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Archive for the ‘Set at School’ Category

storiesSOUNDTRACKPOLYPHONIC SPREE-Tiny Desk Concert #259 (December 21, 2012).

The Polyphonic Spree performs a Tiny Desk Concert.I really enjoyed Polyphonic Spree’s first album (and their strange robes and cult-like following (apparently even within the band).

They put out a Christmas album some time ago, and since we have a big pile of Christmas albums, I grabbed that one.  I didn’t love it, but it was a fun addition to our collection.

This Tiny Desk Concert is notable for just how many members of the band are behind (and on the side of) the Tiny Desk (perhaps 18?).

And the band is suitably musical–trombone, trumpet, keys, drums, bass, cello, violin and a ten (or so) piece choir.

Interestingly, I find that the weak link in this whole thing is leader Chris DeLaughter.  It’s just that his voice is really not that interesting. It’s especially notable on “The Christmas Song” where he sings some high notes unaccompanied.  When the choir comes in (and they change the melody) it sounds really cool.  I especially love the way they make “reindeer really know how to fly” into a high note.

The first song is “Happy Xmas (War Is Over)” which I feel is the Christmas song they might be best known for.  It’s pretty traditional to the original, with the choir filling in for the kids.  The addition of horns really adds a lot to it.

“Silver Bells” gets a pretty rocking treatment–the buildup at the beginning is pretty cool.  They change the main melody to an almost circus-like waltz. I love the way it sounds when everyone joins in–and when the choir is singing along to the rocking end (with a very different melody) it sounds great.  But once again DeLaughter’s voice doesn’t seem up to the task of leading this larger group.

But it’s festive and fun, especially with everyone in red robes (and DeLaughters green one).

[READ: December 2016] Christmas Stories (1854-1864)

Last year, I started reading some Charles Dickens Christmas Stories in December.  I imagined that I’d finish the whole book this season (all 750 pages of it), but I didn’t come close.  I enjoy these stories but they are not quick reads by any standard.

The fascinating thing with a lot of these stories is that they appeared in All the Year Round, a Victorian periodical founded and owned by Dickens and published between 1859 and 1895 throughout the United Kingdom.  But just because these stories came out for the Christmas issue doesn’t mean they have anything to do with Christmas directly.

I thought I’d be reading a whole chunk of the book in a row, but I wound up skipping around a bit.  Maybe next year I’ll finish the remaining stories. (more…)

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1997SOUNDTRACK:LOS HACHEROS-Tiny Desk Concert #546 (July 5, 2016).

hacherosLos Hacheros play “Afro-Caribbean music that provides the source material for modern salsa and all of its permutations.”

This music swings and bounces and with such simple instrumentation: an upright bass and a guitar.  With the main melodies constructed by the trombone and vocal (the trombonist doubles on violin).  But the rest of the band is there for percussion–cowbells, shakers and the conga.

The band plays three songs all sung in Spanish.  It’s fun to watch them get into the groove and begin to sway in unison to the music.

“Baila Con Los Hacheros” features a violin solo that is pretty intense “Papote’s Guajira” features an acoustic guitar solo that is complex and fun to watch. It also has a lengthy flute solo (the violinist also plays the flute!). “Bambulaye” features NPR’s own Felix Contreras on congas–he gets a solo–apparently he has been playing in bands for years.  What a nice surprise.

[READ: November 3, 2016] The Complete Peanuts 1997-1998

This is the second to last book of collected strips from Schulz.  Rerun features quite prominently and Linus has faded somewhat.  Snoopy is no longer playing characters (except for the soldier..always soldiers) and Charlie is still pining for things he won’t get.

1997 opens with Charlie showing Linus his autographed Joe Shlabotnik baseball.  But Linus thinks it’s a forgery.  Cue a week of strips about an autograph forger (who tries to hire Charlie as his accomplice).  I love that Schulz went on strange little tangents like this, but I always feel like he doesn’t follow through with these funny ideas. The whole premise of this just ends never to be heard from again.

And then in a surprise to me, Snoopy starts acting like a Revolutionary War patriot standing guard at Valley Forge.  He seems to have given up on WWI and gone back in time to a far less dramatic role–he mostly just stands around in the cold.  Strips about that occur from time to tome with him talking to General Washington.  The last one is in December 1998 where he realizes he is only guarding snow. (more…)

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dasha SOUNDTRACK: SACKVILLE-The Principles of Science [CST007] (1999). 

sackvilleFor Sackville’s only release for Constellation Records, they created a short disc of great folk with a hint of art rock

“Gold Dust” is a catchy uptempo folk song with some nice violin melodies as accents.  It’s a catchy number with Levine’s vocals sounding once again kind of like the guy from Social Distortion singing a mellow folk song.  The chorus has nice backing vocals added.  “Water” is a mellow song with, again, a beautiful guitar and violin melody.  The vocals have a great distinctive melody over the top.

