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Archive for the ‘Re:’ Category

wawa SOUNDTRACK: RE:-Alms [CST032] (2004).

cst032webRe: creates soundtracks for a dystopian world.  Where metal and computers are integrated with nature.  So a track like “Golem” which opens this album starts with what sounds like a golem walking–trudging desolate feet. Then there’s big bells that echo throughout. The multi-note music that anchors the song is eerie and enticing.

This album does not use the same “gimmick” as the previous one, where song titles were all words that should have the re prefix.  So song two is called “Orientalism As A Humanism.”  It runs nearly 9 minutes and opens with what sounds like an alarm but may actually be mechanical sounds (a saw perhaps?). But it is softened to make it a very interesting sound that swirls around half of your head.  Meanwhile the other half of the song has a totally different sound.  By the 5 minute mark it is primarily drums and noises. Until that all drops off for a bit of static. Some loud percussive noises fill the song until it turns into a fast paced drums beat which lasts for just a few seconds before the songs ends.

‘On Golden Pond” opens with more footsteps. Then there some squeaks and a splash and a voice saying “splash it.” And later a voice saying “You should see our house” These recordings are so clean, I have to wonder what they are from.   “Radio Free Ramadi” opens with near silence. After about a minute of gradually increasing sounds, the big noisy electronics come in.  It is a big noisy blast of noise like the first album.  “Lasers, Tracers, Radar Drones” opens with gentle chimes and slowly melds different noises and electronics.  “Pawk” opens with an acoustic piano–a nice relief from the electronics. It’s a simple melody, stark and bare, and is interrupted by what sounds like people making seagull sounds. The disc ends with “Home Security” a song with a huge burst of noise and electronic malfunctions.

Once again, this album is not for the timid or those who dislike dissonance, but if you’re open to experimentation, Re: proves to be a very interesting band.

 [READ: May 13, 2014] The Wawa Way

For my birthday, I jokingly told my family that I wanted a Wawa Sizzli for breakfast, a Wawa Shorti for lunch, a Wawa Bowl for dinner and a Wawa chai latte for dessert. We didn’t have any of that (although I did get some Wawa chocolate milk before work), but suffice it to say I love my Wawas (most people have one, but I have two—the one by my house and the one by my work).

I grew up in North jersey where 7-11 was the king of convenience.  I loved the 7-11, it was handy and had all kinds of junk food available. But once I moved to Central Jersey, I discovered the amazingness of Wawa. (In truth I knew about Wawa from trips to South Jersey, but it was more of a novelty then).

What makes Wawa so superior? Most people would say their coffee. I don’t drink coffee, so I can’t address that.  But what I do like is their stuffed pretzels, their hoagies (and their touch screen for ordering), their milk and chocolate milk, their hot (non coffee) drinks and their newish cold drinks—all made to order. I also like their brightness and their cleanliness. And, when I go to the third Wawa (which is out of the way but close), I think their gas prices are fair and the people who work them are always nice. And, more impressively, they were open during Hurricane Sandy when so many other places were closed.

So when the family saw that a book about Wawa was coming out, it seemed an obvious choice for my birthday (purchased, I hope, at a Wawa for ½ off the cover price). (more…)

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millionSOUNDTRACK: RE:Mnant [CST015] (2001).

cst015webThere is a (tiny) gimmick with this album.  The band is called Re: and all of the songs have titles that work when you add “re” as a prefix.  So song titles include: 1. scue 2. duce 3. solute 4. cipe 5. straint 6. buke 7. pent 8. legate 9. volve 10. ject 11. gulate.  This makes me smile, even as the music can be a bit more challenging.

The first track is simply noise and electronic pulsing for 2 minutes. It melds into track 2 in which the noise ends but the electronic pulsing continues. Then a faster, newer noise comes in and stays there while the beeping gives us a rhythm. Then all the noise drops out and it is replaced by a more delicate wave of almost strings. Then what sounds like detuned strings play some notes while the noise is buzzing in the background and swirling around your head.  The 7 minute track 3 is a bit much. It opens with the sound of a kind of static and mechanical sounds. It has a feel of a horror movie soundtrack, especially as it builds and tension mounts with the “bass” notes that come through. Even though I find it long, by the time it really gets going I could listen to a lot more of it, I think the buildup at the beginning is too long.

The fourth track brings in some interesting percussive sounds, but mostly it seems to be about the background noises that swell and get in your head (those piercing high notes).   Track 5 introduces an acoustic guitar. I feel like this should have gone earlier so it’s not as much of a surprise at this stage. It’s quite a pretty melody (with more of those electronic noises floating around the background and it’s a nice interlude among all of the mechanicals. 6 also has a guitars–this time electric–playing a staccato rhythm. The chords are nice and there’s that persistent electronic noise floating around to keep it somewhat edgy.   7 employs feedback sounds and beats with what sounds like human voices. And interesting piece of soundtrack noise.

Track 8 starts off quietly but introduces some more guitar. There’ an interesting melody with the electronics buzzing around in the background.  9 has big percussion sounds and lasts a reasonable 3 minutes. 10 is an acoustic guitar song that reminds me of something Beck might do, and it’s too short at 2:15. The final track, 11, is mostly low pulsing sounds. It’s kind of meandering end to the disc that features a lot of uptempo noisy music.

[READ: April 25, 2014] A Million Heavens

I’ve enjoyed John Brandon’s other novels, and I had read an excerpt from this one in McSweeney’s #41.  I found it enjoyable and somewhat confusing.  And, actually that’s a bit how I feel about the book as a whole.

Each section of the book (from a paragraph to several pages) has a different character as its title.  What’s confusing is that it starts off with “The Wolf” who is a major character and is (for the most part) sentient and thoughtful.  The wolf roams the periphery (as wolves do) coming close to interacting with characters but seeming more like  a narrator than a character.  The next character we meet is Soren’s Father.

Soren’s Father’s story is a catalyst for much of the book’s action.  Soren was at piano practice.  He was a new student.  When the teacher walked away, he played a piece of beautiful music for about 15 seconds and then passed into a coma.  He has been in the coma for a few months now with no real hope of recovery but with no real indication of not recovering either.  Soren’s Father is a pragmatic man, not interested in the music his son played, nor in the plans and prayers of the people who are holding a vigil outside.  Really he just wants this over so he can go back to his old life.  But he is ever faithful to his son, sitting with him every day, letting his business slowly erode.  Over the course of the story, several people become connected to Soren’s Father.

The Piano Teacher is another character.  She feels responsible for all of this.  She didn’t want any kind of prodigy, if that’s what Soren is, she just wanted kids to play the piano badly so she could teach them to do better. (more…)

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