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Archive for the ‘Sigur Rós’ Category

bothfleshSOUNDTRACK: SIGUR RÓS-Von brigði [Recycle Bin] (1998).

recycleAfter releasing their first album, Sigur Rós was approached by Icelandic musicians to remix the album. And thus came Recycle Bin.  I realized too late that I really just don’t like remix albums all that much–they’re mostly just faster drums plopped on top of existing songs.  And such is the case here.  Despite the interesting musical pedigrees of the remixers, there’s nothing anywhere near as interesting as on Von itself.  There are ten tracks, but only 5 songs.

”Syndir Guðs” gets two remixes:

Biogen keeps the bass but adds some more drumlike sounds.

Múm removes the bass, adds some wild drums and trippy textures and reduces the 7 minutes to 5.  It is quite pretty but very far from the original.

“Leit að lífi” gets three remixes

Plasmic takes a spacey 3 minute wordless noodle and turns it into a heavy fast dance song with speedy drums, big bass notes and with spacey sounds.

Thor brings in some fast skittery drums and keeps the spacey sounds (which sound sped up).  And of course bigger bass noises.

Sigur Rós recycle their own song into a dance song by adding funky bass and drums.

“Myrkur” gets two remixes.  the original is a fast-paced groovy track.

Ilo begins it as a spacey non-musical sounding piece.  After two minutes they add a beat of very mechanical-sounding drums.  It’s probably the most interesting remix here.

Dirty-Bix adds big, slow drums.  It keeps the same melody and vocals as the original but totally changes the rhythm and texture of the song, (removing the guitar completely).

The remaining three songs get one remix each.

The original “18 Sekúndur Fyrir Sólarupprás” is 18 seconds of silence.  Curver turns it into “180 Sekúndur Fyrir Sólarupprás” and makes a muffled drum beat and some other samples from the album, I think.  It constantly sounds like it is glitching apart until the end where it practically disintegrates–an interesting remix of silence.

“Hún Jörð” 7 min Hassbræður increases the drums and adds a more buzzsaw guitar sound and makes the vocals stand out a bit more.

“Von” has delicate strings and Jónsi voice.  The remix by Gusgus adds low end bass and drums making it a thumping rather than soaring track.

I prefer the original, but I much prefer their next album to the first one.

[READ: end of October to early November 2013]  original articles that comprise Both Flesh and Not

As I mentioned last week, I decided to compare the articles in Both Flesh and Not with the original publications to see what the differences were.  I had done this before with A Supposedly Fun Thing… and that was interesting and enlightening (about the editing process).

This time around the book has a lot more information than the original articles did.  Although as I come to understand it, the original DFW submitted article is likely what is being printed in the book with all of the editing done by the magazine (presumably with DFW’s approval).  So basically, if you had read the original articles and figured you didn’t need the book, this is what you’re missing.

Quite a lot of the changes are word choice changes (this seems to belie the idea that DFW approved the changes as they are often one word changes).  Most of the changes are dropped footnotes (at least in one article) or whole sections chopped out (in others).

For the most part the changes were that the book version added things that were left out or more likely removed from the article.  If the addition in the book is more than a sentence, I only include the first few words as I assume most readers have the book and can find it for themselves.  The way to read the construct below is that most of the time the first quote is from the original article.  The second quote is how it appears in Both Flesh and Not.  At the end of each bullet, I have put in parentheses the page in BFAN where you’ll find it.  I don’t include the page number of the article.  And when I specifically mention a footnote (FN 1, for example), I am referring to the book as many times the articles drop footnotes and they are not always in sync.

Note: I tried most of the time to put quotes around the text, but man is that labor intensive, so if I forgot, it’s not meant to be anything significant. (more…)

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bomarsSOUNDTRACK: SIGUR RÓS-“Ný batterí” (2000).

nyThe single opens with “Rafmagnið búið” a kind of brass introductory piece.  There’s lots of horns building slowly, growing louder but not really playing a melody.  By the end of five minutes, it segues into “Ný batterí” which opens with horns as well.  Then the bass comes in, a slow, deep rumble of simple melody.  After 4 and a  half minutes, the drums are a powerful counterpoint to the sweet melody.

“Bíum bíum bambaló” is a slow piece (aren’t they all) that is mostly percussion.  Apparently it is an Icelandic lullaby.  The final track, “Dánarfregnir og jarðarfarir” was a theme used for death announcements on Icelandic radio.  I love the way it builds from a simple melody into a full rock band version and then back again.  It’s very dramatic.