“Blue Lips” has a kind of saloon sounding quality in its piano and a super catchy violin riff that runs through the song (and informs the vocal line).  I really like the lyrics on this one: “If memory serves me well…I may forget your name but not your face…unusual face.”  This song is only 3 minutes and it is over way too quickly.  “Four Alarm Fire” is a slow, evolving song coming in at nearly 7 minutes.  It opens with some quietly played guitar and a bass line that seems to be quiet but soon plays and interesting line that propels the song (albeit slowly).

The title song picks up the pace with a pretty guitar and piano melody.  The catchiness of the chorus “this light will disappear like breath on a mirror” is a great ending to this quiet disc.

Their final album of odds and ends, Natural Life, is available to stream on bandcamp.

[READ: June 20, 2016] A Year Without Mom

This book is a graphic novel (mostly) about a year without mom.  This is actually a memoir from Tolstikova about the year in her life when her mother left Moscow to study in America.  Dasha was 12 years old in 1983 and her mom was an advertiser in Russia.  But she didn’t like the kind of advertising she did.  She had applied to a Masters program in America and was accepted.  And soon enough she packed up and shipped out.

Dasha was to stay in Moscow with her grandparents.

In August she and her grandparents went to the country for a writers retreat.  Other kids would be there, too.  Her grandparents encouraged her to play with them but Petya, the leader is an anchor on a children’s TV show and his mother is a famous actress herself–it’s an intimidating scene. (more…)

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peanuts-1995SOUNDTRACK: TINARIWEN-Tiny Desk Concert #184 (January 5, 2012).

tinariwenTinariwen are a band from northern Mali, whose members met in the training camps of Col. Moammar Gadhafi. Much has been written about them and their story, which is pretty amazing.  I’m only going to talk about this Tint Desk Concert.

Typically, they play an interesting electric guitar kind of trance music.  But for this one they were all acoustic.  As Bob Boilen notes, they are his “favorite electric-guitar-based band on the planet.”  But he says he was:

“initially worried and disappointed when I learned that it was coming to play the Tiny Desk as a trio carrying acoustic guitars. My heart sank a bit more when the three Tuareg musicians from the Sahara arrived in jeans and polo shirts instead of the beautiful, flowing robes I’d seen them wear on stage so many times.

But they switched clothes and they do not disappoint on acoustic guitar.

I don’t know their music all that well, but it feels like the acoustic nature of this show is even more soothing and trance inducing.  The two acoustic guitars interweave–one playing lead (which is mostly hammered notes–not a “solo” per se) and the other strumming.  The percussion is the sound of two hands rubbing, clacking (with a cigarette lighter) and pounding (for bass drum) a large gourd.

The songs tend to be almost looping.  Like they could go on forever.  There’s no real verse chorus structure that I can tell.  It’s more of a meditative sound.

All of the vocals are in Tamashek and I have no idea what the songs are about.

On “Adounia” both guitarists sing and the voices sound very traditional, almost atonal. “Takkest Tamidaret” opens with a more conventional sounding guitar lick, but it’s all so quiet in the mix, that you can’t tell how much his fingers are moving.  The lyrics are a bit slower, but still in that droning style.  I love the way “Tenhert”  has a a cool riff from the lead guitar–one that probably sounds more intense on electric guitar.  He sing/speaks incredibly quickly.  “Tahlamoyt” is a much slower song with the lyrics pretty much all spoken word.

The “Mali sound” is pretty distinctive and Tinariwen are great proponents of it, spreading it around the world for all to hear.

[READ: June 8, 2016] The Complete Peanuts 1995-1996

I was under the impression that these last few volumes of books would show a serious drop in quality.  I had assumed that with the amount of product the Peanuts characters were sponsoring that these strips would be more cute.  But that is far from true.  I enjoyed this book as much if mot more than some of the other recent volumes.

I was also surprised to discover that I really enjoyed the Sunday cartoons more than the dailies.  In the past I haven’t really gotten big laughs form the Sundays–it seemed like the big stories and jokes were in the dailies and the Sundays were unrelated one offs with varying degrees of punch.  But I enjoyed a dozen or so in this book.

One of the major additions in this book is the inclusion of a slightly older Rerun.  He is now mobile and even heading to kindergarten (I love that he is aging while the others aren’t).  But rather than using Rerun for obvious cute child jokes (he’s no longer riding the back of his mom’s bike) Rerun is now making funny “outsider” observations about the world of Peanuts–he is constantly disenchanted with the way  things are going and with the belief that people are always lying to him.  There are also a ton of strips of him trying to shoot a basketball and failing miserably.  Schulz has always tended to take an idea and run and run and run with it, but this one is pretty good for the number that he uses it. (more…)

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2016-12-05-21-06-09SOUNDTRACK: SCREAMING FEMALES-Tiny Desk Concert #186 (January 17, 2012).

