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Archive for the ‘Sci-fi’ Category

thrilignSOUNDTRACK: ADIA VICTORIA-Tiny Desk Concert #545 (June 30, 2016).

adiaAdia Victoria has a rough, raw voice that goes well with her simple, exposed guitar sound.  The blurb says her music “carries the singular perspective of a Southern black woman with a Seventh Day Adventist upbringing, who never felt like she’d fit in.”

She sings three song, mostly in a great, raspy voice.  For “Stuck in the South” she actually seems to be gritting her teeth as she sings: “I don’t know nothing ’bout Southern belles / but I can tell you something ’bout Southern hell.”  When the first verse ends, and her band kicks in, it adds such interesting textures.  A distorted bass and a lead guitar playing quietly distorted sounds.  This song is really captivating.

“And Then You Die” with its swirling sounds and keyboards has a very distinctly Nick Cave feel–gothic in the Southern sense of the word.  Indeed, the first verse is spoken in a delivery that would make Nick proud. This is no to say she cribbed from Cave but it would work very well as a companion song  I really like the way it builds, but the ending is so abrupt–I could have used some more verses.

After the second song the band heads away and Bob says “They’re all leaving you.”  She looks at them and growls, “Get off the stage!” to much laughter.

She sings the final song “Heathen” with just her on acoustic guitar.  It is a simple two chord song.  It’s less interesting than the others, but again, it’s the lyrics that stand out: “I guess that makes me a heathen, something lower than dirt / I hear them calling me heathen, ooh like they think it hurts.”

I’m curious to hear just what Adia would do with these songs when she’s not in this Tiny format.  I imagine she can be really powerful.

[READ: November 23, 2016] McSweeney’s Mammoth Treasury of Thrilling Tales

For some reason or another I have put off reading this McSweeney’s volume for many years.  This is technically McSweeney’s #10, although it was also released in this printing from a  major publisher. Sadly for me, my McSweeney’s subscription had expired sometime around here so I’ve never actually seen the “official” Volume 10 which I understand has the exact same content but a slightly different cover.

One of the reasons I’ve put off reading this was the small print and pulpy paper–I don’t like pulpy paper.  And it was pretty long, too.

But I think the big reason is that I don’t really like genre fiction.  But I think that’s the point of this issue.  To give people who read non-genre fiction some exposure to genre stuff.

Interestingly I think I’ve learned that I do enjoy some genre fiction after all.  And yet, a lot of the stories here really weren’t very genre-y.  Or very thrilling.  They seemed to have trappings of genre ideas–mystery, horror–but all the while remaining internal stories rather than action-packed.

Which is not to say I didn’t enjoy anything here. I enjoyed a bunch of the stories quite a bit, especially if I didn’t think of them as genre stories.  Although there were a couple of less than exiting stories here, too. (more…)

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moonmoth SOUNDTRACK: TRAMPLED BY TURTLES-Tiny Desk Concert #387 (September 3, 2014).

trampleI love the name Trampled by Turtles and it conjures up something very specific in my head.  And a bluegrass folk band is not it.

Although their first song on this set, the super fast “Come Back Home” does rather convey what their name does.  Bluegrass can be fast (often is, in fact) but, man, this song scorches and the violin solos that flow through the song are totally intense.

So I was a little bummed that the next two songs are really mellow ballads.  For “Winners” the band’s harmonies are spot on and I do like the sliding bass line.  In fact all of the instrumentation (mandolin, violin, guitars, bass) is really nice.  And I think if this didn’t follow that first song, I might like it more.  Perhaps they should have ended the set with “Come Back Home.”

Before beginning “Lucy,” they ask if they are doing one more.  Bob says yes unless they want to stay longer.  The singer asks if they’ve got beer and Bob says they can work something out.  The band is not ready to head back to New York yet–they came from New York just to play the Tiny Desk (which elicit’ awww’s from the audience).

“Lucy” opens with some cool staccato strumming.  It too is a pretty song that makes great use of all of their instruments9espeicoally the mandolin).

I have recently begun to enjoy bluegrass a lot more and I could see Trampled by Turtles being a gateway into more bluegrass.  But I need more fast songs like the first one.

