Feeds:
Posts
Comments

Archive for the ‘Newspapers’ Category

Phoebe Wang–“A Crowded Memory” (West End Phoenix: That Summer Feeling, Summer 2019)

Posted in Canadian Content, Culture Shock, Essays, Hong Kong, Idles, Japan, Mahjong, Nostalgia, NPR/PRI/PBS, Phoebe Wang, Simone Heath, Summer, Tiny Desk Concert, Twins, West End Phoenix on July 7, 2019| Leave a Comment »

SOUNDTRACK: IDLES-Tiny Desk Concert #858 (June 28, 2019).

I had heard of Idles from All Songs Considered.  On the podcast, Bob Boilen raved about seeing them live.  Like this:

My first time seeing IDLES ended with guitarist Mark “Bobo” Bowen frenetically dancing on a bar, his guitar still keeping time, until the swinging neck suddenly shattered some low-hanging, glass lighting fixtures. The band’s set at South by Southwest was fierce and I knew it’d be a challenge trying to figure out how to bring that cathartic rage behind my desk. There was talk for a while of some members of the band strapping on pocket-sized guitar amps and beating on a single drum. But a week before this bunch of British madmen arrived at NPR, the instrument list had grown and what ensued was just about the loudest, most fun and most raucous Tiny Desk Concert in memory.

This is all true, for sure.  But this Tiny Desk, as amazing as it is, doesn’t come close to showing how incredible their live show is.   Idles live is a truly unforgettable experience.

However, seeing all of that energy and fun contained in a small place is awesome and this is one of my favorite Tiny Concerts as well.

The first song “Never Fight A Man With A Perm” opens with a siren sound from keyboardist Jeremy Snyder and the main constant of Idles’ music–steady bass from Adam Devonshire.  Add in the thumping drums from Jon Beavis and you have the ground work for Joe Talbot to start his singing/yelling.

The band also has two guitarists.  Mark “Bobo” Bowen thumps on the floor tom while Lee Kiernan jumps around, slashing at chords.

The title sounds funny and it is, but the song is a serious indictment of male aggression.

What lead singer Joe Talbot and his mates bring to their shows is a mix of love and outrage. Their songs are often bursts of fury, but the message is insightful and not intended to incite. Joe Talbot says their opening Tiny Desk song, “Never Fight A Man With A Perm,” from their album Joy as an Act of Resistance, is an “exploration of the horrid corners of my past.”

The chorus of “concrete and leather” thumps around before the song returns to the verses, with some cockney slang:

Brylcreem
Creatine
And a bag of Charlie Sheen

A heathen from Eton
On a bag of Michael Keaton

Bobo is a ton of fun to watch–shirtless, wearing American flag spandex pants, he climbs on everything: amps, desks, and other unseen things.

“Mercedes Marxist” starts with a thumping single bass note which will remain unchanged for two and a half minutes.  Snyder takes over on the floor tom while Bobo and Lee trade off guitar sections.

The song is almost entirely that one bass note (with all kinds of guitar melodies and riffs swirling around it).  Until a big chorus comes near the end.  Through it all,  Talbot is directing the fun with his scary vocals.

It only took a few seconds for Joe’s face to turn blood-red; as he growled, it stayed that way for the next 13-minutes, even as he curtseyed at the end of the first song and bounced his way into the second.

The one thing that this Tiny Desk misses is Talbot’s love and generosity.

Despite his tone and the roughness of the music, his kindness and consideration is paramount to the band.  Hearing him wish nothing but love on everyone is a pretty wonderful feeling especially after he sings “dirty rotten filthy scum.”

“We are not the Jonas Brothers,” Joe Talbot explained before their final tune. “People get confused.” He said this with his charming smile and began to run in place while singing “I’m Scum,” just to make it clear who they are.

Before the songs, he asks, what song are we doing?  Someone says “Scum.”  He smiles, “I like this song.”  Before it even starts he begins running in place, knees high as he chants “hey! hey!”  The energy of this band is incredible and certainly hard to contain.

 watching the hyperactive movements in this confined space, it’s actually hard to believe that so few things broke.

Mid song Bobo leaves the desk area to grab someone on the crowd.  He gives her percussion instruments to bang. Then Bobo grabs somebody else and he takes over percussion as well.    Then Bono crawls around on his knees, climbs on the desk and is having a great time.  As is everyone else.

