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Archive for the ‘Native Americans’ Category

Mcsweeney’s #16 (Summer 2005)

Posted in Adam Levin, Ann Beattie, Bob Mould, Boredom, Brian Evenson, Death, Denis Johnson, Funny (ha ha), Funny (strange), Hannah Pittard, Harry Mathews, Hüsker Dü, Marriage Trouble, McSweeney's, Miranda Mellis, Nathaniel Minton, Native Americans, Neurotics, Pia Z. Ehrhardt, Psychiatry, Punks, Religion, Robert Coover, Roddy Doyle, Short Story, Sugar, Surreal, Violence, Yuck! on May 7, 2013| 1 Comment »

#16SOUNDTRACK: SUGAR-Beaster EP (1993).

beasterI didn’t know that Beaster, the Sugar EP was recorded at the same time as Copper Blue.  Mould’s biography was very helpful in explaining all the details of the timing and styling behind these two recording.  As well as how the super pop of Copper Blue could be followed right on the heels with the very very dark EP of Beaster.

I have often thought of this disc as being really dark and insular and Mould confirmed as much—he was really airing out some demons with this disc.  But they thought it would be better to put them all in one place rather having them bounce around the poppier full length.  What must fans (like myself) have thought to hear this dark album after the pop of Copper Blue.  I mean just look at the cover!

I hadn’t listened to this in a long time, so I was surprised by how cool “Come Around” sounds—Mould’s acoustic guitar high in the mix with some appropriately grungey guitars in the background.  There are lyrics but for the most part I think of it as just Mould making sounds with his mouth.

It’s followed by the blistering “Tilting.”  It’s got superfast drumming with aggressive guitars, it’s like we’re back to the early Hüsker Dü punk sound (with a little more clarity).  The drumming is great in this track.  The song ends with a preacher being interrupted by dissonance and what sounds like electronic interference. And this song morphs into “Judas Cradle” one of Mould’s darkest songs.  It’s very claustrophobic-feeling with echoed vocals, lots of feedback and lots of compression on the overall sound—quite different from the big open sound of Copper Blue.  And yet for all of that, the chorus, “Have you seen the Judas Cradle, ah”is really quite catchy.

“JC Auto” has some buzzsaw guitars which make it seem like it’s going to be quite an angry song and yet the bridge is quite welcoming (all this talk of holidays) and then the chorus is amazingly fun to sing along to (Mould always finds pop in anger): “Passing judgment on my life you never really got it right/I can’t believe in anything / I don’t believe in / Do you believe in anything / Do you believe me now…  Look like Jesus Christ / act like Jesus Christ I Know I Know I Know Here’s Your Jesus Christ I’m Your Jesus Christ I Know I Know I Know.”  And, as always, I love when Mould repeats his lyrics in the background (the “I Know I Know” surfaces throughout the end of the song).

“Feeling Better” has weird synth blasts that kind of works in the song but sounds out of place on this record.  This song flips between really aggressive guitars and a very bright poppy chorus.   At 6 minutes this song is a little long (because it’s primarily repeating itself by the end), whereas Judas Cradle and JC Autos’ 6 minutes are well justified.

The final song “Walking Away” is a strange one. It is comprised entirely of organs (church organ it sounds like) with Mould delicately singing “I’m walking away back to you”  The end starts to wobble giving a bit of a nauseous feeling but then it’s over.  So even in his most downtrodden and questioning, Mould still has the chops to write some great music.  Down be put off by the cover, Beaster is a great album.

[READ: March 28, 2013] McSweeney’s #16

After the fairly straightforward Issue 15, McSweeney’s was back to fun with Issue #16.  The issue opens up into a kind of quad gatefold which has , in order–a comb, a book, another book and a deck of cards.

The main book contains nine stories, by the typical McSweeney’s roster at the time.  The other booklet contains a lengthy story by Ann Beattie.  The deck of cards is for Robert Coover’s “Heart Suite” and the comb is a comb.  It’s a nice one, although it has never touched my hair.