[READ: May 10, 2016] The Moon Moth

This First Second graphic novel opens with a lengthy essay called “The Genre Artist” by Carlo Rotella.  In this essay Rotella sings the praises of unheralded genre master Jack Vance (whom I’ve never heard of–which is the point of the essay).  Rotella says that Vance has been described by his peers as “the greatest living writer of science fiction and fantasy.”  He has been writing for six decades and has won many awards.  But this success has mostly kept him in the genre ghetto.  Other writers have suggested that if he was born South of the border he’d be up for a Nobel prize [which is a strange thing to say, in my opinion].

The essay talks about how so many other writers love Vance (and the list of writers who contributed to a tribute volume is impressive). So after all of this hagiography, I expected to be blown away by this story.  And I wasn’t.  Although that might have been because of the illustrations.  The illustrations aren’t bad–they’re not my style, but they’re not bad.  However, the story is fairly complex, or shall I say it may not lend itself to visuals because so much of the beginning is about sound.

Although while I was confused by the beginning of the story (and maybe I’d have been confused if I read it too), by the end, Vance totally sold me on what was happening. (more…)

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sleazeSOUNDTRACK: MARKETA IRGLOVA-Tiny Desk Concert #174 (November 10, 2011).

marketaMarketa Irglova came to the world’s attention in the film Once, where she duetted with Glen Hansard.  They formed The Swell Season and made some beautiful music together.  But he has another band and she has done some solo work, like in this Tiny Desk.  Incidentally, watch the video, but listen to the audio.  For some reason the sound in the video is all wonky and weird, but the audio is fine.

This concert is a little surprising because Irglova plays a synth, rather than a piano, and she is accompanied by Iranian singer-percussionist Aida Shahghasemi whom she met in New York.  And Shahghasemi and her drum (called a daf) are actually a bit more interesting than Irglova.

Irglova has a nice voice, and I have really enjoyed a lot of her music, but I found these songs to be a little long and a little undramatic.  However, once you accept that she’s not going for drama, these songs are mellow and lovely.

The opening song, “We Are Good,” has an interesting main riff on the keyboard and her voice blends nicely with the music.  The end section has a very nice melody as it builds and builds.  But as I mentioned, it the daf that is so fascinating.  The drum itself looks like an Irish bodhran (or any other hand-held drum, I suppose), except it has a much bigger diameter and is very thin.  It also has a series of dangling items on the inside, which bring about a lot more percussive qualities.

“Dokhtar Goochani” is a traditional Iranian song sung in Farsi.  Shahghasemi sings the song while Irglova plays.  With the keyboard, the song doesn’t really sound very Middle Eastern until Irglova joins in on harmony vocals in the chorus, when it takes on a very cool quality.  And the drum and percussive sounds in the middle are really enticing.

After this song, Shahghasemi talks a bit about her drum and says that it can be much louder than she’s playing it here.  It’s a traditional Kurdish drum with “jangles” which she explains is usually made of goatskin, but this one is synthetic because the humidity doesn’t affect it as much.

The final song, “Let Me Fall In Love” is about the idea of being in love, with lyrics that are a bit didactic, but whatever.  I really like the middle section where the two women harmonize quite beautifully.  But again the song is a little long.

[READ: October 25, 2015] Sleaze Castle

The cover of this book is crazy.  The full title appears to be:

Markosia/Gratuitous Bunny Comix
Sleaze Castle : The Director’s Cut
Part Zero: “Tales from Sleaze Castle”
Reprinting “Takes from Sleaze Castle” #1-#4
Screenplay by Terry Wiley & Dave McKinnon  Art Direction by Terry Wiley

And then a drawing of a woman with what looks like a magic wand and another woman standing by watching her.

And then there’s a whole list of “Starring” (these names are actually characters in the stories)
and then Film Sound Track Album by MWOWM available on Gratuitous Bunny Audio #GBA3

That’s a lot to take in and it made me wonder if the comic would be that busy.  And it is.  This book is a wonder to behold.  Self published in 1992, this book is just chock full of story, with an astonishing amount of detail included in the drawings–nods to other comics, musical appreciation and all kinds of fun things to look at.  It took me a pretty long time to read this because there was just so much to see and read.  It was a lot of fun.  Even if the plot was a little confusing.

