena Rapoport; the two were attending the show as guests of an NPR staffer, and he figured it’d be a memorable spot for their big moment.

Dena said yes.  No word if Laura will write a song about it.

[READ: March 13, 2020] “The Liver”

I enjoyed Klam’s novel Who is Rich, which I found funny and fun.  So I was looking forward to this story which has a title I wasn’t sure how to emphasize.

Boy, was I surprised to read that this is a story about a premature baby.

In fact, the majority of the story is about the narrator’s stresses about this premature baby.

The story begins with Kathy in the hospital after having given birth–two month before her due date. (more…)

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Kenny O’Brien & The O’Douls / Ramoms (Johnny Brenda’s, Philadelphia, PA, March 15, 2020) [CANCELLED]

Posted in Cancelled, Johnny Brenda's, Kenny O'Brien & The O'Douls, Kevin Devine, Kevin Devine & The Goddamn Band, Kevin Devine and the Goddman Band, Philadelphia, PA, Ramoms on March 15, 2020| Leave a Comment »

[CANCELLED: March 15, 2020] Kenny O’Brien & The O’Douls / Ramoms

indexMarch was going to be a very busy concert month for me.  This was to be the second of four shows in five nights.  This show was going to be just for me–a night of Kevin Devine performing his Saint Patrick’s Day special with his “Irish” band Kenny O’Brien & The O’Douls.  It promised to be a night of hilarious nonsense and excellent music.  I’m not sure if this show will get rescheduled as it was topical.  But if we can have Christmas in July, why not St. Patrick’s Day in September, when we’ll all need some light-heartedness?

Opening for this show was a band called Ramoms, an all mom parody/tribute band to the Ramones.  It sounds fantastic and I really hope they get paired up with the Kenny O’Brien rescheudled date whether this year or next year on St Patrick’s weekend.

This turned out to be the second 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.

kenny

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Matthew Klam–Who is Rich? (2017)

Posted in Antony and the Johnsons, Artists, Baby Rose, Coldplay, John Cuneo, Marriage Trouble, Matthew Klam, Nina Simone, Parenting, Political Humor, Romance, Sarah Vaughan, Sex, Sexism on March 15, 2020| Leave a Comment »

SOUNDTRACK: BABY ROSE-Tiny Desk Concert #944 (February 10, 2020).

I had not heard of Baby Rose, which I suppose makes sense since she put out her debut album last year.

The blurb makes it sound like she has been through a lot more than her 25 years might suggest.

But when the voice behind those words is as seasoned and vintage as Baby Rose’s, everything it utters reverberates like the gospel truth. The D.C. native — who came of age in Fayetteville, N.C. before coming into her own as an artist in Atlanta — returned to her birthplace.

She even speaks like a much older person:

“I would not be able to write with such emotion about these things without my fair share of regrets.”

It sounds like a sincere statement until you realize it’s a bit, an introduction to the song strangely spelled “Ragrets.”

But that is my favorite song here.  It’s got a great opening guitar riff from John Scherer that is duplicated on the bass (with some great high notes) by Craig Shephard.  Backing vocalist Erika JaNaé is there with her throughout–matching her with lovely backing ooohs.

Baby Rose has a voice that sounds a bit like Antony from Antony & the Johnsons–wavery and operatic.  Especially as the Concert opens with “Sold Out” which features strings from Jasminfire on viola, Yuli on violin and Noah Johnson on cello.

It’s also evident in the third song “Over.”  In the middle of the song she sings low and it sounds very Antony, although I suppose another comparison would be “the bluesy melisma of Nina Simone and the deep register of Sarah Vaughan–two of her idols.”  This song is, surprisingly, less than two minutes long.  It has a simple piano melody from Timothy Maxey.  In addition to Erika JaNaé, Jasminfire and Yuli sing backing vocals.  I like the bass slide at the end, which seems like it’s a transition to another part of the song, not the end.

The next song is “Mortal” which opens with a loud drum hit from Tauseef Anam and quiet shimmering guitars.  There’s a lot of backing singing on this song and they all sing very nicely.

As this song is ending she introduces the band and says

“This is what real love sounds like.  This is what it feels like.”

The blurb says

From any other new artist, a Tiny Desk declaration like that might sound a tad bit presumptuous if not altogether premature.

I actually thought pretentious was the word.