The MAIN BOOKLET (more…)

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Zoey Leigh Peterson-“How Long and What a Marvel” (The Walrus, March 2013)

Posted in Death, Garbage, Native Americans, Salt-N-Pepa, Short Story, Sports, The Walrus, Zoey Leigh Peterson on February 6, 2013| Leave a Comment »

2013-03SOUNDTRACK: GARBAGE-Version 2.0 (1998).

2.0Garbage toured and promoted their debut for a long time.  And then they went back in the studio for the follow up.  After the success of the first one, the producers evidently tinkered and retinkered and reretinkered with Version 2.0 for ages.  I seem to recall Shirley Manson complaining that she had done her parts ages ago and was just waiting for the boys to stop playing with it.

And when they did, it was beautiful.  Look at the shiny packaging   The album cover was very graphic. All of the singles were very graphic and literally icon-ic. It was an amazing visual assault of a campaign.  And the album was like the debut only bigger slicker brasher more.  And I loved it.

In retrospect it is still good.  Quite good in fact.  But when pinpointing why the Garbage of today sounds so different, you can see it in 2.0.  The band definitely sounds more poppy, more dancey.   And Manson’s voice sounds more confident.  Less hidden behind gothy trappings.  She’s way out in front and indeed became the central focus of the band (despite the big names of the producers).  I was so enamored of Garbage and 2.0 that I never realized quite how poppy 2.0 was compared to the first.  The gothy dark side was replaced by a poppier sheen.  True, the lyrics were dark, but not quite as angsty (and they were a lot more about sex this time around).

Even though the music sounds similar there is a world of difference in the vocal styles of “Queer” and “I Think I’m Paranoid” which has her doing all kinds of vocal tricks   And “When I Grow Up” is practically all pop (with bright bah bah bah bahs).  “Medication” has an incredibly sweet section–Shirley’s gentle falsetto singing the “co-dependent” section is the great example of the dichotomy of Garbage.

“Special” is a slinky sexy song that quotes the Pretenders (something that was very cool at the time but which I feel has become something of a crutch for Manson/Garbage–quoting too literally from their sources rather than mashing them up).   “Hammering in My Head” has a cool keyboard riff and more of Shirley’s whisper/singing.  “Push It” references the Salt-n-Pepa song which is a little weird, but there’s great noisy guitars and slinky bass that makes the song it own.”The Trick is To Keep Breathing “is a the surprise song where the whispered quieter verses turn into a really pretty and prettily sung chorus.

 “Sleep Together” plays on that aggressiveness sexuality that Manson is so go at.  “Wicked Ways” ends with some really cool sequences (I don’t like the beginning that much for some reason).  And the disc ends with “You Look so Fine” a sweet track with a nicely multi-tracked vocal.  Although the album and song just kind of drift away at the end.

2.0 is an apt title, more of the same but bigger and sleeker.  But it seems to also point them in the direction of more technology that would come next.

[READ: February 5, 2013] “How Long and What a Marvel”

This is a very short story (about a page) and it is a very simple one.  But there’s a surprising amount of depth included.

The simple plot is that the narrator’s grandfather died and caused a seven hour delay of game.  What’s fascinating is that the game is never specified and I’m not exactly sure what game it might actually be.

The men from Three Mile came to their valley to play the first game of the season.  After a big meal, it was customary to start the game by having one of the old men come out, take his bat and challenge the slinger.  Many of the old men hadn’t survived the winter, but the narrator’s grandfather had and he went up to bat.  He was slow and dragging as he got up there.  (This sounds like baseball right?  Except the thrower is called a slinger and the innings are called frames.  Is it cricket?). (more…)

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McSweeney’s #12 [Unpublished, Unknown &\Or Unbelievable] (2003)