This book collects the original books and adds material (which is not at the end of the story necessarily (so art quality varies).

The book opens on a planet far away.  A blonde woman is talking about the trip she will take which will last for ten minutes their time.

Then we jump to the Prologue set in Jo’s house.  Her sister Petra is giving her a hard time.  Jo wants to take her watchman to school (she is a film studies graduate student) but it was Petra’s new present.  So they are fighting of course.  The amazing detail starts here with books on Jo’s shelves and all manner of other things to look at. (more…)

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bpSOUNDTRACK: GRIMES-“Kill v. Maim” (2015).

grimesI don’t know Grimes very well at all.  When I first heard this song I didn’t really know what to think, but after repeated listens, I think it’s great.

It opens with a synth riff (and air horns) and one of Grimes’s many voices (this one is kind of childlike).  But by the end of the second line, she screams “they don’t know me” and that seems to set up the various personas in this song.

It’s the pre-chorus that I find so catchy–sung like the cheerleader chant “B-E-H-A-V-E aggressive.  B-E-H-A-V-E nevermore.”  And then the super fast chorus (with her voice lifted to an incredibly high pitch).

There’s a slower section with what I assume is her natural voice (which is quite lovely).  But it’s soon back to the fun chorus.  I need to hear more from her, but if this is her only good song, that’s okay.  It’s angry and you can dance to it.  Welcome to 2016!

[READ: December 20, 2015] Bitch Planet

This series is a great manifesto for the new year–don’t take shit from anybody.

Kelly Sue DeConnick is a force to be reckoned with.  In addition to presenting Captain Marvel as a woman (in the amazing series of that name) and making some other cool looking series that I intend to read, she has created this feminist masterpiece.  Bitch Planet addresses violence and injustice against women and the whole “prison culture” that is always titillating for men.  It pushes Orange is the New Black to even further extreme that a comic book can.

Designed in a retro style by Valentine De Landro, the book comes complete with ads for “crap” in the back of each issue.   Which you may actually be able to buy. (more…)

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feschukSOUNDTRACK: THE ART OF TIME ENSEMBLE with MARTIN TIELLI–Korngold: Source & Inspiration (Enwave Theatre, Harbourfront Centre, Toronto, ON, January 30, 2009).

aotimeAfter seeing The Art of Time Ensemble yesterday, it was quite serendipitous that I would have a show from them (featuring Martin Tielli) to post about on the following day.

This concert is the third in the Art of Time’s “Source & Inspiration” series. Two years earlier the first concert focused on composer Franz Schubert.  The previous year’s concert focused on Robert Schumann. This time the spotlight was on the 20th century Jewish composer Erich Korngold–a composer of European pedigree who became well known for his wonderful Hollywood film scores.

This concert featured Korngold’s Suite for Two Violins, Cello and Piano as the ‘source’ as well as new songs inspired by this work from Martin Tielli, Danny Michel and John Southworth.

This recording is only 8 minutes long because there’s only two Martin Tielli songs. “Lied Two” (the German word for song is lied (pronounced leed) so Martin called his “Lied Two.” And “Moglich” which translates into “possible.”  Both pieces are played with by the orchestra.  Martins sings.

The more dramatic of the two would be “Moglich” with his loud whispered “Relaxxxxx at the end.”  For more information about the show, you can click on this link.

Full Program & Repertoire:
Suite Op. 23 for 2 Violins, Cello and Piano Left-hand
Erich Korngold
i.Praeludium und Fuge
ii.Walzer
iii.Groteske
iv.Lied
v.Rondo-Finale

INTERMISSION
Athabasca
Adventures of Erich Korngold
—John Southworth
The Sailor Song
Island

—Danny Michel
Lied 2
Moglich
—Martin Tielli

Performers
Andrew Burashko, piano
Danny Michel, singer
Erika Raum, violin
Stephen Sitarski, violin
John Southworth, singer
Martin Tielli, singer
Winona Zelenka, cello

[READ: November 22, 2015] The Future and Why We Should Avoid It

The title of this book made me laugh so I set it aside to read it.  Little did I know that it would be so very funny that I put aside other things so I could finish it.