I thanks All Songs Considered all the time for the band they’ve introduced me to, but Idles might be the best find ever.

[READ: July 1, 2019] “A Crowded Memory”

The Summer 2019 issue of The West End Phoenix was a special all comics issue with illustrations by Simone Heath.  Each story either has one central illustration or is broken up with many pictures (or even done like a comic strip).

Each story is headed by the year that the story takes place–a story from that particular summer.

1988: This story is written in paragraphs with drawings in between.

It is the story of a 7 year-old girl going to Hong king for the first time.

She was spending a month in Hong Kong without her immediately family.  She would be living with her Nai-nai and Gong-gong.

The place was total culture shock.  She had never heard only Cantonese before. She had never seen so many Chines people.  There were street vendors and apartments and the colors and smells were overwhelming.  Everything feels to loud, too big and too hot. (more…)

Read Full Post »

Waubgeshig Rice–“First Powwow” (West End Phoenix: That Summer Feeling, Summer 2019)

Posted in Anishinaabe, Canadian Content, Essays, First Nations, NPR/PRI/PBS, Racism, Religion, Reunion, Simone Heath, Summer, Tasha Cobbs Leonard, Tiny Desk Concert, Waubgeshig Rice, West End Phoenix on July 6, 2019| Leave a Comment »

SOUNDTRACK: TASHA COBBS LEONARD-Tiny Desk Concert #860 (June 24, 2019).

Tasha Cobbs Leonard tells the crowd we’re gonna do some worship songs–gonna go to church some.  Everyone is wearing blue except Tasha who is in a very colorful outfit.  She is “regarded as one of the best gospel singers performing today — she’s won numerous awards, including a Grammy.”

“Break Every Chain” has the opening lyrics: There is power in the name of Jesus.”  It opens with David Williams II playing keys and after a verse or two Wellington “Boo” Britt adds some simple drums.

Her backing vocalists Kennya Miller, Breona Lawrence, and Emoni Robinson sound fantastic–adding a wonderful chorus.

After the first chorus Archie “Snoop” Pearson adds some bass and the whole song feels full.

Her Tiny Desk set started out with one of her favorite songs and her most popular tune, “Break Every Chain,” an anthem that reminds many of us that “there is power in the name of Jesus.”

Tasha gives a little preach about God’s plan for everyone before the next song

“You Know My Name,” is one Cobbs Leonard wrote a few years ago with South African musician and friend, Brenton Brown.

This songs starts out as a ballad with just guitar from Benjamin Forehand and voices.

I like the way Tasha was brought to the Tiny Desk:

I first saw Tasha Cobbs Leonard sing live in my church’s 4,000-seat sanctuary. Her voice easily powered-over the PA system and I was amazed by how well I could hear its beautiful resonance and clarity.

The final song is “The River of the Lord,”

a country-influenced tune, written by her husband, musical director and producer, Kenneth Leonard, along with some of their friends. Originally from Jesup, Georgia, Cobbs Leonard explained that “where I’m from, this is called a hand-clapping, foot-stomping, church song. We’re going to clap a little bit, put a smile on our faces and celebrate the river and the joy of the Lord.”

I grew up listening to religious music that was pretty bland and people who didn’t seem to like singing it.  But I can see why people get into gospel music.  Music that’s this fun–even religious music–is really enjoyable..

[READ: July 1, 2019] “First Powwow”

The Summer 2019 issue of The West End Phoenix was a special all comics issue with illustrations by Simone Heath.  Each story either has one central illustration or is broken up with many pictures (or even done like a comic strip).

Each story is headed by the year that the story takes place–a story from that particular summer.

1983: Waubgeshig and his family traveled more than 300 kilometers from Wasauksing to Mississaugas for his first powwow.

He doesn’t remember the journey or arriving.  He really only remembers the sound of the big drum.

The beat echoed in his chest and he was thrilled at the colors of the people dancing around the drum. (more…)

Read Full Post »

David Seymour–“Kelso Lake” (West End Phoenix: That Summer Feeling, Summer 2019)

Posted in Canadian Content, David Seymour, Essays, Fears, Lakes, Miya Folick, Nostalgia, NPR/PRI/PBS, Summer, Tiny Desk Concert, West End Phoenix on July 5, 2019| Leave a Comment »

SOUNDTRACK: MIYA FOLICK-Tiny Desk Concert #864 (July 5, 2019).