Posted in Aimee Bender, Aleksandar Hemon, Alicia Erian, All Songs Considered, Andrea Deszo, Andy Lamey, Ann Cummins, Ashley Warlick, Ben Ehrenreich, Boredom, Chad Simpson, Darin Strauss, David Ebershoff, Dean Wareham, Death, Douglas Coupland, Drinking, Drugs, Emma Forrest, Essays, Excerpt, Frank Ocean, Funny (ha ha), Funny (strange), Gabe Hudson, Glen David Gold, Henry Bean, History, J. Malcolm Garcia, J. Robert Lennon, James Boice, Jennifer Egan, Jess Walter, Jessica Francis Kane, Jill Bialosky, John Henry Fleming, Jonathan Lethem, Judy Budnitz, Julie Orringer, Katie Roiphe, Laird Hunt, Letters, Marc Nesbitt, Marriage Trouble, McSweeney's, Memoirs, Myla Goldberg, Native Americans, Odd Future Wolf Gang Kill Them All, Peter Orner, Prince, Rachel Sherman, Racism, Rene Nuijens, Rhett Miller, Rick Moody, Robots, Roddy Doyle, Ryan Boudinot, Salvador Plascencia, Sarah Raymont, Set at School, Sex, Shann Ray, Short Story, Sibylla Brodzinsky, Stacey Richter, Steve Almond, Steve Stiefel, Steven Millhauser, Tara June Winch, Travel, Valerie Sutton, Violence, Virginity (Loss of), War, Wythe Marschall on December 31, 2012| Leave a Comment »

12SOUNDTRACK: FRANK OCEAN-“Bad Religion” (2012).

frankoI didn’t know anything about Frank Ocean until I started looking at all of the  Best Albums of 2012 lists.  He was on everyone’s list and was pretty near the top of all of them.  So it was time to check him out.

It  turns out that he’s affiliated with the Odd Future collective, whom I’ve talked about in the past.  But he’s also been on a lot of big name records.  Channel Orange is his debut album (that’s not a mixtape) and the big surprise seems to be that this song (which he sang live on Jimmy Fallon) is about a male lover.  And I guess that’s progress.

So Ocean sings a slow R&B style, and I have to say his voice reminds me of Prince a lot.  Which is a good thing.  I really like this song.    It has gospelly keyboards (but in that Purple Rain kinda way).  And a really aching vocal line.  It’s really effective and it’s really simple.  And I think that’s what I liked best about this song and others that I’ve heard–he’s really understated.  Crazy, I know.

Now I do not like R&B, it’s one of the few genres that I just don;t get.  And yet there’s something about this album (the tracks I’ve listened to) that is really compelling.  It’s not awash in over the top R&B trappings, and it doesn’t try too hard.  It’s just Frank  (not his real name) and his voice over some simple beats.  A friend of mine recently said that all of a sudden she “got” this album, and  I think I may have to get it as well.

[READ: December 30, 2012] McSweeney’s #12

At the beginning of 2012, I said I’d read all of my old McSweeney’s issues this year.  I didn’t.  Indeed, I put it off for quite a while for no especial reason.  Now as the year draws to an end, I’m annoyed that I didn’t read them all, but it’s not like I read nothing.  Nevertheless, I managed to read a few in the last month and am delighted that I finished this one just under the wire.  For those keeping track, the only issues left are 13, 14, 15, 16, 20, 10, 38, (which I misplaced but have found again) and 42, which just arrived today.  My new plan in to have those first four read by Easter.  We’ll see.

So Issue #12 returns to a number of different fun ideas.  The cover:  It’s a paperback, but you can manipulate the front and back covers to make a very cool 3-D effect (by looking through two eyeholes) with a hippo.  The colophon/editor’s note is also back.  Someone had complained that he missed the small print ramble in the beginning of the book and so it is back, with the writer (Eggers? Horowitz?) sitting in Wales, in a B&B, and hating it.  It’s very funny and a welcome return.

As the title suggests, all of the stories here are from unpublished authors.  They debate about what exactly unpublished means, and come down on the side of not well known.  And so that’s what we have here, first time (for the mos part) stories.  And Roddy Doyle.

There are some other interesting things in this issue.  The pages come in four colors–each for a different section.  The Letters/Intro page [white], the main stories [pink], the Roddy Doyle piece (he’s not unpublished after all so he gets his own section) [gray] and the twenty minute stories [yellow].  There’s also photographs (with captions) of Yuri Gagarin.  And a series of drawing that introduce each story called “Dancewriting”–a stick figure on a five-lined staff.  They’re interesting but hard to fathom fully.