I hadn’t heard of Feschuk before.  He has written two previous books (How Not to Completely Suck as a New Parent sounds pretty good) and writes mostly for MacLean’s magazine.

As you might guess from the title, this book looks at the future, and Feschuk’s predictions are uncanny.  For instance, I brought the book home and decided to look at it in the bathroom.  And the introduction states quite clearly:

By now, life should be awesome and leisurely and you should be wearing a spacesuit and high-fiving your wisecracking robot sidekick.  Except instead your dishwasher is broken, your god-damn iTunes won’t sync up and right now you’re reading this book on a toilet in your bathroom instead of where you should be reading it–on a toilet in your hover car.

Too right, too right. (more…)

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[LISTENED TO: July 12, 2015] When You Reach Me

wyrmThis book was read by Cynthia Holloway.

Sarah brought this book home for us to listen to.  It is intended for 9 year-olds and yet I thought the book seemed a bit more YA.  Although the story deals very closely with the real day-to-day exploits of three sixth graders, there s a mystical elements that weaves its way through the story.  It also deals with time travel which is what I thought the kids might have the hardest time grasping (it even hurts my head sometimes).  But I think they got it.

The story is told from the point of view of Miranda (named for the Miranda rights).  She is an only child being raised by a single mother in NYC in the 1970s (I wish the date had been given earlier or more clearly in the story).  I loved the conceit of the book that her mother wants to win $20,000 Pyramid.  And she thinks she has a chance as long as her celebrity isn’t as “dumb as a box of hair.”  As a result, all of the chapter titles are titled the way the pyramid categories would be: Things you lose: things you find: etc.  That was very cool.

Anyhow, Miranda’s mom works hard and has  boyfriend.  There’s no trouble there.  The trouble comes from her best friend Sal.

Sal lives in her building.  Sal’s mom is also a single mom.  The moms met when Miranda moved in and she and Sal have been super close ever since–going to day care together, doing everything they could together.  But lately Sal has been a little distant.  And then once the incident happens, thins change for good. (more…)

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armadaSOUNDTRACK: RAID THE ARCADE PLAYLIST (2015).

raidIt should come as no surprise that Cline’s media campaign would include a Spotify “Raid the Arcade” playlist.  A playlist of the mixtape that the protagonist’s father made when he was a teen.

And I can pretty much see how this would have been a very satisfying mixtape for killing aliens and generally rocking out.  Of course, I had to have a listen and add my thoughts.

Side A: Track:

  1. One Vision – Queen (I was never a big Queen fan, particularly their later poppier stuff)
  2. Crazy Train – Ozzy (A classic, of course)
  3. Chase the Ace – AC/DC (I find it odd that the two AC/DC songs are instrumentals from the Maximum Overdrive soundtrack.  It makes sense given the guy who made them, but there’s so many better AC/DC songs)
  4. Hair of the Dog – Nazareth (One of my favorite classic rockers)
  5. Get it On – Power Station (I really hate Power Station a lot, and this version of an already pretty stupid song song is pretty dreadful)
  6. Old Enough to Rock and Roll – Rainey Haynes (I didn’t know this song.  It comes from the Iron Eagle soundtrack.  This song is not on Spotify and I imagine that’s because it’s terrible)
  7. Danger Zone – Kenny Loggins (This song is such a punch line that even if I did like it I’m not sure I could take it seriously)
  8. Vital Signs – Rush (I was totally psyched that he chose this Rush song)
  9. Barracuda – Heart (I’ve mixed feelings about Heart, but I do like this song a lot)
  10. T.N.T. – AC/DC (Now this is more like it for AC/DC songs–not an overplayed one either)
  11. You Really Got Me – Van Halen (Not my favorite Van Halen song, but a good rocker)
  12. Another One Bites the Dust – Queen (I loved this song when it came out.  It holds up pretty well (there’s some interesting sound effects in the background, but it’s nowhere near as good as the songs below)
  13. One of These Days – Pink Floyd (I love this song but never would have considered it particularly rocking–in the way these other songs are.  But it does rather work)
  14. Top Gun Anthem – Harold Faltermeyer (seriously?  Well, I guess if you like piloting video games, this makes sense.)