She asks if she can do one more (because of course an artist I’ve never heard of gets an 18 minute set).  And in introducing “All To Myself,” she says she is

Dedicating the song to herself — and “to anyone here that’s ever wanted to call or text somebody that you know you should not call or text” —  congratulating those of us who’ve refrained from squandering our emotions on the undeserved.

Her voice is really impressive on this song and I like that the blurb acknowledges that she’s not using autotune

In an era when the over-reliance on Autotune has nearly everybody in radio R&B land sounding like automatons, her unadulterated voice is almost otherworldly. It’s confounding how a vocal tone so weathered and wise emerges from her so effortlessly.

I was a bit cynical about her at first, but Baby Rose really brings the goods.

[READ: July 10, 2019] Who is Rich?

Rich Fischer is a cartoonist.  As the book opens, Rich is beginning his annual week-long teaching assignment at a New England beachside Arts Conference.  Rich was once sort of famous for his first (and only) published book and that’s why he was initially invited to instruct.  In the intervening six years, he has not really produced anything except drawings for magazines, but the head of the council still likes him, so Rich has that annual work to look forward to.

Although he doesn’t really look forward to it.  People come from all over to study all kinds of arts with esteemed faculty.  It’s a place where writers, artists and historians show off that they are really drunkards and perverts and are willing to do anything to dance naked on a beach in a drum circle.  At this point, he knows what he is and how he fits along with the rest of the teaching staff:

unknown nobodies and one-hit has-beens, midlist somebodies and legitimate stars.

His was a four day intensive workshop that cost $1500.  He details his students–a former high school art teacher (who tried to take over the class), a med student who didn’t want to start med school, a trans kid, a Vietnam War veteran, a grandmother and a teenager skulking in the back.

But he was also sick of it.  The same faces year after year.  Nadia Klein  “was widely mocked an imitated.”  Larry Burris skipped his meds one year and wore a jester’s cap to class and lit his own notes on fire.  And yet when he was asked to name another cartoonist he could vouch for to teach a second comics workshop, he didn’t answer the director, “because of the way my career had gone, I worried that I’d be hiring my replacement.”

He talks about his precocious success–at first it seems like a mistake, but you get used to it quickly. You assume it will always be there.  Until it isn’t.

(more…)

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Crash Test Dummies / Mo Kenney (City Winery Philadelphia, Philadelphia, PA, March 14, 2022) [DID NOT ATTEND]

Posted in Brad Roberts, City Winery Philadelphia, Crash Test Dummies, Mo Kenney, Philadelphia, PA on March 14, 2020| Leave a Comment »

[DID NOT ATTEND: March 14, 2022] Crash Test Dummies / Elizabeth Moen [rescheduled from May 2, 2020]

This tour was going to be a full band anniversary tour and I was really interested in seeing them all, especially after the postponement in 2020.

However, this show was far more expensive than the show in Bethlehem.  Plus, I bought tickets for us to see them in Bethlehem [which we wound up not going to, rats].

And, we had tickets to see Glen Hansard and Marketa Irglova, which took precedence.

Mo Kenney is a Canadian singer/songwriter based in Dartmouth, Nova Scotia. Catching the ear of noted Canadian rocker Joel Plaskett while still in school, Kenney released their first album in 2012, which Plaskett produced. Kenney is known for their lyrical prowess and engaging stage presence

They have a lovely voice.

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Hari Kunzru–Gods Without Men (2011)

Posted in Aaron Burr, Alexander Hamilton, Aliens, Ashtar Command, Douglas Coupland, Hamilton, Hari Kunzru, Huh?, Humiliation, Iraq, Law & Order, Supernatural, Surreal on March 14, 2020| Leave a Comment »

SOUNDTRACK: LESLIE ODOM, JR.-Tiny Desk Concert #909 (December 2, 2019).

I knew I had heard of Leslie Odom Jr. but I couldn’t remember from what.  Apparently I have heard of him from….everything.

A Tony- and Grammy-winning star, Odom has added a slew of achievements to his portfolio since 2016, when he left his role playing Aaron Burr in Broadway’s Hamilton. He’s continued his work in television and film, written a book and released jazz and Christmas albums. He co-wrote most of the songs on his latest project, Mr; out earlier this month, it’s his first album of original material.

Dang.