I’d published these posts without Soundtracks while I was reading the calendars.  But I decided to add Tiny Desk Concerts to them when I realized that I’d love to post about all of the remaining 100 or shows and this was a good way to knock out 25 of them.

scremfemScreaming Females are a band from New Brunswick, NJ.  They’re a trio who has been around for about ten years and they play (as their name suggests) loud punk.  The band is fronted by Marissa Paternoster who sings and shreds guitar solos like nobody’s business.

The band is typically pretty loud, but in this tiny desk not only are they quieter, they look rather small—all crowded in behind the desk–standing inches away from each other.  Although I understand they play in all kinds of tiny basement clubs in New Brunswick, so this is probably nothing new.

What I really liked about “It All Means Nothing” is that bassist King Mike plays chords while Paternoster is shredding so it doesn’t sound spare.  And while she is playing some simple chords, he’s wandering the fret board playing some interesting riffs as well.  There’s not too much to say about drummer Jarrett Dougherty because he is reduced to a floor tom and rims shots.

Paternoster has an unusual vocal delivery—very pronounced vowels–in her singing.  It’s especially noticeable in this quieter setting.

It’s interesting that she sings loudly and brashly and plays a great solo (with some cool basswork accompanying) at the end of the song; however, when Bob asks her who the picture is on her strap, she seems so quiet and insecure.  It’s hard to believe that she can front this band, but seems so nervous about talking.

“Little Anne” is a quieter song that’s predominantly a guitar melody and drums.  She sings along with this lovely melody for a few verses.  And just as the bass comes in and it seems the song will take off, it abruptly ends.

The final song they play is “I Don’t Mind It.”  It seems like this song might normally blast, but in this set, they hold back. It still sounds great.

I was given their most recent album (the one that came out a couple of years after this set) and I really liked it.  I’m going to have to go back and explore their more brash earlier songs.

[READ: December 6, 2016] “Hunger Strike”

Near the end of November, I found out about The Short Story Advent Calendar.  Which is what exactly?  Well…

The Short Story Advent Calendar returns, not a moment too soon, to spice up your holidays with another collection of 24 stories that readers open one by one on the mornings leading up to Christmas.  This year’s stories once again come from some of your favourite writers across the continent—plus a couple of new crushes you haven’t met yet. Most of the stories have never appeared in a book before. Some have never been published, period.

I already had plans for what to post about in December, but since this arrived (a few days late for advent, but that was my fault for ordering so late) I’ve decided to post about every story on each day.

I wish I had gotten this collection on time (it arrived on the 5th). I especially wish that because this story was a great way to start the calendar.

I know a lot of contemporary stories are rather downers.  Well this had just the right amount of humor in a futile situation that I really enjoyed.

Even the premise is pretty funny.  A college professor has been fired for looking at porn on his computer.  And four of his students are outraged–who did it hurt if he did that?  What was the big deal?  And even worse, his replacement has turned their class Pop Culture in the Late 20th Century from comic books and summer blockbusters into photojournalism in the late 19th and early 20th century.  Outrage!

And so these four freshmen decide to go on a hunger strike until the teacher is rehired.  (more…)

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peanuts-10991SOUNDTRACK: CHRIS STAPLETON-Tiny Desk Concert #484 (November 5, 2015).

chrisChris Stapleton is a big dude with a big beard and long hair.  He could be a heavy metal guy, but put a cowboy hat on him and you know exactly what his music is going to sound like–slow with an almost mumbling drawl (although his lyrics are quite clear).

The blurb says that his songs are timeless and in a way they are–I wouldn’t know if these songs were old country songs or new country songs, but that’s probably because I don’t much like country songs anyway.

“More of You” is a slow song in which he is joined by his wife Morgane on harmony vocals.  The song is fine.  But I was surprised by how funny he was when it was over and he asked, “When did DC turn into Louisiana?  It’s hot!”

“When The Stars Come Out” was cowritten with Dan Wilson but it doesn’t quite have Wilson’s super catchiness.

He is playing a beat up guitar that he says is 12 years old.  He doesn’t know where it came from, but he says he thinks someone has even used it as a canoe paddle and it has mud in it.  He says he has lots of guitars and his wife says Lots and Lots.

“Whiskey and You” is a song about, big surprise, drinking.  Lyrically it’s kind of funny, despite its intentional sadness.