Side B: Track:

  1. I Hate Myself for Loving You – Joan Jett (I don’t care for this song, although the guitars sound good for the mix)
  2. It Takes Two – Rob Base (I’m surprised and pleased that this song made it into what is basically a metal compilation.  I never would have had such diversity at that age.  Although I got really sick of this song in college.)
  3. Hammer to Fall – Queen (I don’t really like this era of Queen)
  4. Twilight Zone – Golden Earring (I don’t love this song, but it is cool to hear once in a while)
  5. We’re Not Going to Take It – Twisted Sister (I loved TS back in the day, although I wince at them now. If this song wasn’t overplayed I could probably really get into it.)
  6. Rock You Like A Hurricane – Scorpions (I loved the Scorpions back in the day too. I certainly tapped my foot along to this one.)
  7. Black Betty – Ram Jam (This song is in a Rayman video game that Clark plays and while I think the song is really dumb, it certainly rocks.)
  8. D.T. – AC/DC (see above for instrumental AC/DC)
  9. Delirious – ZZ Top (I never got into ZZ Top, and while I do like some late 70s ZZ, I really don’t like mid 80s ZZ)
  10. Iron Eagle – King Kobra (Wow, this was obscure even to me–more pop metal from Iron Eagle)
  11. Run’s House – Run-DMC (Whose house?  It’s funny how stripped bare Run-DMC songs sound compared to contemporary rap.)
  12. We Will Rock You/We Are the Champions –Queen (overplayed but classic)

Bonus Track: Snoopy versus the Red Baron – The Red Guardsmen (a goof y novelty song that I think overstays its welcome.)

So I guess my verdict is that I really don’t like the Raid the Arcade mix all that much.  That’s kind of a shocker, actually.

[READ: July 31, 2015] Armada

I loved Cline’s first book Ready Player One.  And Sarah and I were understandably excited about his latest book, Armada.  I was surprised about the content of the book which is of similar plot to the new movie Pixels (I say similar based on what little I know of Pixels–that video game characters attack the earth).  This is surprising to me because Cline has already sold the rights of this book to Spielberg–and I have a  hard time believing someone would try to cut Spielberg with an idea.

Of course, Armada is rather different from Pixels in that the characters that attack the earth are not classic 80s video game characters.  Indeed, there is a whole back story that shows how very different these two premises are.

In a recent interview, Cline talked about how you have to include all the pop culture sci-fi and video games in his book because there’s no way you should be able to make a sci-fi book or movie on earth and not reference all of the pop culture that the protagonist grew up with.  So this story is not set in a vacuum.  In fact, it the pop culture establishes the plot.

Zack Lightman is a senior in high school.  He’s had a pretty crappy life.  His father was killed in a sanitation explosion when Zack was just a month old.  The death set him and his mom up for life, but he has spent his whole life immersed in his father’s life (he is close to his father’s age when his father died).  Zack has a lot of his father’s effects.  His dad was a huge gamer, spending a lot of time at the arcade, and loving all things sci-fi and fantasy.  His father would have been born around 1970, making the pop culture references perfect for those of us around the same age.

One day, while looking out the window of school, Zack sees an alien ship.  But not just a generic cigar shaped UFO.  Rather this is a ship directly from his favorite videogame, Armada.  Zack plays this game pretty much every day. In fact, he is ranked sixth in the world as a pilot protecting the earth from alien invaders.  Naturally he assumes he has gone insane–especially since no one else has seen it. (more…)

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elmer SOUNDTRACK: R.E.M.-Collapse into Now (2011).

R.E.M._-_Collapse_into_Now“Discoverer” opens this disc with ringing guitars–not exact R.E.M. replicants, but familiar.  And then Stipe comes in and the refresher course in R.E.M. begins.  Collapse Into Now proved to be R.E.M.’s final album, and while some of their latter albums weren’t great, Collapse seems to revisit everything that was great about R.E.M. and tries to spread it all over this album.