I feel like I’ve heard of Miya Folick, but I’m not sure where.

Miya Folick was raised a Buddhist in Santa Ana, Calif., and is of Ukrainian and Japanese descent. She sings of conviction, not fiction. I find a stirring sense of truth driving that powerful voice of hers.

She portrays a nice mix of tough and vulnerable in this Tiny Desk Concert.  Between the pink hair and her at times gruff voice (and lyrics), she is bad ass.  But she also sings in a delicate falsetto.

Like on the opening song, Thingamajig” in which her voice (with minimal backing music) fills the room.

Miya Folick began her Tiny Desk Concert with an apology in the form of a song. “Thingamajig” opens with Wynne Bennett’s stark piano. The song is also the lead-off track on Miya Folick’s 2018 album Premonitions. On that version, the song crescendos with strings backed by a vocal loop. Here at the Tiny Desk, we get to hear why Miya Folick is such an astonishing performer, her classically trained voice taking charge, wrapping around those melodic piano lines while singing, “I am sorry / I know I am wrong / So take it all / I want to be out of control.”

For the last verse, Wynne Bennett adds some bass synth notes to flesh out the low end.

She is sweetly nervous after the song… I’m talking because I’m not ready.  I was surprised when she said “This song is called Dead Body,” but I enjoyed the way she turns that title around.

For her second tune at the Tiny Desk, “Deadbody,” she sings, “I need you to know I’m not powerless / My strength lies within my gentleness.” And by the time the chorus kicks in, her little band of two is in full throttle while Miya sings, “Over my dead body,” addressing the cruelty of men toward women.

The song opens with a cool shuffle on the drums from Garet Powell and a single repeated bass piano note while she sings.  For the chorus she adds some simple acoustic guitar chords that add a surprising amount of body to the otherwise stark song.  And she sings really powerfully and intensely for the end of the song.

The last song is called “Cost Your Love.”

I could see a deep appreciation for this day in Miya’s eyes. And before she played her final song, she took a moment to be thankful for being in this space. Miya stopped to say that she’s been watching Tiny Desk Concerts since before she was even playing music. Then she tuned her guitar, took a deep breath and launched into the darkness for her final tune.

Despite the intensity of her vocals and lyrics, she’s funny and personable.

She jokes: I only play one string so that string better be in tune.

Although it’s not a joke because she does only play one string.  But the melody is pretty cool and the songs shifts between that low string melody and very pretty piano.  She showcases both extremes of her voice–rough and growly and gentle and tender.  It’s an impressive performance.

[READ: July 1, 2019] “Kelso Lake”

The Summer 2019 issue of The West End Phoenix was a special all comics issue with illustrations by Simone Heath.  Each story either has one central illustration or is broken up with many pictures (or even done like a comic strip).

Each story is headed by the year that the story takes place–a story from that particular summer.

1979.  This story is sort of like a comic strip, but with more elastic panels than the standard boxes.

Every weekend that they could, David’s family would cram into the car with a cooler and towels and head off to Kelso Lake.

There’s even an illustration of Kelso Lake–a bent thumb near the Niagara escarpment.  It was light years from a Mississauga apartment and might as well have been Turks & Caicos. (more…)

Read Full Post »

Dave Bidini–“Bad Dream Job” (West End Phoenix: That Summer Feeling, Summer 2019)

Posted in Australia, Betty Who, Beyonce, Britney Spears, Canadian Music, Dave Bidini, Essays, NPR/PRI/PBS, Rheostatics, Simone Heath, Summer, Tiny Desk Concert, West End Phoenix, Work, Yo-Yo Ma on July 4, 2019| Leave a Comment »

SOUNDTRACK: BETTY WHO-Tiny Desk Concert #861 (June 26, 2019).

I had never heard of Betty Who before this show and my word did she win me over.  She is so much fun, so entertaining that it makes me want to explore her music (and maybe even see her live show).

However,  Betty Who is an Australian cellist who plays dance pop music.

Her third LP, Betty, falls squarely in the … sun’s-out, buns-out pop genre.

I suspect that as with most of the pop stars who play quietly at Tiny Desk, I will probably much prefer these version to the original–so maybe I should just leave it here.

Some background

She grew up in Sydney, Australia, and started playing [cello] at the age of four (just like Yo-Yo Ma). Maybe it had something to do with her mom being in the room, but emotions ran high for the charismatic and chatty singer. “I didn’t want to be the girl who played cello and sang,” she told the crowd gathered to watch. “‘Cause that girl feels really far away from ass-out, sparkle-covered pop-star me.”

