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Archive for the ‘Set in New Jersey!’ Category

download (89)SOUNDTRACK: BORIS-Archive Volume Two “Drumless Shows” (2005/2020). 

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In early August, Boris digitally released six archival releases.  Volume Two is called “Drumless Shows” and that’s what it contains.

I tend to think of drummer Atsuo as the leader of the band–he’s the mouthpiece after all. Plus, he’s the most larger than life of the three.  And, his drum sound is huge.

To have 46 minutes of drummless Boris music is quite a change.  It is, as the blurb says, the beginning of Drone Metal history.

Originally released in 2005 from the US label “aRCHIVE”, limited to 600 copies which sold out immediately. Includes 2 songs recorded live from Boris’s 1998 studio album “Amplifier Worship” and 1 song from “Early Demo”, all arranged for a drumless performance. The beginning of Drone Metal history in 1997.
(Reissued as part of Archive 1 on March 5, 2014. Limited to 1,000 copies)

The first of two songs from Amplifier Worship is “Huge” which was also on Archive 1 (this version was recorded at Nagoya Music Farm 9th Aug 1997).  It is 17 minutes long and is very different sounding without the drums.  It’s all drone with one of the instruments sounding almost like a didgeridoo.  After ten minutes echoing screamed vocals comes in but the drone remains.

The final two songs were recorded at Koenji 20000V 8th Aug 1997.  “Mosquito” was also on Archive 1.  It was three minutes there, but it is stretched out to 17 minutes of slow pummeling chords and guttural noises from Atsuo (I assume).  After ten minutes Atsuo starts chanting slowly with the thumping chords.  The final chords echo and feedback as they segue into

“Vomitself” also from Amplifier.  This track is only 12 minutes of drone.  About six minutes in the melody changes briefly before reverting back to the original sound.  For the final two or so minutes, squealing feedback brings this archive to a close.

Takeshi: Bass & Vocal ; Wata: Guitar & Echo ; Atsuo: Drums & Vocal.

[READ: August 12, 2020] Peep Show

Thirteen years ago I read Braff’s The Unthinkable Thoughts of Jacob Green and really liked it.  Then I forgot all about him.

This book was nothing like his more whimsical first novel.

It is set in the mid 1970s.  The main character is David Arbus, a seventeen year old high school student in New Jersey.  His main interest is photography.  He has a younger sister, Debra, whom he loves very much.  But his parents are something else entirely.

David’s father owns “real estate” in New York City.  This means that he owns The Imperial, a burlesque theater where women strip for money.  But this is the 1970s and men don’t just want tame strip shows anymore–they want to see everything.  They want porn flicks.  They want peep show booths.  They want sex toys.

But David’s father doesn’t want any of that.  He wants his business to stay “classy,” even though all of his friends and partners think he’s crazy for passing up the opportunity to make a lot more money.

David is aware of his father’s business although Debra is not. (more…)

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alcaterlSOUNDTRACK: SA-ROC-Tiny Desk (Home) Concert #30 (June 4, 2020).

sarocI have never heard of Sa-Roc, but I was blown away by her lyrics and delivery.  I really enjoyed that her delivery was intense and serious, even angry, but her delivery was so thoughtful.

If you want protest music for the uprising of the American consciousness, then look no further. Sa-Roc (born Assata Perkins) is an emcee from southeast Washington, D.C.

Sa-Roc bears her heart and soul here, weaving together influential threads from her upbringing; Pan-Africanism, the hardship of her father’s experience as a sharecropper in Virginia and her own childhood in Congress Heights, D.C., an area ravaged by violence and the crack epidemic in the 1980s.

In this Tiny Desk (home) concert, she debuted two exclusives, “Deliverance” is about reassessing where you are in making a commitment to change things. I love the beats and the lyrics.  She references Posdnous and De la Soul and then has this moment where she says this is the world’s tiniest violin and a violin sample plays.

After the song, she lights some sage to clear the energy.  She wants her space to experience joy and to be a stress-free peaceful environments.

“Hand of God” is her latest single about staying true to yourself.  It has a sung chorus and Sa-Roc has a pretty singing voice along with her flow.  In the second verse she raps with a sped up version of herself which is pretty neat.