The blueprints for classic R.E.M. songs form the structure of a lot of these songs, with chiming guitars, and Stipe’s recognizable vocals.  “All the Best” sounds like classic R.E.M. (although Stipe’s delivery is more current sounding).  It also fits in well with the faster songs from Accelerate and is only 2:46.  But it’s “Überlin” that really sounds like a classic R.E.M. song.  That notable guitar style with Stipe’s very specific delivery style.  And then come Peter Buck’s harmonies.  It sounds like a good outtake from, say, Automatic for the People.

Stipe tends to do a lot of his sing-speaking on this album (and i think the one thing I don’t like that much about the album is that early R.E.M. seemed to obscure Stipe’s vocals and lyrics a little bit, giving them an air of mystery.  Whereas the newer records are all pretty well laid bare).  So “Oh My Heart” has Stipe almost speaking his poetry.  It’s got mandolin and Buck’s mildly annoying backing vocals (I’ve never thought that about his backing vocals before).

An Eddie Vedder cameo is utterly wasted on “It Happened Today,” you can barely hear him as all he does is backing crooning near the end of the song (and frankly the “hip hip hooray” chorus is lame).  “Every Day is Yours to Win” is a pretty slow song.  It doesn’t amount to much but the melody is really beautiful.  “Mine Smell Like Honey” is a crazy bad title, but it’s a great rocking song, really hearkening back to classic R.E.M.–ringing guitars and Stipe’s vaguely disguised voice.  “Walk it Back” is another slow ballady type song and is really pretty.  While “Alliagtor_Aviator_Autopilot_Antimatter” is a rocker with Peaches singing and speaking backing vocals.  “That Someone is You” follows up with another speedy track.

I tend to dislike the really slow R.E.M. songs, so “Me, Marlon Brando, Marlon Brando and I” doesn’t do much for me.  The disc ender, “Blue” reminds me of Out of Time‘s “Country Feedback” (I keep waiting for him to say “I need this”).  And the Patti Smith backing vocals recall “E-Bow the Letter.”  “Blue” is meandering and unfocused but Buck’s atmospheric guitars are quite effective, even if the song itself is nothing special.  I don’t quite get the coda of tacking the opening chords of the album on to the end, but whatever.

So basically this album feels like some mostly great outtakes from earlier R.E.M. albums. And there’s really nothing wrong with that (well there would be if R.E.M. was still trying to release a lot of new music).  But since the band was ready to call it quits anyway, it’s a nice recap of their career.  True, I’d rather listen to their earlier records, but you could definitely throw most of these songs into a mix with the earlier ones and they would sound perfect.

[READ: October 25, 2014] Elmer

Elmer has a  chicken on the cover.  It also features this quote at the top of the book: “It’s the Great Filipino Novel, with chickens.”  What to expect from this book?  Well, chickens, obviously, but I never would have guessed what this book contained.  Indeed, this book is pretty mind-blowing (in a good way).

It has a simple premise, which seems comical but is actually taken very seriously: what if chickens became “aware” and learned to speak?  It sounds funny, right, but Alanguilan really explores this issue seriously–if a species of animal that we normally eat suddenly talked to us en masse, how quickly would we deal with this, and what would humanity’s reaction be?  It tackles issues of slavery and racism and pushes them further.  And while the “change” takes place in 1979, it addresses contemporary society with an inquisitive glare.

While there is some humor in it, this is a serious book.

Jake Gallo is a modern chicken (the book is set in 2003–two decades after chickens became “human”).  He has just been rejected for a job, and he pulls the race card (this would be the hilarious reveal that our main character is a chicken).  While he’s feeling sorry for himself, he gets word that his father, Elmer, is dying and he returns home to be with his mother and family.  On the way home he runs into Farmer Ben, the farmer who helped to raise Elmer’s family.  And he is genuinely glad to see Jake.  Jake seems somewhat put off by Farmer Ben and declines his offer of a ride. (more…)

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orphan[BINGED: June 15-24, 2014] Orphan Black

Last year when Orphan Black came out, we taped a bunch of episodes, but it aired at an awkward time in our viewing schedule.  We watched the first episode but we picked a bad night (for me) to watch it because I dozed off and didn’t get absorbed in it.  Then the Tivo deleted an episode or two and that was the end of that.