Both tracks were used in the film Angels of the Universe (and appear on the soundtrack).

That certainly makes this single less interesting than the first one (although I’m not sure that the soundtrack was readily available at the time).

[READ: December 1, 2013] Breakfast on Mars

This is a collection of 38 essays (and an introduction by Margaret Cho).  It also includes an introduction geared toward teachers–an appeal that essays do not need to be dull or, worse yet, scary.  The editors encourage teachers to share these essays with students so they get a feel for what it’s like to write compelling personal nonfiction.  The introduction proper gives a brief history of the essay and then talks about the kind of fun and funny (and serious) essays that are included here.

This was a largely fun and largely interesting collection of essays.  When I grabbed it from the library I didn’t realize it was essays (I was intrigued by the title and then looked at the author list and immediately brought it home).  I know it says essays on the cover, but I chose to ignore that apparently.  When Sarah saw the authors (she knows more of them than I do) she had to read it first.  This proved to be a great counterpoint to the very large novel that I was reading at the same time.

The essays each take on different topics.  And what I liked was that before each essay, they include the question that inspired the essay.  I have included the questions here. (more…)

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cover-10-9_largeSOUNDTRACK: SIGUR RÓS-“Svefn-g-englar” (1999).

220px-SvernCoverAThis was the first I heard of Sigur Rós.  I suspect my friend Lar told me about them and I was just blown away by the first track on this single–a 9 minute swelling, string-filled, otherworldly enterprise.

The first song on the single is “Svefn-g-englar.”  It opens with overlaying chords and the beat is kept by an echoing keyboard note.  It’s very spacey and mellow.  And the vocals are unlike anything i had heard before–not just falsetto, but practically alien falsetto.  There are noisy guitars but they work into the background washes of sound and don’t really register as guitars exactly.  Gorgeous soaring vocals on the chorus, which I’ve always heard as “its you” but is apparently “tjú.”  It’s otherworldly and beautiful  Then at 6:30 the drums kick in and the song gets grounded, taking on more gravitas as the chords grow louder.  This lasts for one minute as the song then slows itself back into its original style.

The second track is “Viðrar vel til loftárása.”  It has a louder bass and great chords.  This slow airy song is grounded by the acoustic piano–a very pretty melody with the strings behind it.  Jonsi’s vocal line is beautiful but mixed very low as if he is so far away.  The song ends with a great string section until the abrupt end.  It clocks in at 10 minutes.

Two live songs “Nýja lagið” and “Syndir Guðs” (live at the Icelandic Opera House, June 12, 1999) show that the band can work this magic live.  The guitar is more intense bring a bit more drama to the sound.  But Jonsi’s voice is still amazing in the live setting.  The first one is funny because you don’t really realize it’s live until the end when people start clapping.  And at 9 minutes it’s an amazing listen.  When it goes into a minor chord at around 5 minutes, it’s really something.

The final song “Syndir Guðs” comes from their debut album Von.  It is only 5 minutes, but it’s really quite good here.  It’s nice to see them translate their style to this older song.  The song is quite a short one for this EP, which totals nearly 35 minutes.  This is a great EP for fans of the band.  Hearing those live recordings is totally worth it.

[READ: December 2, 2013] “Daniel Boone, By Himself”

I don’t know a lot about Daniel Boone, truth be told.  So this story may be very accurate or maybe it’s based-on-actual-research about Boone’s possible mental state at the time of his death.  Or maybe he just made it all up.  Whatever the case, I did not enjoy it.

From the beginning, in which we learn the proper way to scalp someone, to the death of Boone’s son, the story was explicitly violent.  And while I’m no shrinking violet when it comes to violence, there just wasn’t much more to it. I’m sure that Boone’s life was nonstop violence, and that this story is not inaccurate in that way (I don’t even know if he had a son).

And perhaps it was that nonstop violence that prevented me from learning much about him in the first place. (more…)

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cityofrivers_cover_FINALstickerSOUNDTRACK: SIGUR RÓS-“Brennisteinn” (2013).

Wsigurhat is that sound?  Low end electronic…noise?  Coming from a Sigur Rós song?  Typically you get a band in the ether, but here’s the band with loud pounding drums and almost glitchy music.  Of course, Jonsi’s voice tells you you’ve got Sigur Rós.  And yet, he’s not singing in his otherworldly falsetto–it seems like an almost human voice.