I would not have guessed her pop star ambitions as the first song starts with just her voice and cello.

When all the studio production is stripped away, what’s left are intricate melodies that soar through Betty’s impressive vocal range and relatable lyrics. As the audio engineer for the Tiny Desk concert series [Josh Rogosin], I’m always curious how the vocals will translate without the aid of pitch correction and tons of effects you hear on the album. I’m a sucker for great melody and Betty Who’s raw vocal performance at her Tiny Desk had me in a state of aural ecstasy.

It sounds fantastic.

She plucks the cello for the beginning.  She has a terrific voice, although she sings a little too pop for my full appreciation.  After the first verse, Myla Bocage adds some keyboard notes to flesh out the song.  After another verse, Jemila Dunham adds some cool bass lines.  Her bass throughout the show is pretty excellent.

After a chorus or two, she throws in a bowed cello solo which works perfectly (and sounds great of course).

After the song she is so bouncy and bright and energetic.

She tells us that she always wanted to be a pop star–she likes sparkles and have her ass out.  She wanted to be the love child of Beyonce and Britney Spears.  But she studied classical music since she was little.  She says, “I told myself I would commit to pop star life and dance and do what I always wanted to do and make that vision come true.  And then one day I’d just whip out my cello and say oh P.S. By the way.…  And this is the first time I’ve been able to do this.”

One of my favorite things about Tiny Desk concerts is that artists are often inspired to experiment. Betty Who was in town recently for a three-night residency at D.C.’s famed 9:30 Club where her sound was larger than life. The subwoofers cranked out backing tracks you could feel in your gut and dancers flanked the pop star, punctuating every pulsating beat. But she began her Tiny Desk performance with only her cello and her voice — the first time she’s ever accompanied one of her original songs with the instrument.

Song two is “Friend Like Me,” which is one of her favorite songs she’s written.

She wanted to wrote a song that said, I love you but you make me fucking crazy and I want to punch you in the face or I love you so much but you’re your own worst enemy and you’re taking yourself down.

It’s just her on the acoustic guitar and her voice is really lovely (less loud and poppy)  After a couple of verses Bocage adds some keyboard twinkles.  Some bass fleshes out the song, but it remains a very pretty ballad.

Before the final song, “I Remember,” she introduces the band and says “Ian Barnett on the [drum] pad.  You should come see us, he does much more than this.”

Betty Who says she dreamed of having a Tiny Desk concert ever since she was a teenager. She chose to end hers by asking everyone to sing along to the track, “I Remember.”

Dancing under the stars
Kissing you in the dark
I remember your love, oh
Never giving you up, giving you up, oh.

I love that she gives hand motions and massive encouragement as she teaches everyone the words.  She says she has three plants in the audience.  They’re going to sing loud and you can all mumble along if you want.

She says this song is about real couples “not kind of Instagram we love each other so much.  People who don’t fight, ick, what is that.  The best couples know each other the best and can push each other’s buttons.  It’s an amazing feeling to love someone so much but also want to strangle the life out of them,  They make you the most crazy, but that’s what makes you love them so much.

Betty’s reaction to their singing is wonderful.

She’s great and I hope she starts selling bigger venues.

[READ: July 1, 2019] “Bad Dream Job”

The Summer 2019 issue of The West End Phoenix was a special all comics issue with illustrations by Simone Heath.  Each story either has one central illustration or is broken up with many pictures (or even done like a comic strip).

Each story is headed by the year that the story takes place–a story from that particular summer.

1978: Dave Bidini got his first job working in a record store at the Albion Mall (made famous (to me) in the Rheostatics’ song “Jesus Was Once a Teenager Too”).

It was a dream job–that’s where he bought his 45s and LPs.  It was right across from an Orange Julius! (more…)

Read Full Post »

Janet Morassutti–“The Not-Okay Corral” (West End Phoenix: That Summer Feeling, Summer 2019)

Posted in Canadian Content, Comic Strips, Essays, Horses, Humiliation, Janet Morassutti, Lily & Madeleine, Nostalgia, NPR/PRI/PBS, Parenting, Simone Heath, Summer, Summer Camp, Tiny Desk Concert, West End Phoenix on July 3, 2019| Leave a Comment »

SOUNDTRACK: SAINT SISTER-Tiny Desk Concert #863 (July 3, 2019).