As Season 2 was amping up, the press about the show was a little ridiculous, but everything made the show sound so good that we decided to give it a try again.  Of course, it started before the Fall season shows ended, but SyFy kindly aired a marathon of Season 1.  By the time we had time to watch it, we had 17 episodes in our queue.  And that was an awesome way to watch this show–no delays between episodes, just one show a night until we were totally hooked.

Sure, some of the details of the show are confusing and sure there’s some weird sciencey mumbo-jumbo, but when the characters are this intriguing, and the actual story grows more compelling, you can forgive confusion (especially since a surprising number of those questions were answered in the Season 2 finale).  The acting is superb and each clone’s storyline is detailed and rich.  Even the characters that were despicable have become enjoyable (how many murderers are we going to root for on this show?). (more…)

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lostcatwarandSOUNDTRACK: VOIVOD-War and Pain (bonus stuff) (2004).

The War and Pain reissue was packed with goodies for Voivod fans.

You get “Anachronism” which is 3 songs from their very first live show in June 1983.  (“Condemned to the Gallows,” “Blower,” “Voivod”). They had (it sounds like) a surprisingly large audience for the show.  You also get “To The Death” which is 3 songs from the Metal Massacre V sessions (“Condemned to the Gallows,” “Voivod,” “Iron Gang”) of which “Condemned to the Gallows” was used on that compilation.  I think this is one of their better early songs, and it’s a shame it never got a proper release (although it’s all over this package).

If the sound quality on their proper album was bad, you can imagine how bad this sounds.  Their first show may have been recorded on a microcassette it is so low-fidelity.  And somehow the Metal Massacre tracks sound like they were left in a puddle of mud since 1984.  I have the Metal Massacre albums and I don’t think they sounded that bad.

That leaves Disc 2: “Morgoth Invasion.”  This is a live show from December 1984.  It has 16 songs (surprisingly no “Voivod” and two covers:  Venom’s “Witching Hour” and Slayer’s “Chemical Warfare”).  Like the previous live tracks, this one sounds pretty dreadful–but not quite as bad.  It is fun for the historic value–hearing the band play fast and tight hearing Snake’s guttural French (he did most of the between song banter in French).  Also hearing how well they play the covers shows how seriously they took their metal.

The third disc is a CD-ROM.  You get lyrics to the album, biographies of the band and comments on the 20th anniversary release.  There’s also band photos and art by Away.  There’s even the old  video for “Voivod.”

But for fans the most exciting part is the “Sounds” section.  In addition to including all of the above audio (in case you wanted it all on CD-ROM?), there’s also seven songs from a 1984 concert.  I am fairly certain that these tracks would eventually be released on the To the Death 84 album (it’s the same order and I don’t have that record).  Again, the sound quality is not great, but it’s interesting to hear these songs played live–to hear just how fast these guys can play.

So the anniversary package is worth investing in if you like your Voivod.  If not, wait a couple more albums when they become amazing.

[READ: August 26, 2013] Lost Cat

I had not heard of Jason before this book passed across my desk.  Jason is a Norwegian graphic artist and comic book maker whose real name is John Arne Sæterøy.  Many of his books have been published in English by Fantagraphics.  This one was translated (from the Norwegian I assume, although Jason now lives in France, so maybe it was written in French) by Kim Thompson.  The interesting thing about the translation is that I didn’t realize it was one at first…I just thought the characters were deliberately speaking in a weird sort of way.  I wonder if this is intentional on the translator’s part.

The striking thing about Jason’s art is that his characters do not have eyeballs (as you can see from the cover art).  This seems to convey an overall sadness to the characters.  And yet he is also incredible at creating mood and tone from these animal people (even without eyeballs!).

This story has a few threads that tie it together.  As the story opens we meet Dan Delon, a private detective.  As he walks home for the night he sees a lost cat sign.  A few panels later he see the cat.  He calls the number and returns the lost kitty.  The kitty’s owner, Charlotte, is very nice.  She invites him in and gives him a drink.  She owns a local bookstore which he was recently in (although they did not meet).  They seem to have a lot in common.  Charlotte is fascinated that he’s a private detective.  But he quickly dismisses the excitement saying that it is mostly just taking pictures of people having affairs–and then upsetting both parties when all is said and done.  He seems to realize the loneliness of his life as he says this (again, conveyed wonderfully with the art). (more…)

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