There’s a very distinctive chorus which is actually catchy in an almost poppy way.  And then, after four minutes, the Sigur Rós of old comes in–Jonsi’s voice soars, and the music reaches for the heavens (but with drums and some crazy sound effects) added in.

And then it grows haunting as the song slows down and distant horns come swelling in, keeping that soundtrack feel that the band does so well.  The video is creepy/cool interspersed with the band playing live.  I love watching them make the sounds they make (there’s a bowed guitar at some point).  I really like this a lot, and can’t wait for the rest of the album.

[READ: March 30, 2013] City of Rivers

I have said before that I don’t really like poetry.  It makes me feel stupid.  This is mostly because I have taken poetry classes and I know what good poetry should be, and yet I see so much poetry published which I think is not very good.  And yet, if it has been published, doesn’t that mean it’s good?  Have I missed something?

I’m not a total old school poetry boor, I don’t need my poetry to be in iambic pentameter, nor does it even need to rhyme, and yet sometimes a lot of contemporary poetry seems like a sentence, not really a poem.  I also suspect that the ascendance of flash fiction has made the ascendance of this flash poetry acceptable too.  Don’t get me wrong, I know a haiku is short as well, but there are lots of constrictions to haiku, whereas some free verse short poems really lack in the substance department.

I am also nonobjective about poetry because of all of the poetry slams that I have witnessed in college and since, in which basically anything is  poem if you e-nun-ci-ate it interestingly (something I doubt Keats was doing).

In an attempt to appreciate new poetry more, I decided to get a few books from the McSweeney’s poetry series. (more…)

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SOUNDTRACK: SIGUR RÓS-Inni (2011).

I’ve said before that Sigur Rós was one of my favorite live shows ever.  They created an amazing atmosphere that went beyond the music and the visuals.  It set the bar very very high.

So here is their first official live album and it does not disappoint.  It clearly cannot live up to the live experience (there is so much to see after all), but it really conveys just how amazing these guys can sound live.

Sigur Rós feels like they should only be a studio band–they are so atmospheric, so ethereal, that it doesn’t seem like it should translate live.  But they do, in fact , it brings a new energy to the music.  And the fact that Jonsi can easily hit those unearthly notes just blows my mind.

I’m not sure whether to say that Sigur Rós have hits or not, but this is like a best of playlist from all of their albums.  From their “debut” Ágætis Byrjun, we get the ten minute opener “Svefn-G-Englar.”  Although the songs all feel long, they run the gamut from two to three minutes through eight and nine up to fifteen.  They also play the awesome “Ný batterí” a few songs later.

There’s a number of songs from Takk… “Glósóli,” “Hoppípolla,” “Með Blóðnasir,” and “Sæglópur.”  There’s a couple of songs from () as well (of course, since they were untitled it takes a bit of work to know that . “E-bow” ends disc one and the concert ends with the glorious 15 minute “Popplagið”

From Með suð í eyrum við spilum endalaust, we don’t get “Gobbeldygook,” their sort of hit, but we do get “Inní Mér Syngur Vitleysingur,” “Fljótavík,” “Festival,” “Við spilum endalaust” and “All Alright”

The set also includes “Hafsól,” a B-side of “Hoppípolla” (which was a remake of a song of their real debut Von).  The best example of how Sigur Rós is not just wispy music comes in “Hafsól.”  After a few minutes of their atmospheric stuff, the drums kick in and the song becomes incredibly loud and chaotic with crashing cymbals and grinding guitars and feedback.  It’s amazing.  That it ends with a tin whistle solo just highlights the what the band is willing to put into just one song.

“Popplagið” closes out the concert with more of that dynamic.  At 15 minutes, it takes a while to get there, but somehow the drums feel more grounded.  And at the 6 and a half-minute mark when the drums really kick in and guitars get noisy and raw, it’s an unbelievable moment.  The song turns tense and intense and doesn’t let up for the rest of the track.

The encore is an unreleased track called “Lúppulagid.”  It is a slow, relaxing kind of track (it plays over the credits of the DVD).  Yes, there’s a DVD that comes with the two disc set.  I have not yet watched the DVD, but I’m pretty psyched to check it out.

This disc can’t convey the magic that is Sigur Rós live, but it really shows what they are capable of.