LETTERS (more…)

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McSweeney’s #41 (2012)

Posted in Aimee Bender, All Songs Considered, Boredom, Cassandra C. Jones, Chris Flynn, Death, Deb Olin Unferth, Drinking, Drugs, Eileen Van Neerven-Currie, Essays, Excerpt, Funny (ha ha), Funny (strange), Gracia Lam, Henry Bean, History, J. Malcolm Garcia, Jess Walter, Jesus Christ Superstar, John Brandon, Jowhor Ile, Kelsey Dake, Letters, Marriage Trouble, Matt Rota, Max Shoening, McSweeney's, Memoirs, Native Americans, Racism, Robots, Ryan Boudinot, Sex, Short Story, Sibylla Brodzinsky, Steven Millhauser, Swans, Tara June Winch, Thomas McGuane, Tony Birch, Track, Violence, Viveca Mellegard, War on December 14, 2012| Leave a Comment »

41

SOUNDTRACK: SWANS-Live at All Tomorrow’s Parties, October 2, 2011 (2011).

swansatpBefore Swans released this year’s amazing The Seer, they toured supporting their previous album (with a number of songs from The Seer included). This set has two songs from The Seer, “The Apostate” and “The Seer, Pt 1” together they comprise 50 minutes of the nearly two hour show.  The set also includes “No Words No Thoughts” (24 minutes) and “Jim” (a teeny 6 minutes) from 2010’s My Father Will Guide Me Up a Rope to the Sky.  The final track is an eleven minute version of “I Crawled” which goes all the way back to 1984’s Young God EP.

I would never have thought of Swans as a jam band, and yet here they are, with 5 songs in 2 hours.  Although unlike jam bands, they aren’t showing off their musical chops or noodling solos, they are created expressive and moody soundscapes–not as scary as in days of old, but very intense nonetheless.

The set sounds great, although I imagine this would be more enjoyable to watch than to listen to (there a great swaths of music where there’ s not a lot happening).  I wonder what Gira is doing during these stretches.  My friend Phil (or Phillipe Puleo as Gira calls him here) plays drums on the album and on this tour, and I have to say he must be exhausted–man he hits the drums hard.

I listened to this show before I heard The Seer, but it didn’t prepare me for what the album would contain.  Now having heard that album, I appreciate this live show even more–they really master these long songs.  I am going to have to try to see them the next time they swing by.  I admit I used to be afraid at the thought of seeing them because their early music was so intense, but this seems to be a different Swans now, one that an old man like myself could even handle.

The set is no longer available on NPR.

[READ: December 10, 2012] McSweeney’s #41

The cover of this issue has a series of overlapping photographs of lightning.  I didn’t really look at it that closely at first and thought it was an interesting collage.  Indeed, Sarah said it looked like a science textbook of some kind.  But when I read the colophon, I learned that Cassandra C. Jones finds photographs of lightning and (without manipulating them digitally) places them together so that the lightning bolts create shapes.  And indeed, that is what is going on.  And it’s amazing!

The cover’s pictures create a greyhound running (front and back covers show different stages of the run).  There’s also circles and a rabbit running.  It’s incredibly creative and very cool.  You can see some of her work at her site.

The feature of this issue is that there are four stories from Australian Aboriginal Writers, a group that I can honestly say I have never read anything from before.  There’s also beautiful art work accompanying most of the longer stories, three gritty non-fiction pieces and some letters, most of which aren’t very silly at all.