[READ: September 14, 2016] The Complete Peanuts 1991-1992

I was trying to figure out when the last original Peanuts strip I’d ever read was written.  I stopped reading newspapers in college.  But I’m sure I came across Peanuts once in a while.  My dad also used to get the papers, and I might have browsed through the comics.  But I have to assume it was sometime around 1992 or 1993 that I stopped looking altogether.

I wonder if Sparky started golfing again as there are a lot of golfing comics this year, including one on April 21 1991 where Snoopy is trying to hit it over a tidal wave.  This is one of those rare Sunday comic that he started doing with what was basically a full-page comic as opposed to several panels.

I also felt that 1991 was not a particularly great year for Peanuts.  We all know that Snoopy loves to be in different characters–and has recently been a surgeon.  Well, in January 1991, Snoopy pretends to be a road flagman.  Not very aspirational.

I loved the Peggy Jean story line from last year.  She finally gets a mentions again in March, but she has moved away. Which means he’s back to pining for the red-haired girl.  I know that the red-haired girl is classic Peanuts, but I really liked Peggy Jean.

But there are some great strips and themes.

I did enjoy that Sally after being steady rebuffed by her sweet Babboo calls herself his Sweet Babbooette.  Later, Sally comes up with a new philosophy.  “I’ve decided to put everything off until the last-minute and to learn everything in life the hard way.”  When Charlie says, “Good luck,” Sally says, “That’s what my teacher said.”

Sally asks Linus what happens if she doesn’t go to school and he tells her the sheriff comes and throws you in a dungeon with no food or water for ten years.  She hates that idea, but then thinks, “if we go to school for 12 years….”

Harriet’s famous recipe for seven minute frosting makes a return in April 1991 with all the birds talking about it.  Man, I should find out what this is.

And there’s a lot of scenes with Snoopy wrangling with Linus’ blankets which I always like.

Joe Garagiola gets some more abuse in May when he makes it into the hall of fame and Lucy says, “It means there’s still hope for us all.”

One thing I have never mentioned is the amount of times Schulz draws or mentions zambonis (and even calls them zucchinis).  I assume someone has collected this information, but he must have really loved the zamboni because boy does it ever make a lot of appearances.  Often times once a week for several weeks.

For something new Sally and Charlie are asked to teach a Bible class to kids, which is kind of fun.  The boy wish they’d gotten a “cute chick” instead of an “old lady” like sally.  And one of the boys keeps talking about the Great Gatsby, “Gatsby stood by the sea of Galilee and picked out the green light at the end of day’s dock.”  The series ends with the kid waving goodbye to her and Snoopy saying “So long, old sport.”

Way back in a previous book Billie Jean King says that whenever Sparky put her name in a strip it meant she should call him.  So in August Snoopy says “I’ve always wanted to call Billie Jean King.”

I enjoy this attitude from Patty: “Hey Marcie its a beautiful summer day  C’mon out and we’ll waste it away doing nothing. Then we can look back upon it and regret it for the rest of our lives.”

When I was a kid I believe I had the same seasonal beliefs as Patty does in Sept 1991: “the four seasons are baseball, football basketball and hockey.”

The football gag in 1991 shows Lucy waving a book about holding the football.  But when she pulls the ball away she tells him that she wrote the book.

Later in the year, Lucy speculates that the Great Pumpkin might be a she  “Never occurred to you, did it?”

As the year ends, Marcie and Patty give Charlie an ultimatum to decide who he likes best.  Of course he hesitates and they walk away.

In January 1992, Spike says that if he had an earache his dad would blow cigar smoke in his ear.  I’d never heard of this, but it is indeed an old wives tale.

Schulz loved having his Peanuts‘ kids read really big books.  And sometimes they were used a lot as punchlines.  But I enjoyed Patty saying A  Tale of Two Cites was written by “Charlie Dickens.  Chuck  Chaz?”  And then when she gives here report she begins “St. Paul and Minneapolis are…” and then we see her sitting next to Marcie who says “One of the great tries of all time, sir.”

Sally continues to be one of my favorite snarky characters.  “Sometimes I worry about you big brother.  Often?  No not often, just sometimes.  Like maybe seldom.  That’s it, seldom!”

Charlie is still being very loving and missing Snoopy.  He tries to get out of school a lot so he can sit with the dog and even worries when it rains.  When he goes away he calls over to where Snoopy is staying and talks on the phone (he says “Woof”) and Snoopy says “Woof? what does that mean?”

Another full-page Sunday strip came on April 19, 1990.  This may be the weirdest, most context-free strip of them all.  Snoopy is looking at a map and the whole page is covered with a gorge and the caption says “Every year thousand of tourists visit Victoria Falls in Zambia.”  Huh?