The first surprise from Saint Sister is the harp.  The second surprise comes when you realize that Saint Sister’s music isn’t going to be traditional harp-centric folk songs.

The third is when Morgan Macintyr speaks after the first song and she has a pretty heavy Irish accent.

It’s a surprise because their voices are angelic and accent-free while they sing their pretty songs.

Saint Sister makes the sort of music I’ve been fascinated with for much of my life, music that mixes the organic with the electronic. In this case, the organic sounds come from that Dusty Strings harp and the harmonies of Gemma Doherty and Morgan Macintyre, with electronics performed on keyboards by Morgan and Dek Hynes, and the mostly digital drums of Shane Gough.

So, yes, even if the harp is the centerpiece (“[when] Gemma Doherty pulled her 34-string lever harp from the band’s vehicle; it seemed bigger than all of us”) the rest of the band fleshes out the harp with waves of synths and percussion.

Causing Trouble” opens with single harp notes and echoing drums.  Then Gemma and Morgan start singing and their voices blend beautifully.

You can tell the Irish connection in the lyrics of this song:

We danced from Belfast to the Basin
When you sang, “And it stoned me”
Well it stoned me

“Shape of Silence” is a short instrumental made up of unearthly sounds and voices as Gemma plays a lovely harp melody.  It’s about a minute long and segues into “Is It Too Early? (Kilmainham).”  They sing in a kind of staccato style (and remind me a bit of Lily & Madeleine here).  There’s no much harp in the verses–it’s almost a dance song, but when the synths fade off, the harp returns and sounds even lovelier somehow.

For “The Mater” Dek and Shane leave so it is only Gemma and Morgan.  This song is quieter with just the harp and their voices.

Although the melding of harp and electronics is cool, they sound beautiful with just harp and voices.

[READ: July 1, 2019] “The Not-Okay Corral”

The Summer 2019 issue of The West End Phoenix was a special all comics issue with illustrations by Simone Heath.  Each story either has one central illustration or is broken up with many pictures (or even done like a comic strip).

Each story is headed by the year that the story takes place–a story from that particular summer.

This story is told in comic book style with panels.

1976: If you are Janet, when you are ten years old, the worst thing about horseback riding camp is the horses.  They are massive and muscular and totally in charge.

Much of the camp seemed to be about teaching the horse who was boss. When the kids were told to walk the horses around the ring, that was okay, even if Janet was clearly letting the horse lead.  But when they left the ring to return to the paddock, the horse let Janet know who was actually in charge.  It stopped following the horse in front of it and stopped to eat some grass. (more…)

Read Full Post »

Michael Winter–“Bacon Fat” (West End Phoenix: That Summer Feeling, Summer 2019)

Posted in Bears, Brian Eno, Canadian Content, Essays, Lakes, Laraaji, Nostalgia, NPR/PRI/PBS, Simone Heath, Summer, Tiny Desk Concert, West End Phoenix on July 2, 2019| Leave a Comment »

SOUNDTRACK: LARAAJI-Tiny Desk Concert #846 (May 2, 2019).

Who is Laraaji?

I had no idea, and yet, it seems like I should.

40 years ago … Brian Eno produced an ambient album of his music called Ambient 3: Day of Radiance as part of a series of ambient records from Eno that began with 1978’s Ambient 1: Music for Airports. Edward Larry Gordon, now known as Laraaji, was a comedian as well as a musician. I suppose that explains the laughter as part of his meditative and therapeutic music. Laraaji is now in his mid-70s, has released over 50 recordings as well as an abundance of sound-healing sessions.

Laraaji and his musical partner Arji “OceAnanda” Cakouros (“draped in loose-fitted, saffron-tinted clothes, with a table draped in a similar orange fabric — almost the tones of a setting sun”) play an uninterrupted 15 minutes of chillout, which they call “12345678…”

It begins with a small bell, a set of tiny wind chimes and a plucked, angelic zither sounding much like a harp.

Laraaji plays the electric autoharp/zither and has a cool swirling echoing effect on it.  Meanwhile OceAnanda has all manner of percussion at her disposal, including, chimes, shakers, and most surprising, and iPad synth (but that comes later).

The opening is incredibly soothing with just chimes and the autoharp  Laraaji uses a pick and his fingers to create notes and chords.  With the delay on it, it is incredibly chill.