[READ: February 2, 2102] The Apothecary

Maile Meloy has written some of my favorite books (novels and short stories).  She is an excellent writer with a wonderful sense of reality–I’ve described her as unsentimental: her characters are typically downtrodden and not likely to follow flights of fancy.

And that’s just one reason why this book is so surprising–it is about magic!  It’s also surprising because its written as a YA book (the protagonists are fourteen).  And finally, it’s surprising because it is set in England, and previously, Meloy had been a small town America kind of writer (as far as I remember, anyhow).

Although I found the opening a little slow going (more on that in a minute), by about the third or fourth chapter I was totally hooked on this fantastic story.

The book is set just after WWII.  The main character (and narrator) Janie and her family live in Hollywood.  Her mom and dad are both television writers who are being hunted as Communists.  They tell her that they must flee for London.  (This was told briskly, and I wonder if teens know about the Communist trials in the 50s).

They move to London (where they have jobs set up as BBC writers) and learn to cope with the move from warm, sunny, prosperous Hollywood to cold, gray and still-under-rationing London.

One problem I had with the beginning (in addition to the Communist part) was that Janie talks a lot about Katherine Hepburn–walking like her, being strong like her.  Both of these things seemed like they maybe weren’t explained enough for the intended audience.  Perhaps I’m not giving young readers enough credit, but I was very distracted thinking, would a teenager want to read this?  I mean I barely know Katherine Hepburn as a young beauty.  The other problem I had was that the kids felt too modern to me.  Or maybe not modern so much as out of time.  It doesn’t really feel like the 50s.  It’s not really a problem, but every once in a while I had to remind myself that it was set in the 50 at the height of the nuclear scare.

Of course, once Janie gets to school, those concerns evaporate.  Janie goes to a fancy London school–they wear uniforms and learn Latin)–I guess it is timeless.  She is immediately introduced to Sarah Pennington, a very very rich girl (she has a butler).  What I liked is that even though Janie is different and from California and Meloy shows that they are different, she doesn’t exploit these differences.  She doesn’t make it a clique story between Janie and Sarah.

Things are dire in post-war London.  It is cold all the time and you need to put pennies in the wall to get the heat to come on–this is why people from England like hot water bottles so much!  So Janie and her dad go down to the apothecary to get hot water bottles and pennies.  When the apothecary hears that they are American, he offers Janie some homesickness medicine.  Janie and her dad don’t believe it will work but she takes some anyhow.  And she seems to feel a bit better.

Soon after this, Janie learns that the apothecary’s son is a boy in her class named Benjamin.  In school, Benjamin stood up to the lunch lady when she insisted that everyone “duck and cover” when the air raid siren went off.  He’s nobody’s fool, he knows how dangerous the Bomb can be.

Janie is surprised that Benjamin and the apothecary are related.  The apothecary is nice and mild-mannered whereas Benjamin is strong-willed.  And, it turns out that Benjamin wants nothing to do with his father’s business–even though the Society of Apothecaries has paid for his education.  He wants to be a spy. (more…)

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SOUNDTRACK: JÓNSI-Go (2010).

Jónsi is the lead singer from Sigur Rós. This is his first solo album and, honestly it’s not radically different from Sigur Rós (were we expecting trip hop or something?).   However, within the confines of the type of music that Sigur Rós play (swirling orchestral songs), Jónsi’s solo disc is kind of different.  And the difference comes in tone.

For while Sigur Rós records are orchestral and swirly, the are also kind of dark and moody.  Jonsi’s songs are more upbeat.  They’re ethereal both in style and tone.

I’m also surprised to see just how short these songs are.  They feel like they are very long (epic in a good way) but in fact, only two songs go over 5 minutes–most are in the mid fours.

There’s no question that if you dislike Sigur Rós you will not like this record. Jónsi’s voice is the same after all–gorgeous sweeping, helium sounding and out of this world.  But if you doubted whether Jónsi could work without his mates in the band, you need not worry. This album is a beauty.

[READ: May 19, 2011] “The Trusty”

I didn’t think I would like this story.  It concerns a subject that I generally don’t have a lot of interest in: chain gangs in the south.  And yet, Rash’s writing was excellent and the story was quite compelling.

The Trusty of the title is named Sinkler.  Sinkler is a prisoner on the chain gang–he stole money from a business and got 5 years.  He has served 18 months with very good behavior and has been given the unofficial title of Trusty, which means he can do things like walk a mile up the road to the next farm house to see if their well has water for the men on the gang.