There are still more Tiny Tots Concerts, Patty still hates to be called a Tiny Tot.  Although she gets excited in May of 1992 because she thinks the new song is called “Hey dude” when it is actually “Etude.”

Pop culture references: in August 1991 someone described being suspended from the bungee cord of life Fried Green Tomatoes is mentioned in April 1992.  Spike does Velcro jumping in July 1992.  After playing some football, Marcie says she could be another Joe Iowa (Montana).

And Sally changed her philosophy from “who cares?” to “what do I care?”

In Summer 1992, Charlie goes to camp and helps out a kid named Cormac, although we don’t see him much after that.

In 1992, Charlie believes that Lucy in sincere about holding the ball.  When he misses, Sally says “You’re not in love with Lucy, are you big brother?”  When he says No, she says, “I should Hope not,  I’ve discovered that love makes us do strange things.  So does stupidity.”

In 1992, Marcie decides to help spread the word about the Great Pumpkin but she calls it the Great Grape.  When she realizes her mistake she says, “I guess it would be hard to carve a scary face in a  grape, wouldn’t it?”

Over the years there have been hundred of jokes about Schroeder’s musical staff and Snoopy either sleeping on it or breaking it or so many other possibilities.  They’ve all been mildly amusing.  I liked in December 1992, when Snoopy takes the notes and uses them as the sound of his bell when he is Santa Claus ringing bells on the street.  Because yes, for the last two years Snoopy has dressed up like Santa Claus on a street corner ringing bells.   I like the one later when Charlie brings snoopy his dinner and a girl says “Hey look, Ma, Santa Claus is eating out of dog dish.”

There’s two Sundays in a row with Sally writing a letter to Samantha Claus.  In the first one, Charlie asks if she goes Ho Ho Ho or just smiles daintily, but the following week we find out that Sally talked about her in school and was roundly mocked.

Spikes Christmases have been pretty sad, but I did get a kick out of this one. “Last year I exchanged a gift with a rock, I think he liked what I bought him…he still wearing it.”  And there’ s funny sequence where Spike puts lights on his tree then walks all the way to Needles to plug it in at the chamber of commerce.  There’s even a news story the next say, “Someone sneaked into the chamber of commerce building last night and plugged in an extension cord.  The cord led out of town somewhere into the dessert.  Everyone is puzzled as to who or why someone would do such a thing.”

Although perhaps the best Christmas joke ever comes in 1992 when Sally is writing her thank you note: “Dear Grandma, Thank you for the money you sent me for Christmas.  I am going to save it for my college education.”  Then she says “It’s hard to write with a straight face.”  And Charlie says, “I never said a word.”

1992 ends with a New Years Eve party at Snoopy’s and he says “What do you mean we’re all out of hors d’oeuvres.

So overall, it’s not a bad two years, there’s just not a ton of noteworthy jokes.

The introduction is by Tom Tomorrow.  He says his influences were Mad magazine, Garry Trudeau and Matt Groening but his earliest inspiration was Charles Schulz.

He says that in the 1960s he hit the perfect sweet spot with Peanuts:  old enough to understand the humor, young enough to truly appreciate the whimsy. When he was a child, he loved the Christmas Special, and he was excited that his parents bought their first color TV in time for its annual airing.  He had also been given a Snoopy astronaut in the year he became the unofficial mascot of Apollo 10.

He describes Peanuts as “a strip that spun heartbreak into wry humor.  A cartoon about childhood anxiety that veered frequently into the realm of magical realism.”

He loves things like that the doghouse was bigger on the inside than the outside (although that aspect has been downplayed in recent years).

When he was a young cartoonist, he wrote to Charles Schulz.  And Schulz invited him over for lunch. Schulz was very generous with his time. “We ate at the cafe adjacent to the skating rink he’d built. The table was always reserved for him and on which you will still find a reserved sign to this day.”

Tomorrow says he wrote the only obituary comic he’d ever done for Schulz and he quotes Schulz: “If I were a better artist, I’d be a painter. And if I were a  better writer, I’d write books.  But I’m not so I draw cartoons.”

Tomorrow addresses his change from the strict four panel strips of his whole career, which I noted with concern and excitement.  Evidently, Schulz always wanted to experiment with the panels, but he was unsure if the Syndicate would allow it.  Tomorrow jokes that at this point in his career, he probably could have demanded a solid gold table and a full complement of chorus girls to entertain him while he worked.

He concludes his introduction by saying that Schulz gave him an original strip–which is the middle strip on page 71 in this book (dated June 14), and what a nice one it is:

“It’s nice to be able to do something for someone once in a while that’s appreciated.”