LETTERS (more…)

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William Gaddis–[Week 10] JR [#OccupyGaddis pages 668-end] (1975)

Posted in #OccupyGaddis, Africa, Anarchy, Art, Big Books, Books about music, Books about writers, Consumerism, Death, Funny (ha ha), Huh?, Ludwig van Beethoven, Marriage Trouble, Native Americans, Political Humor, Politicians, Puzzles, Racism, Radio, Religion, Sex, Technology, The Producers, Willy Wonka and the Chocolate Factory on August 27, 2012| 3 Comments »

SOUNDTRACK: LUDWIG VAN BEETHOVEN-“Für Elise”

I didn’t know a lot of the music mentioned in this book, but like most people, I know and enjoy “Für Elise.”  It’s an interesting choice of music to end such a crazy chaotic story, although I suppose there are some less than peaceful moments ion the song too.  It’s a shame Bast never gets to play it.

I find the most engaging moments to be when the lone high note comes before the reintroduction of the initial melody.  The middle, minor key section that sounds kind of menacing is also neat–a big switch from the delicate opening.

Why not take 3 minutes and enjoy it now:

[READ: Week of August 20, 2012] JR Week 10

The end is here.  After endlessly interrupted conversations, the book has actually hit a period.

As the last week ended, Bast was being dropped off at the hospital by Coen.  And the bulk of the end of the book takes place in the hospital.  There are many similarities between this book and a big 60s/70s comedy romp, and here is another one–all the characters seems to pile into one location for a big finale.  (Technically the finale happens at Bast’s house, but you get the idea). (more…)

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William Gaddis–[Week 9] JR [#OccupyGaddis pages 610-668] (1975)

Posted in #OccupyGaddis, Big Books, Books about music, Death, Frank Black, Huh?, Ice Cream, Marriage Trouble, Native Americans, Pixies, Radio, Religion, Sex on August 20, 2012| 1 Comment »

SOUNDTRACK: FRANK BLACK-“Headache” (1994).

Frank Black is Black Francis from the Pixies.  When the Pixies disbanded, Black set out on  a solo career.  He’s got some great songs under the Frank Black moniker and this is one of them.

This is an acoustic guitar rocker, that sounds perfectly nineties.  It builds over a series of verses, getting louder and faster with backing vocals added as the song goes along.  What’s interesting is that there’s no real chorus to the song.  The verses are more or less the choruses, although that doesn’t quite seem right either.  But after the verses, there are these quieter interlude pieces that are kind of bridges but not really.

But regardless of all of that, the song is catchy as anything (especially for a song that includes the word cranium–incorrectly used–“My heart’s crammed in my cranium”).

Wow, i thought that Black Francis has been quiet all these years, and yet I see that he has been releasing an album a year for a decade.  Talk about under the radar.

[READ: Week of August 20, 2012] JR Week 9

Holy cow, this week starts off with a lot of fun chaos in the Grynzspan apartment.  And there’s a return of lots of characters, too!  The long story arc seems to return to whence it started–the “Bast apartment,” although there are many changes afoot there.  And, for those keeping score at home, we finally get to return to the original Bast House–where kids have sex and shit in pianos.

But first the poor delivery man is back with his gross flowers.  [Simon’s comments from last week have some great ideas about the plastic flowers, too, by the way].  But before that goes anywhere, Eigen shows up to the apartment–the first time he’s been here in a while.  And as he’s coming in the door, he is given a summons for Mr Grynzspan (whom the police assume he is).  Eigen tries to control the crowd and his temper, but he’s fighting with everyone.  In particular, he’s fighting with Rhoda, who has some great lines here.  When asked if she is Mr Bast: “Man look at these I mean do I look like Mister anybody?”  When Eigen says her name “was Rhoda right,” she says “What do you mean was,” and every time Eigen puts his hands near or on her, “I said I can dry there myself.”  Things settle down and Rhoda regales Tom with the story of the shipwreck they had last night, and she’s glad that Chairman Meow isn’t drownded (610).