After about two minutes OceAnanda plays some notes on the iPad.  Then around 3 and a half minutes Laraaji picks up drum stick brushes and begins gentle tapping the autoharp.  OceAnanda plays the kalimba, which is a little too loud, but still works nicely.

Then Laraaji began to laugh. I smiled. (His laugh is infectious). Then more of us in the office smiled as he brushed rhythms on his zither and processed the sounds to add delay and intensify the hypnotic pulse.

I agree that his laugh is infectious, but I found it so jarring that his laughter turned into him singing.  Rather than it being fifteen minutes of blissful chill out, it was now a song with words–even if the words were meaningless, or very familiar.  He sang “12345678” and “lum lum lum lum lumalum la”

But since the majority of the song has him singing over it, I soon got used to it and allowed it to wash over me as well.  But, really his voice definitely brings you out of the headspace you’ve created for yourself.  Even if his laugh is indeed infectious.

At seven and a half minutes OceAnanda starts playing a violin melody on the iPad and it works very nicely–slow and pretty with a melody that works, even if it is random.  After a couple minutes she changes the sound of the violin to a more synthy sound, which fits in even better.

With a few minutes left, OceAnanda switches to a shaker which works its own hypnotizing momentum.  And then for the end, she plays a bit more of  that violin iPad while Laraaji sings the words from “this little light of mine.”

And then it all fades and you come back to reality.

[READ: July 1, 2019] “Bacon Fat”

The Summer 2019 issue of The West End Phoenix was a special all comics issue with illustrations by Simone Heath.  Each story either has one central illustration or is broken up with many pictures (or even done like a comic strip).

Each story is headed by the year that the story takes place–a story from that particular summer.

1974: This is a short story about the summer that Michael’s family wanted to build a log cabin on a piece of land in Newfoundland.  It was a popular place and they had next door neighbors at the lake who built a log cabin in what seemed like a weekend.

His parents were from England. But his dad always wanted to be a cowboy and his mom always wanted to live in New York City.  So they settled on Newfoundland. (more…)

Read Full Post »

Nick Hornby–“Rock of Ages” (New York Times, May 21, 2004)

Posted in Aerosmith, Bruce Springsteen, Craig Finn, Marah, Nick Hornby, Selfish Cunt, The New York Times, U2, Wilco on June 19, 2019| Leave a Comment »

SOUNDTRACK: MARAH-Kids in Philly (2000).

After reading about Marah in Hornby’s post I decided to listen to their Kids in Philly CD.

I totally get why Hornby likes them and I can absolutely imagine what their live show would be like.

They’ve absolutely got the whole Springsteen vibe–good time rock and roll with close harmony backing vocals.

There’s a harmonica instead of a saxophone (I prefer the harmonica) on “Faraway You: and there’s even xylophones like on Springsteen’s Christmas song on “Point Breeze.”  The horns (and the chanted “come ons”) do appear, this time on “Christian Street.”

“It’s Only Money Tyrone” slows things down with slinky groove and a sound that’s less bar-band.  “My Heart is the Bums on the Street” feels like a quieter Springsteen song–classic rock with gentle vibes and a clap-along feel.  Although I suppose like he sounds more like Craig Finn than Bruce Springsteen.

“The Catfisherman” is a stomping honky-tonking song with an Aerosmith vibe.  “Round Eye Blues” slows things down with a simple melody (in the vein of U2s “With or Without You”).  It also recycles all kinds of early rock n roll lyrics into its own melody, which is fun.

“From the Skyline” has a great guitar riff/solo running through it with a bit more distortion thrown on top.  “Barstool Boys” sounds a bit like The Replacements’ “Here Comes A Regular” only with banjo.  “The History of Where Someone Has Been Killed” adds some acoustic guitar while “This Town” keeps the mood with a quiet album ender.

I am genuinely surprised that this band wasn’t more popular.  They would seem to push a lot of classic classic-rock buttons.

I only wish I had some idea why they chose that name.

[READ: June 15, 2019] “Rock of Ages”

After reading Hornby’s 2000 review of Marah I found this 2004 review of Marah.  Since I had seen that they later did a tour together, I was curious what this lengthy review would be about.  It’s about seeing Marah live and lamenting that a band this good should have to resort to “passing the hat” for tips.