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bream SOUNDTRACK: THE INTERNET-Tiny Desk Concert #474 (September 29, 2015).

internetThe Internet are an offshoot of Odd Future.  This is an R&B group fronted by Syd the Kid, and the music is really delicate–almost easy-listening-sounding keys and a ropey bass line.

Syd’s voice is beautiful and soulful and she raps and sing delicately.  Which is why it’s surprising that the first words of the first song are “now she wanna fuck with me / live a life of luxury.”  But after the surprise of these lyrics the chill music is kind of soothing: “roll up an L and light it.” And I love her falsetto for the chorus”

“She blowin up my phone.  All I hear is wha wha, wha wha (Band: wha wha).”

“Under Control” is a song dedicated to her band:  she promises she’ll be there for all of them “when I’m a legend baby and we’re all rich”

Her confidence and casualness is totally infectious. And I love the the wah-wahs effects on the keys as the song nears the end.

The last song is called “Dontcha” which gets a “yes!” from the crowd when she says she’s going to play it.  (That makes her very happy).  She says she’s never done an acoustic version before.  I gather it’s a single, although I enjoyed the other two songs a bit more.

The veering into R&B territory is not my thing, but it’s cool to hear her branch into different genres in one song.

[READ: May 15, 2016] Bream Gives Me Hiccups and Other Stories.

I’ve really enjoyed the comic pieces that I’ve read by Eisenberg–he writes a lot for the New Yorker.  In fact, I had recently decided that I would read and post about all of Eisenberg’s New Yorker pieces at some point in the future.  Well, it turns out that nearly every one of those New Yorker pieces has turned up in this book (there’s three that didn’t).  So that saved some time.

What that means is that most of these pieces are quite short.  And that very few of them are stories in the conventional sense.  They tend to be a few pages long, or sometimes longer pieces done as diary entries.

What is most interesting about Eisenberg’s writing is that most of these stories are funny–some are very funny–but there is also a lot of pathos and sadness in them.  Many of the characters come from broken homes and many of the situations are rather bleak.  And yet he manages to make them funny. (more…)

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secret-2SOUNDTRACK: SANDRO PERRI-Spaced Out EP [CST101] (2013).

cst101cover_258x242Sandro Perri, plays jazzy music and sings in a gentle falsetto. I really enjoyed his album Impossible Spaces a lot.  This 10″ EP is composed  of 3 remixes from that album.  I happen to really dislike remixes that basically take one aspect of a song, add drums to it and repeat for 5 minutes.  Most dance remixes are pretty inane.  These are a step above that.

The three tracks are Love & Light (Larry Gus – Panamix), Wolfman (Le Révélateur – Sky Mix), and How Will I? (Imugem Orihasam – Outlook Mix).

The original of Love and Life is a pretty, jazzy number with some great sounding drums and synth notes.

The remix opens with some really fast clicking and some cool wild bass synth.  Then Perri’s voice is manipulated into a kind of repeating note.  Once the song starts properly there’s a cool drums beat and repeats of Perri singing “hey” along with his voice played low in the mix.  And that’s Brett much it.  It’s simple but insanely catchy/dancey.  The song pauses in the middle and then resumes with new vocal snippets The Constellation site says the remix “employs over 500 samples extracted from the song’s stems. The result is an intricate, dense, exuberantly satisfying groove-based track that chops and channels the woozy rhythmic complexity and mellifluous vocal of the original.”

“Wolfman” is a ten minute track that I love–it has so many components and different styles. But this remix strips away pretty much all of it.  It is basically 5 and a half minutes of drums with some wavering synth lines.  About 3 minutes in some ooh oohs from the original track come in, but it’s so removed from the track that I almost wonder why bother.  Well, Constellation is there to tell us: Roger Tellier-Craig (Fly Pan Am, Pas Chic Chic), reworks “Wolfman” as a beautifully building swarm of layered loops and long delays – an homage of sorts to Perri’s own Polmo Polpo sound palette.”  And if that’s what you are expecting, he does it well.

I also love the original of “How Will I.”  This version is very strange.  The music is stripped almost all away with just some occasional sprinkling of piano and rumblings of low notes in the background.  There are additions of synths and percussion but otherwise it is largely a stripped down song.  What I loved about the original was the music—the flutes and everything–and it’s all gone.  I do love at 7 minutes when the bass rumbles through the song, but otherwise its pretty samey.  Constellation tells us: “Japanese producer Imugem Orihasam (Fragil) extrapolates a sweet and loose abstract-House vibe from the original, bringing the highly detailed swing of the song’s live drum tracks to the fore, allowing Perri’s vocal to unfurl against a minimal, skittering, plunderphonic arrangement.”

So, this is not a release I would play very much.

[READ: October 3, 2016] Secret Coders: Paths and Portals

Secret Coders ended with a  pretty big cliffhanger.