Then Amy calls looking for jack.  She’s back from Geneva but needs a few days to straighten out things before seeing him.  Rhoda says that Emily is someone Jack doesn’t want to see   Eigen says she’s the only think holding him together.  They repeat the same statements about Gibbs’ book.  Rhoda says that Tom is this “big important novelist” but he can’t see that Gibbs hates his own book and feels pressure from Emily/Amy. (more…)

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William Gaddis–[Week 8] JR [#OccupyGaddis pages 535-610] (1975)

Posted in #OccupyGaddis, Anton Bruckner, Aristotle, Big Books, Books about music, Books about writers, Death, Edmund Spencer, Environmentalism, Huh?, Jack London, Mark Twain, Marriage Trouble, Native Americans, Politicians, Radio, Religion, Research, Scholarship, Sex, Talking Heads, The Beautiful South, Ween on August 13, 2012| 1 Comment »

SOUNDTRACK: THE BEAUTIFUL SOUTH-“Dumb” (1988).

About five years ago I mentioned all of The Beautiful South records in one post.  But I didn’t really talk about them all that much.

This comes from one of my favorite Beautiful South records–I like all the songs equally, but I often have this song in my head.  And the reason I picked it right now is because Paul Heaton sings about a bunch of things each one ending with “either you are simply beautiful or I am simply dumb.”

And these are: “It doesn’t take a mathematician to add a simple sum”; “It doesn’t take a labrador to show a blind man sun”; and this one: “It doesn’t take Robert The Bruce to see the web you’ve spun.”

I had no idea who Robert the Bruce was and I never bothered to look it up.  And yet, as you will see below in the post, Robert the Bruce is mentioned in JR!  I was flabbergasted.  And this song immediately popped into my head.

And that’s not a bad thing.  It’s a pretty piano ballad with a seemingly negative chorus (dumb, dumb, dumb) despite its positive message.  There’s also a beautiful ending: “The sun, the sky, the moon, the stars/Jupiter, Neptune and Mars/All these things I clearly see/It don’t take a telescope for you to love me.”  The songs ends with Jacqui Abbot’s lovely echo of this stanza.

The Beautiful South were a great band, they broke up a few years ago.  Paul Heaton has a number of solo albums out but they’re not available in the states, so…

[READ: Week of August 6, 2012] JR Week 8

This week’s read finds us primarily in the apartment.  We see bast return home and fool around with Rhoda before he goes off on his trip to the funeral.  We see Gibbs come in and try (in vain) to get work done.  We actually get to see Gibbs’ magnum opus (or parts of it), and we see him fall off the high that he felt with Emily.

There’s a lot of funny stuff in this week’s read.  It seems like the darker the story gets, the more childish jokes Gaddis throws in there.  Seeing Gibbs unable to work on his manuscript because of all of the (real and fake) distractions is simultaneously hilarious and spot on.  And also, the plotlines are really revving up now.  JR Corp is starting to see some pushback on their deals, and a number of outsiders are starting to get angry.  There’s bound to be a collapse of some sort soon.  I’m also starting to think that with all of the ellipses in the book that it will end with a dot dot dot.

As we resume, Davidoff and Bast are still talking.  Davidoff tells Bast “Don’t worry about” something [Thanks to Simon for pointing out this expression–I recognized that Davidoff always says “brush fires,” but not the don’t worry about it].  He is concerned that Bast’s hearing aid isn’t turned up (ha), but that the Boss [JR] wants Bast’s signature on any expenditures over $2,000 (It was originally $200, but Davidoff said Bast would get writer’s cramp).  He explains the title change in the magazine from Her to She–passive to active readership–will cost $14,000.  There’s also $27,000 for a new logo.  And the logos are awesomely cheesy–hard to believe they paid $27,000 for them.  They revolve around the dollar sign, with the least offensive one making a J and R out of the top and bottom of the S–the others have a snake, or breasts or thumbing your nose or even someone behind bars.  They pick the least offensive one that says Just Rite in a dollar sign (“something patriotic about the dollar sign”).  They’re going to put them on half a million matchbooks. (more…)

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Christian Lander–Whiter Shades of Pale: The Stuff White People Like, Coast to Coast, from Seattle’s Sweaters to Maine’s Microbrews (2010)

Posted in 30 Rock, Banksy, Barack Obama, Beer, Bob Marley, Books about writers, Boston, MA, Canadian Content, Christian Lander, Consumerism, Decadence, Dip-in Books, Drinking, Essays, Fears, Food, Funny (ha ha), Monty Python's Flying Circus, Native Americans, NPR/PRI/PBS, Portlandia, Punks, The Big Lebowski, The Office, Travel on July 29, 2012| 3 Comments »

SOUNDTRACK: BOB MARLEY AND THE WAILERS-Legend (1984).