He says

Philadelphia rock ‘n’ roll band Marah is halfway through a typically ferocious, chaotic and inspirational set.  My friends and I have the best seats in the house, a couple of feet away from Marah’s frontmen, Serge and Dave Bielanko.  The show ends triumphantly, as Marah shows tend to do, with Serge lying on the floor amid the feet of his public, wailing away on his harmonica.

What I love about them is that I can hear everything I ever loved about rock music in their recordings and in their live shows … because they are unafraid of showing where their music comes from, and unafraid of the comparisons that will ensue

This show was at a small pub in England.  Which seems a shame since a few months earlier (more…)

Read Full Post »

Slayer (BB&T Pavillion, Camden, NJ, May 24, 2019)

Posted in Amon Amarth, BB&T Pavillion, Cannibal Corpse, Dead Cross, Exodus, Full show video, Lamb of God, Metallica, Philadelphia Inquirer, Philadelphia, PA, Rush, Slayer, The Electric Factory on May 24, 2019| Leave a Comment »

[ATTENDED: May 24, 2019] Slayer

I have been a fan of Slayer since their debut album, Show No Mercy.  I was a major metal head in high school, always searching for heavier and heavier music.  Metallica was great but then came Slayer.   I more or less stopped listening to them after college.  Although in 2001 (with the release of God Hates Us All on 9/11) I reintroduced myself to their newer stuff.  And since then I have been checking out each release.

Their final album, Repentless, came in 2015 and they have been touring it ever since.  This is–and I assume it’s true–their Farewell tour.

They’ve had a remarkably stable line-up over nearly 40 years.  Drummer Dave Lombardo left and then came back and then left again.  I would have loved to see Slayer with Lombardo, but I was able to see him (and actually see him) when he played with Dead Cross (I was five feet from the stage).  I would never have actually seen him with Slayer (so much stuff on stage.  I never saw Paul Bostaph behind the kit).

The only other line up change came when guitarist Jeff Hanneman died.  That was pretty major, since Hanneman co-wrote so many of the songs.  But Exodus guitarist Gary Holt filled in and has been in his place for six years (he recorded Repentless).  Holt has a different playing style (his solos are more structured), but he comes from the same heavy, dense guitar background and fits in just fine.

I had actually been intimated about going to a Slayer show, especially as an adult.  I have seen my fair share of metal shows, but I assumed the Slayer audience would be a step more intense.  Just waiting online was intimidating with every other person shouting “SLAYER!” at the top of his lungs.

I finally decided to see them in 2017 at The Electric Factory, but when I called on the night of the show to secure my ticket it had literally just sold out.  So I figured I’d never see them live.

Then they announced this farewell tour.  It was going to be at an arena (which would be less insane than a club, in terms of fan behavior) and I was able to get decent seats.  [This show was better than that one for setlist, and I have to assume pyro as well]. (more…)

Read Full Post »

Tatyana Tolstaya–“White Walls” (New Yorker, January 17, 2000)

Posted in Death, History, Huh?, Jamey Gambrell, Lenin, Negativland, Newspapers, Russia, Short Story, Tatyana Tolstaya, Translation, Vladimir Ilyich Ulyanov on April 21, 2019| Leave a Comment »

SOUNDTRACK: NEGATIVLAND-Points (1981)

Negativland’s second album continues with the noisy nonsense of the first.  This disc actually has track titles, which is nice.  It’s about 38 minutes of experimental sounds, home recordings and all manner of noisy sound effects.

“Harry to the Ferry” features David teasing his mom who is playing the accordion–retake after retake with laughing and frustration.  Totally covered by jamming noises.  At the end his, aunt sings while his mom plays the title song.

“The Answer Is…” is simple synth sound–possibly even a demo from a synth?  It sounds like an ice skating rink.  It’s quite nice.  After three minutes we get the title sampled and then the music begins again with a bit more improv.

“Scolding Box” over menacing synths, David says “Green boy is extremely mad, he’s going to start scolding.”  The rest of the nearly six minutes is wavery, unsettling synth waves and what might be clarinet samples.

“That Darn Keet” David shouts, “Blue boy escaped!” followed by thumping and more menacing synths.

“Dear Mary” with a buzzing sound underneath and amid slamming noises, a man recites a stiff, formal letter to Mary about how hard it is to be yourself.  The end is a TV clip from a game show.

“Clutch Cargo ’81” piano improv with weirdo synth sounds bouncing in an out.