Hopper and Eni are on to something big at their school, Stately Academy.  They have just discovered a robot which (through their own programming) has opened up a portal to a secret underground lab. But it is the lab of Mr Bee.  Oh, and that bully Josh has decided he wants to help them.  Hopper says no way, but Josh doesn’t give up.  However, he’s kind of a coward and a little dumb and Hopper is really quite mean to him back.

Eventually they all start working together–Josh has mad typing skills.  And the beginning of the book shows the trio learning to write a program for the Robot Turtle to run. Coding isn’t a terribly exciting thing to watch, but Yang and Holmes do it in a cool way that makes it rather enjoyable.  Even (or maybe especially) when the kids screw up.

But they do succeed.  Which leads to an even more secret room with dozens of robot turtles off all sizes  And that’s when Mr Bee reveals a bit about himself and Stately Academy. (more…)

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secretSOUNDTRACK: CLUES-Endless Forever 7″ [CST064] (2009).

  cluesClues was a band who played rock songs that fused a lot of different styles–often within one song.  They released one album which was fantastic and then basically went on hiatus (that was six years ago).  This 7″ was a tour artifact that Constellation has made available.

It has two songs–a band-made remix of one song from the album and a demo of another album track..

“Ledmonton (Endless Forever Version)” is an unusual but fun song with lots of different sections.  All of them sound unrelated to each other and yet each part is quite catchy and it works wonderfully as a whole.  This remix doesn’t change the song all that much.  It makes it a little softer and fuzzier.  “You Have My Eyes Now (Demonstration Version)” feels like a demo compared to the final version, but it’s really full sounding–just not as full as the album.

This release is more for completists of the band or, since they put out one album and disbanded, any fan of their recorded output might just enjoy this.

[READ: October 1, 2016] Secret Coders

Beloved artist/author Gene Luen Yang came back in 2015 with a new series called Secret Coders.

There is a kind of introductory section that implies the whole story is a lot more meta than it might at first seem–but it is not resolved yet so it’s hard to be sure of that.

The story opens on middle-schooler Hopper.  She is very unhappy to have moved to this new town and a new school.  In addition to missing everyone back home, the sh cool is decidedly weirdo.  There are birds with four eyes, the groundskeeper’s doors are locked and the custodian Mr Bee is really mean.   Plus the whole place looks haunted and there are huge numbers painted all over the buildings (but not in any actual order).

Hopper is pretty abrasive. In fact I’d say she’s downright unlikable–I find her rather offputting, myself.  Of course, she’s also unhappy and the first people that she meets make fun of her (and throw pudding at her), so she is quite snippy with people.  But she’s also not afraid to stand up for herself, which is cool.  When she learns who threw the pudding at her, she fights back–not realizing that the guy is a huge basketball player.  But he doesn’t fight her.  Rather, he chooses to walk away. (more…)

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class3 SOUNDTRACK: OUGHT-Sun Coming Down [CST115] (2015).

oughtsunSun Coming Down changes but also enhances the sound that Ought worked with on their debut. This album is faster overall–with fewer slow and mellow sections.  It is jittery and sometimes hostile but very much alive.

And yet as with the debut you can hear inspirations from The Fall and trippier Sonic Youth throughout the album.  And there’s more than a hint of No Wave sprinkled throughout.

Notice that Tim Beeler is now known as Tim Darcy.  But the band is the same and Matt May’s fuzzed-out keys often sound like a second guitar.  And drummer Tim Keen and bassist Ben Stidworthy keep the pace perfectly.

 

“Men for Miles” has a very Mark E. Smith feel–especially in the chorus–a kind of spoken/shouted style.  But that’s not the only way that Ben “sings.” There are actual sung parts like the “tear to your eye” section.   The music is kind of like Protomarytr–aggressively, slightly angular but mostly fast and propulsive.  I love the guitar riff which is surprising and yet catchy at the same time.  And amid a quieter moment, he asks, “Excuse me, did you say there’s a chance of bringing this whole fucker down?”

“Passionate Turn” is a but less intense, but it has a nicely sung verse and a cool, unusual chanted chorus.  There’s also a nifty guitar riff right after the chorus.  The steady rhythm of the bass really keeps the song moving along.

“The Combo” has aggressive guitars and a lumbering bass and drum line combined with some noisy guitars and more of that Mark E Smith chanting vocal.    The middle section grows almost pummeling with the noisy guitars and jackhammer drums as he chants “it’s a little bit strange” in a voice that sounds like he’s almost mocking punk singers.  It’s a surprise about 2/3 of the way in when the vocals grow almost positive: “Jubilation coming.”  It’s one of two songs on the disc that are just over 3 minutes but which still pack a lot of music in.