I’m white, so that means I own a copy of this CD (according to the book below).  And I do, because it’s mandatory in college that you play “Jammin'” at every party.

Now, I like ska (yup, still).  I know that ska came from reggae, but to me reggae is just boring ska.  I couldn’t agree more with Barney on How I Met Your Mother:

Ted: Oh, get this, she plays bass in a reggae band. They’re having a show this Friday. How cool is that?

Barney: Oh, does she know that one song? Mm-hm chaka, mm-hm chaka. What’s that song called? Oh, right, it’s called every reggae song.

Although in fairness, listening to this again, it is a rather nice album (I guess I know every song).  I have a personal aversion to some of the really overplayed songs, like “One Love” (because if you go to any Caribbean location they all act like it’s the official slogan of hot weather.  We even have a Christmas ornament from St. John that says “One Love”  WTF?  And I don’t think anyone needs a 7 minute version of “No Woman No Cry.”

But some of the lesser played its (“Could You Be Loved” and just about anything with The Wailers backing him are pretty great).  Although I’ve got to admit I can’t take more than a few songs.  I had to skip through some of the last songs (thank goodness I don’t have the 2 disc version).

[READ: July 26, 2012] Whiter Shades of Pale

Christian Lander created the blog Stuff White People Like.  It was very funny (it hasn’t been updated since Feb 2011, so let’s assume it has run its course).

Lander had released a first book of SWPL back in 2008.  I didn’t read it (blog to book deals were overwhelming in 2008), but I had seen enough of the site to assume it was funny.  One of the funnier jokes when the blog first came out was wondering if the creator was white or not.  (Well, the author photo gives that away, but I won’t).

We grabbed this book at a Borders going out of business sale (sorry Borders, you are missed).  This book continues where the first book left off (I gather).  I don’t know if every entry from the blog made it into the book (the thanks at the end of the book lead me to think not), but I have to assume most of them made it (and maybe there is new stuff in the book too?) (more…)

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Joseph Boyden–“Kikwaakew” (The Walrus, July/August 2012)

Posted in Canadian Content, Culture Shock, Joseph Boyden, King's X, Native Americans, Pearl Jam, Short Story, The Walrus, Tres Mts. on July 13, 2012| Leave a Comment »

SOUNDTRACK: TRES MTS.-Three Mountains (2011).

Tres Mts. are a side project that features dUg Pinnick from King’s X and Jeff Ament from Pearl Jam.  It also features Mike McCready from Pearl Jam on some solos (and he played live with them as well).  The drummer is from the Fastbacks, but I don’t know the Fastbacks.

To me this sounds like a King’s X project–dUg is just to powerful a presence to not dominate.  And of course there is some heavy off-beat stuff, just like King’s X.  The biggest differences are the lack of harmonies and the more screaming guitar solos.  And yet it also sounds a lot like a Pearl Jam record–Ament writes most of the songs and his Pearl Jam instincts are in full force.

Overall the disc plays with different sounds–some hard fast rockers a few slow soulful numbers and some big choruses.

“My Baby” is a fast blast of rock–one might even say dUg fronting a Pearl Jam song (Mike McCready plays a wailing solo).  “Oh Lord” has some really dissonant chords on it, it shows the noncommercial side of the band.  I really like it, although I gather it’s not a favorite of others.  “God Told Me” sounds a bit more like King’s X’s slower ballads with gentle vocals.  “Makes Me Feel” is a meandering, atmospheric song with subdued vocals and tribal drums–Pearl Jam makes songs like this although it’s unusual for King’s X.  dUg does the whispery vocals really well.