And this is what he does.  They are working on a road and have moved far enough past their current source of water that Sinkler offers to walk up to the next house to bring water back.  When he arrives, the door is answered by a young woman (between 18-22–Sinkler himself is in his 20s).  She is standoffish and unmoved by him.  She is also married–her (much older) husband is plowing the field.  She agrees to give Sinkler two buckets of water if, at the end of the day he agrees to leave one bucket there as payment.

Sinkler agrees and decides that he would like more than water from the young woman.  And over the next few weeks he returns every day and tries to win her over.  And Lucy begins to sweeten on Sinkler. (more…)

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SOUNDTRACK: All Songs Considered Year End Music Roundup (2010).

Every year, I like to check various sources to see if there were any albums that I missed.  My definition of good resources: allmusic, amazon, pitchfork.  (There’s another fascinating list available here at Best Albums Ever, a site I’ve never seen before, and I have a large portion of the Top 50 albums.  I didn’t buy a lot of music this year, but evidently I chose wisely!).  I don’t necessarily agree with these lists, but if I see the same album on a few lists, I know it’s worth at least listening to.

This year, since I spent so much time on All Songs Considered, I thought I’d see their Best of Lists.  What’s awesome about the site is that you can hear not only selected songs in their entirety, you can also download the audio of the original show…where the DJs talk about their selections and play excerpts from them.   There are many different lists to investigate.

The most obvious one to star with is 50 Favorite Albums of 2010.  This shows the staff’s 50 favorite albums in all genres.  I admit that there’s going to be a lot on this list that I won’t bother exploring (I’m not really that interested in new classical or jazz and I’m not too excited by most pop music, although I was pleasantly surprised by how much I enjoyed the Kanye West songs here).

But some albums did stand out that I hadn’t heard, and I will investigate them further in 2011:

Buke And Gass, ‘Riposte’
Deerhunter, ‘Halcyon Digest’ (I know, this is on many best of lists)
The National, ‘High Violet’ (This is also on everyone’s list)

Bob Boilen, All Songs Considered’s most awesome host, picks his Top 9 of the year.  I’m on board with about 1/2 of his list (haven’t heard the other half).  Sufjan Stevens is his #1.

Robin Hilton, Boilen’s partner in crime, has a Top Ten which is remarkably similar to Boilen’s.  It has most of the same albums just appearing in a slightly different order.  Lower Dens is #1. (I’ve never heard of them).

Carrie Brownstein (of beloved Sleater-Kinney and now evidently a permanent member of the NPR team) has a Top Ten (Plus One)–funny that she liked more than ten when Boilen liked less than ten.  I’m really surprised by her selection of albums because her own music is so punk and abrasive, but her top ten features R&B and some folky bands.  Her top album is by Royal Baths, a band I’ve never heard of.

Stephen Thompson also picked his Top Ten.  He has an interesting mix of alt rock and jazz.  His number one is by Jonsi from Sigur Rós. (A great album).

Perhaps the best list comes from 5 Artists You Should Have Known in 2010.  I didn’t know any of the 5.  Sarah bought me two CDs for Christmas (and she was pleased to have gotten me good music that I hadn’t heard of!).  The Head and the Heart hasn’t arrived yet, but The Capstan Shafts is great.  I’m also really excited by Tame Impala.

Another great list is Viking’s Choice: Best Metal and Outer Sound (stay tuned for much more from this list).  It is dominated by black metal, but there are a few surprises in there as well.

Even the All Songs Considered Top 25 Listener’s List was great.  I had most of the list (except for The Black Keys who I simply cannot get into).

Although I enjoyed a lot of new music this year, it’s always nice to see that there is some new (to me) stuff to investigate.  Who knows maybe some day I’ll even have listened to enough new music in a year to make my own Top Ten.

[READ: December 31, 2010] McSweeney’s #36

With McSweeney’s #36, it’s like they made my conceptual ideal.  Its weird packaging is fantastic and the contents are simply wonderful.  But let’s start with the obvious: this issue comes in a box.  And the box is drawn to look like a head.  You open up the man’s head to get to the contents.  Brilliant.  The head is drawn by Matt Furie (with interior from Jules de Balincourt’s Power Flower.