“Sun’s Coming Down” opens with a ringing feedbacking guitar and some noisy soloing.  “I am talking out of my ass because my heart is not open.”  About half way through, he starts saying “just like that, it changes” and the music follows suit–it changes to a slower thumping drum with some vocals “oooh oohhoohhoooh.”  The song reaches its end with a guitar that sounds like a police siren before returning to that calming “oooooh.”

I love the way “Beautiful Blue Sky” opens.  The guitar riff sounds very familiar in tone, and when the other guitars and noises come in it has  very Sonic Youth feel, with a pretty guitar riff. And then some spoken words enter over some abrasive scratchy guitar “warplanes, condo” that morph into a series of clichéd phrases: “beautiful weather today, how’s the family, how’s your health been, fancy seeing you here.”  The middle section slows things down with “I am now longer afraid to die because that is all I have left.  Yes.  I am now longer afraid to dance tonight because that is all I have left.”  And the ecstatic way he says “Yes” is surprisingly powerful as it sounds so different–almost ecstatic– from the rest of his delivery

“Celebration” is a much shorter piece with a sort of angrily chanted “Celebration.”  There’s buzzy guitars and a feedback-seeming drone behind the music.  It all leads up to a slow down where he chants, “All right, I’ll take it!” in a rather louche voice.

“On the Line” begins with the vocals sung quietly over a buzzing drone.  Slowly a synth line comes in.  The song sounds like nothing else on the disc until  the drums and guitars come bursting forth and the song blisters along.  And then it settles back to the quieter section with spoken word recitation.   The changes are abrupt and switch between a mellow poetry and garage rock.

“Never Better” opens with an aggressive riff and keening vocals.   It has a quieter chorus but the song never flags in intensity.

Even though it is obviously the same band, their three discs really explore many different facets of their sound.  I’m really looking forward to what the come out with next.

PERSONNEL
Matt May: Keys, Vocals
Ben Stidworthy: Bass
Tim Keen: Drums, Violin
Tim Darcy: Vocals, Guitar

[READ: September 24, 2016] Assassination Classroom 3

I looked up this series online and saw that there are currently 21 volumes in it!  (11 are translated into English so far).  I can’t imagine how he can keep this story going (and at a pretty fast pace until the Earth will be destroyed) for so many more books!

This book begins with the students still on vacation in Kyoto.  Two of the girls have been captured by other students.  It’s a disturbing chapter with the implication that these boys have done things to girls before.  But Koro Sensei’s book about field trips actually covers the event of a kidnapping!  So the rest of the class is on it.  It even suggest where they might find the culprits (how did he know?).  It’s also a really big book and can be used as a weapon.  And our class comes out unharmed.

In the next chapter a new assassin named Red Eye is sent to take out Koro Sensei.  Red Eye is a sniper but he is baffled by Koro Sensei–who is able to stop a bullet with a dumpling.  Koro Sensei proves to be such a good teacher that even the Red Eye can learn something from him.

After a light episode in which the kids try to learn about Koro Sensei (and Irina’s) past girlfriends/boyfriends, a new student is added to the class.  But this student is a computer named Autonomous Intelligence Fixed Artillery.   It is a fast learning computer (with a pretty girl as its avatar).  And it is designed to learn from its mistakes.  It estimates that bu the end of the day it will have a .03% chance of killing Koro Sensei but by the end of the month it will be 90%.  So it begins class by opening fire on Koro Sensei (despite the fact that it breaks the class rules and disrupts class).  And then the kids have to clean up the mess of BBs.  In fact the kids are so annoyed that they tape the machine up so it’s guns can’t come out.  Eventually Koro Sensei teaches it that it needs to respect the fellow students or it will never blend in.  Koro upgrades the machine who actually seems to enjoy learning.  This is pretty fun sequence of chapters.

In the next section, Koro Sensei is affected by humidity–his head swells to a crazy size.  But that proves to be a diversion compared to the real plot that follows–revenge on a cheating girlfriend and her jerky boyfriend.  It’s very funny and quite elaborate.

The final chapter of the book is all about Irina.  She is trying to teach them to speak without an accent but the kids can’t seem to get their Ls and Rs correct.  She says that if they can’t get them straight, she will have to French kiss them (totes inappropes–although the previous chapter revealed that she was 20, which is much better than the mid 30s I assumed she was).  But we soon see that Irina’s “handler,” the guy who sent gave her the assignment, determines that she is no longer the right assassin for the job.  She is pissed but her services are no longer useful.

The book end with Koro Sensei proposing a test between Irina and her handler to see which one is the better assassin!

This manga is written in the traditional style of right to left, which is fun.  It is translated by Tetsuichiro Miyaki with an English adaptation (whatever that means) by Bryant Turnage.

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