His singing voice is fantastic and these songs that he wrote are really wonderful.

“Cold” is a hopeful ballad with a beautiful melody and a hint of contemporary musical theater.  It opens with a lovely acoustic guitar from Jeremy Ting and piano from Tommy King.  Odom’s voice is powerful and strong and he hits some nice falsetto notes.  This is all accented by rim shots and cymbal taps from Garrison “G-Beats” Brown.

His backing vocalists, Christine Noel Smit, Nicolette Robinson (Odom’s wife) and Astyn Turr add some nice calla and response and then harmony voices. There’s a pretty acoustic guitar solo as well.

And all the while Odom’s voice and lyrics are fantastic.

When it’s finished he says, “you are the second group of people to hear that song.”

Then he

recalled advice he’d received from a friend: “You have to get used to it — you are part of a cultural phenomenon in New York City,” Odom said, before quipping, “I feel so blessed to be a part of … Law & Order: SVU for three magnificent seasons.”

Up next is “Foggy,” which he says is the most personal song on the album.  It’s much more spare, a love song filled with the regret of failed good intentions.  It’s almost entirely just he and the piano.  Although half way through some xylophone notes add a cool echoing sound.  As the song nears its end, Astyn Turr sings along with him.

Introducing the final song, “Hummingbird,” he says “This song is admittedly… I think it’s a bop, but it’s an odd little bop.  But it has been tested by my 2 year old and it is her favorite song on the album.  For this song Tommy King and Theron “Neff-U” Feemster switch places so “Neff-U” (who worked with him to make the record) is now playing piano.

The song features some wonderful violin from Andrew Joslyn.  It’s a fun boppy song and I love that everyone raucously sings the “you’re my hummingbird” line.

I really didn’t know what to expect from this set, but Odom has a fantastic voice and his songs are really very beautiful.

[READ: August 2019] Gods Without Men

I had read a review of this book by Douglas Coupland on two occasions and each time it made me want to read the book.  So I decided to read the book.  And what a book.

Coupland had warned, in a sense, that there were UFOs and aliens–but not to be put off by them.  And he’s right.  The book centers around aliens and such, but there are no “little green men.”

Rather, the book looks more at a location and the spiritual power it has had on people throughout history.

The book bounces back and forth between various eras and the present.  In most summaries of the book, the present takes prominence–and it is the most often visited timeline in the book.  But at times I found the story in the present to be less interesting than those in the past.

The book begin in 1947 with a man named Schmidt.  Schmidt drove out to the Pinnacles “three column of rock that shot up like the tentacles of some ancient creature, weathered feelers probing the sky.”  He used his diving rods and sensed the power here.  He paid $800 to a woman who owned the property and then settled in.  Schmidt built an underground structure to live in.  He bought an Airstream trailer and set it up as a diner.  Then he put in an airstrip and a fuel tank.  Soon enough pilots were stopping in for fuel as they sailed across the desert.  Schmidt is an interesting character (with a reprehensible past).  He also, every night, lit up the lights on top of his property that said WELCOME.

One night a ship descended from the sky. (more…)

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They Might Be Giants: 30th Anniversary Flood Show (Union Transfer, Philadelphia, PA, March 13, 2020) [POSTPONED]

Posted in Coronavirus, Philadelphia, PA, Postponed, They Might Be Giants, Union Transfer on March 13, 2020| Leave a Comment »

[POSTPONED: March 13, 2020] They Might Be Giants [moved to September 8]

indexMarch was going to be a very busy concert month for me.  This was to be the first of four shows in five nights.  This show was going to be for me and S.–a night of They Might Be Giants performing Flood!

It turned out to be the first 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.

tmbg

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Sudan Archives / Cartel Madras / yungkamaji (Johnny Brenda’s, Philadelphia PA, March 13, 2020) [NOT POSTPONED/DID NOT ATTEND]

Posted in Cartel Madras, clipping., Coronavirus, Johnny Brenda's, Philadelphia, PA, Postponed, Quarantine, yungkamaji on March 13, 2020| Leave a Comment »

[NOT POSTPONED: March 13, 2020] Sudan Archives / Cartel Madras / yungkamaji

phrasesnotattend

Sudan Archives at Johnny Brenda’s was a show I had really wanted to see.  When I realized she was playing there the show was already sold out.  So I gave up (I don’t do resale).