Inside the box are eleven items.  The largest are smallish books (postcard sized) running between 32 and 144 pages.  The smaller items are a 12 page comic strip, a nineteenth century mediation (8 pages) and 4 postcards that create a whole picture.  The final item is a scroll of fortune cookie papers.   The scroll is forty inches long with cut lines for inserting them into your own fortunes (I wonder if they will sell this item separately?)

Aside from the bizarre head/box gimmick (and the fact that there is ample room in the box for more items), the contents are really top-notch.  For while many of the books included are individual titles, there is also an actual “issue” of McSweeney’s (with letter column and shorter stories) as well.  So let’s begin there

ISSUE #36: New Stories and Letters.  The resurrected letters page continues with more nonsense.  I’ve often wondered if these are really written like letters or if they are just short pieces that have no other place to reside.  (Oh, and the back of this booklet contains the bios for everyone in here as well as assorted other folks who don’t have room for a bio on their items).

LETTERS (more…)

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SOUNDTRACK: lions.chase.tigers: To Their Blood EP (2009).

I learned about lions.chase.tigers from the Dromedary compilation Make The Load Lighter.  When I looked them up online I found this site, where you can download their debut EP.  (Normally I’d encourage purchasing the CD to give the band some £, but it ships from the UK and would probably take weeks and cost a fortune in shipping.  So, download and spread the word).

lions.chase.tigers play a fascinating mix of noisy shoegazey guitar rock combined with very delicate quieter ballady bits.  There are only four guys in the band.  I was sure there were at least five maybe six.  They have  one guitar which plays beautiful picked guitar chords (high notes), and another which plays harmonized lower notes and sometimes big power chords.  The drums and bass complement perfectly.  And the vocals offer this great understated focus to these dramatic songs.  I imagine Sigur Rós jamming with Mogwai with vocals by Bob Mould.

All of their songs work to a dramatic climax; the tension builds like a mini epic.  The title track is the most dramatic (with that crazy screaming in the background!), and I think it’s the best track on the EP, but with each listen I hear more in the other songs to like, too.

I’m also delighted that one guy’s last name is the same as another guy’s first name: Fraser Sanaghan (guitar/vocals) and Seoridh Fraser (bass/vocals) [and no I can’t pronounce his first name but I love Gaelic names like that].  There’s also Iain Thomson (vocals/guitar), David Watson (drums).  There’s a live video on their myspace page, which shows that they sound amazing (possibly better?) live.

Scotland has been producing some amazing indie bands over the last few years, and lions.chase.tigers sis definitely a great one to add to that list.

[READ: February 5, 2010] “William Burns”

This was the first short story I’ve read since beginning 2666, (before I decided to find everything I could Bolaño).  I saved this story for last because it is the most recent release.  I initially noted: I’m in the midst of 2666, and lo, here’s a Bolaño story to read (and to hopefully not confuse matters).  It didn’t confuse matters, but I was a little concerned when I saw that it was set in the same town (Santa Theresa) as the bulk of the 2666 action.

One of the things I have grown to like about Bolaño is his multiple layers of removal from the action of the story.  So in this one, William Burns tells the story to a guy named Pancho Monge who tells the story to the narrator who tell it to us.

After that brief introduction, the rest of the story (in Burns’ own words, mind you) come in one long passage with no paragraph breaks.

Burns is living in Santa Theresa and is bored.  (Is there any other state of mind in Santa Theresa?).  He is living with two women and their dogs.  They asked him to stay with them for protection from a man who is coming to kill them.  (And, of course, they are each his lover as well). (more…)

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SOUNDTRACK: DARK WAS THE NIGHT-That Disc (2009).

The second disc in this set is a somewhat more raucous affair than the first (which was pretty much all acoustic performances).  On the surface, this seemed like the better disc of the two.  I like so many bands on this disc: Spoon, Arcade Fire, My Morning Jacket, The New Pornographers, Stuart Murdoch, Blonde Redhead.

And the disc starts out really great. The Spoon track, “Well Alright” may just be my favorite song on the whole compilation.  The Arcade Fire are typically great.  Beirut, whom I’d not heard before have a great track and My Morning Jacket’s song is very good, in a mellow sort of way.

From there, though, the disc kind of goes downhill. The Sharon Jones track is okay.  Dave Sitek’s (of TV on the Radio whom I love) track is fine.  It’s very basic, especially for him.  It has grown on me somewhat, but it’s nothing too exciting.  The New Pornographers track is catchy but nothing amazing.  Even the Stuart Murdoch (who has never done a bad track) song is mild at best.