“Babac D’babc” all manner of weird chirping sounds and maybe balloons and then people arguing about their marriage.  The argument comes in chunks with each one getting more intense.

“A Nice Place to Live” a promotional audio for Countara Costa county.

“A Bee Fly” mechanical sounds and high pitched noises for a minute before it jumps to a track that actually talks about a bee.

“No Hands” starts as a song of sorts under lots of echo.  Then come voices of people at a barbecue (with more bee interruption) and meat sizzling.

“Potty Air” is basically six minutes of various electronic noises and static–seems like they are testing out to see just what their electronic machines can make.

[READ: April 20, 2019] “White Walls” 

This story is set in Russia and was translated from the Russian by Jamey Gambrell.

It begins with the tale of Mikhail Avgustovich Janson, a pharmacist of Swedish descent.  In 1946 he built a dacha near Leningrad intending to rent it out to city folk.  He was soon ready for tenants and a family.  But “The Lord had something else in mind,” and Janson died soon after finishing everything.

The narrator’s family were his tenants and they bought the land from Janson’s widow.   But that was years before the narrator was born–she never met Janson.  But she and her brothers found all kinds of artifacts in the house.  Items in the attic and a large iron object that the kids assumed was a bomb even though they were told it wasn’t.

In 1997, the narrator and her family decided to strip the wallpaper and make the place their own at last.   They bought new wallpaper that they rather liked and began stripping the old. (more…)

Read Full Post »

Adam Fletcher–How to Be German in 50 Easy Steps: A Guide from Apfelsaftschorle to Tschüss/Wie Man Deutscher Wird in 50 Einfachen Schritten: Eiene Anleitung von Apfelsaftschorle bis Tschüss (2014)

Posted in Abba, Apfelsaftschorle, Eurovision, Funny (ha ha), Funny (strange), Germany, Helene Fischer, Jürgen Marcus, Kartoffelsalat, Language, Nudism, Robert M. Schöne, Sex, Speigel Online, Spezi, Tatort, Translation on February 9, 2019| Leave a Comment »

SOUNDTRACK: JÜRGEN MARCUS-“Ein Festival der Liebe” (1973).

Schlager (see the end of the book entry below) has become a catch-all term for (European) inoffensive pop music.  But apparently in the 1970s it had a slightly different and more specific connotation/sound.  The more I dove into this explanation, the more confusing it became.  Until someone posted a link to this song.

It’s easy to see how people reacted against the music back when it was super popular–it is so safe and inoffensive as to be totally offensive to any one with artistic sensibility.  But now that pop music has become something so radically different, often aggressive and vulgar and very electronic, this kind of bland, fun sing along is actually charming and kind of appealing.

The chorus is easy to sing along to, you can clap along without anything complicated going on and it’s all happy and sweet (even the ahhs in the backing vocals are super happy).  The music is soft, even the little piano “riff” in the middle is obvious.  I love that the song gets a little “risky” in the end third with a “drum solo” and Jürgen singing a kind of tarzan yell, but it’s all returned safely to th end.

The video is spectacular with Jürgen’s brown suit, big hair and even bigger collars.   It’s quintessential warming cheese.  It’s the school of music that ABBA came from as well.  It’s Eurovision!

And I find it quite a relief from the pop schlager of today.  This song was given example of contemporary German schlager:  Helene Fischer “Atemlos durch die Nacht”.  Her delivery is inoffensive by the music is so contemporary and dancefloor that it doesn’t feel anywhere near as delightful as the 1970s song,

[READ: February 9, 2019] How to Be German

I saw this book at work–the German side–and it looked like it might be funny.  I wished I could read more than the very little German that I know.  And then I flipped the book over and discovered it was bilingual!  Jawohl!

This manual is a very funny book about being German.  It was written by a British ex-pat who moved to Germany many hears ago and has settled down in the country he now calls home.  The book gently pokes fun at German habits but also makes fun of his own British habits and cultural components.

I studied German for one year which makes me in no way qualified to judge the quality of the humor or the accuracy of the cultural jokes.  The book does a very good job of cluing the unfamiliar in on what he’s talking about.  Although there are about a dozen exceptions where no context is given to the ideas that he’s talking about, which is quite frustrating, obviously.

I’m not going to go through all 50 of these ideas, but there are some that are particularly good and some that I found especially funny. (more…)

Read Full Post »

« Newer Posts - Older Posts »