Then Coronavirus came in and shows were starting to get cancelled.  The Districts had still gone on last night, but They Might Be Giants had already been postponed.

A friend of mine went to this show (she had gotten tickets early) and said that so few people had actually shown up that they were letting people buy ticket sta the door.

I didn’t think I could get tickets.  I’m not sure if I would have gone had I known there were tickets available.  The virus hadn’t hit Philly really at that time, but i think I’d have played it safe anyhow.

The Key gave a short (kind of sad) write up about the show.

DJ/Visual artist yungkamaji (whom I have never heard of) opened the show with a short set before being joined by the sisters of Canadian hip hop duo, Cartel Madras.

Cartel madras was supposed to open for clipping. a few months from now but that show was postponed as well.

Visuals from their eclectic music video shone over head as the duo traded verse on their short, mixtape length tracks. Self-classified as “Goonda Rap” (meaning thug), “Conta” and “Eboshi” bring a South Asian aesthetic to Western trap and hip-hop.

It was the last show I could have gone to for a long time.

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Royden Lepp–Rust: Volume 4: Soul in the Machine (2018)

Posted in Archaia, Blindness, Chickens, Children's Books, Completed Series, Death, Fears, Graphic Novel, NPR/PRI/PBS, Robots, Series, Sunny War, Technology, Tiny Desk Concert, Violence, War on March 13, 2020| Leave a Comment »

SOUNDTRACK: SUNNY WAR-Tiny Desk Concert #910 (November 13, 2019).

Sunny War says twice that she’s not going to talk.  She saves all of her words for her songs.

Her voice is soft and gentle, but her words are strong.

The first song “If It Wasn’t Broken” features the chorus “how would you know you had a heart if it wasn’t broken?”

Further lyrics in this slow and simple song:

so you lost your baby
so you lost your job
so you lost all faith
in the one you call god.

Dang.

These are words from a young woman who has been homeless, busked on city streets and Venice Beach, left home feeling she was a burden to her distraught mother, had her life complicated by drugs, and yet still found a way to pick up a guitar and bring joy to others.

Her songs aren’t complicated, but they feature some really excellent fingerpicking.  “Got No Ride” has a lot of beautiful interludes (including one part where she is fingerpicking and bending a string at the same time).

Sunny War began learning guitar from her uncle at around the age of seven. One of the early songs she learned was The Beatles’ “Blackbird,” an almost prophetic tune with the line, “Take these broken wings and learn to fly.” But it was the fingerpicking that was the attraction for Sunny War. She loved playing guitar that way as opposed to strumming and, as you watch this Tiny Desk, you’ll see what a fluid and remarkable guitar player she’s become.

The song also features some extra bass lines from Aroyn Davis (The first song didn’t really have noticeable bass).

“Love Became Pain” is a lot faster, with some really impressive guitar work.  Clearly from the title, though, this isn’t a happy song either.  I like the shuffle drums that Paul Allen gets using brushes on the cajón.

The final song, “Shell” opens with the lines:

“Before you rip your girl to shreds / Be sure you really want her dead.”

With such a pretty melody, too!

Much like her name, Sunny War’s music is a wonder of contradictions.

[READ: February 2, 2020] Rust: Volume 4

This book concludes the Rust saga.

Like the first book, there are a ton of pages with no dialogue.  This story is wonderfully told with just visuals.  And Lepp’s visuals are really amazing–what he accomplishes with such  limited color palette is really impressive.

The book starts with a flashback to the war 48 years ago.  It’s been awhile since I read the first book but I feel like this intro pages are exactly the same.  We see Jet Jones rescue a man by creating a large shield.  I’m not sure if there;s some more significance.  I’m also not sure if we’re supposed to know who the man is.

But the story quickly jumps back to the Taylor’s farm.  The really menacing robots are closing in.  Oz has a shotgun in ready.  And the engineer is carrying Jet Jones’ limp body away with him.

The robots arrive (why does it amuse me that they open the door) and Oz shoots, which awakens the family.

A terrible battle commences in the house with all of the people getting hurt, but with all of them doing a good job of harming the robots.  Jet comes in at the last second and smashes up some of the robots.  In the process reveals his mechanical arm.  The family is shocked, except for Oz.  Roman is furious that Jet lied. (more…)

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