But Riceboy Sleeps, which is a side project from the amazing Sigur Rós just kills the disc in its tracks.  The thing about Sigur Rós is that if you’re not in the mood for them, they are too ponderous by half.  So, in the midst of these kind of rocking songs, this 9 minutes ambient instrumental is just death.  And, it’s followed by a dreadful version of “amazing Grace” by the usually delightful Cat Power.

And then comes the Conor Oberst song.  This is the second song by him that I’ve listened to in a short period of time (the other was on Future Soundtrack of America).  And I just don’t get this guy’s appeal.  I feel like I must be a crotchety old man thinking this but I’ll say it: he sounds like a total knockoff of Paul Westerberg.  And the weird thing is, he sounds like a 19 year old P.W. singing the songs of the middle-aged P.W.  “Lua,” the track on here has some clever wordplay, but the melody of the song is pretty much note for note of The Replacements “Sadly Beautiful.”

And at this point in the disc I never even give Blonde Redhead and Kevin Drew a fair chance.

Track sequence means a lot, and I fear they do a disservice to the disc on this one.  I’m still a fan of Disc One and there’s a number of great tracks on Disc Two, but I was rather disappointed by this one.

[READ: December 22, 2009] Love as a Foreign Language Vol. 2

This volume concludes this engaging romance from Oni Press.

I was a little concerned as the volume opened because the Joel-Hana budding romance is derailed by a couple of silly misunderstandings.  (I was afraid we were heading towards TV-slapstick territory).  But, they proved to be just a few moments of comic relief in what was heading into a pretty emotional conclusion.

There’s also the sudden realization/crisis that his fellow teacher, the fun and flirty British woman also has a thing for Joel (what’s a guy to do with two women into him?  And realistically a British romance seems more feasible than a Korean one). (more…)

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LoveLettersSMSOUNDTRACK: SONIC YOUTH-SYR 7: J’accuse Ted Hughes/Agnès B Musique (2008).

syr7The first side of the disc (for it was only released on vinyl) is a ballsy blast of music.  Ballsy because it was the opening track of their live set at the All Tomorrow’s Parties festival in 2000.  And who opens up their set at a festival that features bands like Super Furry Animals, Sigur Rós, and Stereolab (basically a who’s who in awesome Brit-rock) with this 22 minute shriek of noise?

The set was so derisively received that the cover of the NME (hilariously reproduced on the cover of the LP) stated “Goodbye 20th Century, Goodbye Talent.”

The noise is palpable: squeals and squalls and all manner of feedback.  Kim even gets a strange little spoken word section in the middle.  I would think fans might have enjoyed it for 5, maybe even 10 minutes, but by 23 it’s pretty numbing.  The rest of the set included instrumentals from the not yet released NYC Ghosts and Flowers.  It almost seems like the set was payback for the invitation.

The B-side is an 18 minute “soundtrack” of sorts.  Agnes B. is a French clothing designer and yet somehow the music feels like it could be for some scary kids’ movie.  It has a number of creepy elements to it.  I kept picturing people sneaking around a little cottage.

The liner notes are written in Arpitan, a steadily-declining-in-use language spoken mostly in Italy and Switzerland.

Not for the faint of heart (or the vinylphobic).

[READ: August 31, 2009] Four Letter Word

I read about this book in The Walrus and then I ordered it from Amazon.ca as it doesn’t seem to be available in the US.

The book is a collection of “love letters.”  What is so very interesting about the collection is the varied nature of the letters themselves.  It’s not just: “I love you XOXO” (of course).   There are letters to mothers, stepmothers, mountains, and the Earth itself.  There are letters of love, lust, anger and respect.

I was most attracted to the book by the great list of authors, some of whom I read religiously and many others whom I just really like (and of course a bunch who I’ve never heard of).

It’s hard to review a collection of short stories that is as varied as this, especially when the pieces are this short (as most of them are).  And, I guess technically, they aren’t even short stories.  They are just letters. I would never base my opinion of these authors from this work.  Although some of the authors that I know well definitely retain their signature style.  There were only one or two letters that I didn’t enjoy, but for the most part the entire collection is very good.  And if you like any of these authors, it’s worth checking out.

I’m going to list all of the authors, mention who the letter is to, and any other salient features (without trying to give anything away–several letters have a surprise in them)! (more…)

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