“Holes in the Road” is just a straight out rocker–pretty much a classic rock song.  “In the Middle” and “Life” are gentle ballads.  I get “Life” stuck in my head quite a lot.  “Afrosheena” is a beautiful soulful song–dUg’s voice soars through the chorus–it really highlights what a great voice he has.  “She’s My New Song” has more of that classic rock feel–guitar solos after every verse.  This song feels like it could be thirty years old, it’s great.

“Utah” is probably my favorite track on the disc–it’s funny (“she moved to Utah…with the mailman”), it’s fast (the opening riff is great), it’s got stop and start sections and a little dissonance, all in under 3 minutes!  “Break” is a slow ballad that opens like a Pearl Jam ballad–a beautiful slow guitar intro.  The final proper song is “Mystery” a noisy rocker with dissonant chords and interesting guitar sounds.  The bridge is very King’s X.

The disc ends with “Shes My New Reprise” which is an instrumental (mostly) jam of “She’s My New Song” that gets super fast at the end (with bongos!).  It’s a great fun ending to a great fun record.

These three (four) guys hit all the right strides on this record.

[READ: July 13, 2012] “Kikwaakew”

Sometimes it’s fun to read a story about something that is completely unfamiliar to you.  In this case, this is a story about a Cree man trapping animals in the snow.  Xavier, who has only one leg (!), is away from his sons looking for the animals he has trapped.  Xavier has had a hard life.  His wife died giving birth two his twin boys, and he has to work very hard during the winter to have sustenance for the year.

Before this journey his Aunt Niska came and told him she would use her shake tent and offer prayers.  He knows that she is trying to tell him something from far away–possibly that something bad is coming.  He can just tell, from the way something seems to be watching him.

This was a fascinating look at  trapping–how he baits his traps but has to snowshoe (with the prosthetic keg) out to check them all.  He hopes to find a fisher (I had never even heard of this animal) which is like a giant weasel, whose pelt will give them enough money for the rest of the year.  He knows there is a fisher around, and he is trying his best to catch it, only to find that something has taken his bait and destroyed the traps. (more…)

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Thomas King–“Not Enough Horses” (The Walrus, July/August 2004)

Posted in Canadian Content, Canadian Music, Culture Shock, Flash Fiction, Funny (ha ha), Native Americans, Romance, The Tragically Hip, The Walrus, Thomas King on February 15, 2011| Leave a Comment »

SOUNDTRACK: THE TRAGICALLY HIP-Road Apples (1991).

A cleverly designed cover signals an amazing album inside. After the vast improvements of Up to Here, Road Apples rocks and is the first of the Hip’s most great and cohesive records from this period.

The one-two punch of the opening rockers “Little Bones” and “Twist My Arm” is sublime.  And Downie has really found his voice at this point.  Those initial two songs show the kind of complexities the band will add on future discs.

The rest of the disc is really successful raw, bluesy rock.  The guitar solos are longer and more substantial (songs like “Bring It All Back” showcases Rob Baker soloing skills).  And the bulk of the rest are songs that could be staples of any classic rock station.

But they mix up the styles a bit as well.  “Cordelia” is a brooding, intense song, that builds from a quiet intro into a rocking chorus, the kind of song which later albums will showcase.  “Long Time Running” is a grooving ballad.   And “Fiddlers Green” is a pretty acoustic number.  The final track, “The Last of the Unplucked Gems” is another mellow acoustic track, but it foreshadows some of the great songs the band would write in the future.

Road Apples is a hugely successful disc, although for my tastes it’s on the next two albums that The Hip really hit their excellence.

[READ: January 26, 2011] “Not Enough Horses”

This second flash fiction of The Walrus’ 2004 Summer Reading Issue has a similar “problem” as the first one. It actually feels too long to be flash fiction.  True it is only one page and, since it is mostly conversation, it is very brief.  But the story is actually rather detailed, something which I feel doesn’t quite belong in flash fiction.

Indeed, it is a simple enough story:  a young man would like to marry a Native woman.  He goes to the woman’s father and begins offering him gifts for his blessing.  The father says that in the past the gift would have been horses, although the boy’s first gift is kittens. (more…)

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