“r(E)volution,” is from her upcoming album, The Sharecropper’s Daughter, which is produced by her partner in life and DJ, Sol Messiah.  It starts with a pretty guitar and a great bass line

On “r(E)volution” she spits bars: “Embedded in the home of the brave, the darkest of interiors. / Saw street scholars and soldiers defect cuz they post-traumatic stressed from the American experience.”

“Forever” is for little girls who ever felt like they were held to impossible societal standards; and if the world told them they weren’t good enough, weren’t valuable enough, weren’t worthy enough, weren’t dope enough to take up space or use their voice; they didn’t come from the right area or the right class or education; didn’t have the right skin tone or complexion; anything that made them feel less than.  This is about how dope you really are with all of your perfect imperfections.

I love that after a quiet clapping moment the song soars with guitars and bass.

[READ: May 8, 2020] Kitten Clone

In the Douglas Coupland collection Shopping in Jail, there was an essay called “All Governments Seem to Be Winging it Except for China.”  The essay said that it came from this book: Kitten Clone.

I wasn’t sure how interested I really was in reading about the history of Alcatel-Lucent, but I should have known that Coupland would do his thing and find an interesting and unique way to write about something that should be dull.

The only weird thing is that Coupland implies that he is alone on this excursion, but the photographs are not his (which is surprising since he loves art) the pictures are by Olivia Arthur.

This book is part of a series called Writers in Residence created by Alain de Botton, with the slogan: “There are many places in the modern world that we do not understand because we cannot get inside them.”  Coupland’s book is the third in the series.  The other two are Geoff Dyer: Another Great Day at Sea: Life Aboard the USS George H.W. Bush and Liaquat Ahamed: Money and Tough Love: On Tour with the IMF.

This book looks into the past, present and future of Alcatel-Lucent and the cover of the book sets the stage: (more…)

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SOUNDTRACK: NICK HAKIM-Tiny Desk (Home) Concert #12 (April 22, 2020).

I had a mixed reaction to Nick Hakim”s Tony Desk, although the blurb writer says he loved it.

Whenever I’m asked to name my favorite Tiny Desk concerts, Nick Hakim’s 2018 performance sits near the very top. He and his four bandmates reset the bar for intimacy at the Desk with their hushed groove.

Hakim plays three songs from his upcoming album WILL THIS MAKE ME GOOD

from the corner of his dark bedroom with a keyboard, guitar and stacks of audio components.

His vocals on all three tracks are quiet and echoing, as if he is whispering down a long hall.  In fact all of the music sounds muted and soft, with a feeling of hazy smoke floating around,.

“QADIR,” is a haunting dedication to a fallen friend.  He plays guitar–mostly slow muted echoing guitar chords.  When the song ends, he activates a mini applause effect box which is pretty funny.

He takes a few loud slurps from his drink and gives a big “ahhh,” before starting the next song. For “GODS DIRTY WORK” he switches to the keys.  His singing style is exactly the same, although the song may be a little slower.

He adds a little more fake applause and then a somewhat creepy echoing laughter as he switches the drum beat for “CRUMPY.”

Honestly, all three songs sound a lot alike and seems really slow and hazy. It’s weird how upbeat and smiling he is, in contrast to the music.  I wonder how he makes everything seem so quiet.

[READ: April 15, 2020] Nicotine

I really enjoyed Nell Zink’s two other novels, but somehow I missed this one entirely when it came out.  I couldn’t imagine what it was about with that title and boy I never expected it to go where it did.

I actually had a slightly hard time getting into the book. That may have been because it was Quarantine and it was hard to ficus or it was because the opening of the book was so puzzling.  And yet by the end I was totally hooked.  But the beginning:

A thirteen year old girl stands in a landscape made almost entirely of garbage, screaming at a common domestic sow.

Then a white man comes and takes the girl away.  Her name is Amalia. (more…)

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[ATTENDED: October 26, 2019] MST3K Live

I didn’t realize it was exactly one year ago that I went to the previous MST3K Live experience.  How funny.

I have enjoyed both of the two previous MST3K Live shows quite a bit.  So when it was announced that they were going to do it again and this time it was going to be in New Brunswick instead of Glenside, PA, I got tickets right away (and wound up in the third row).  I only wish I had picked the other side of the stage, because Joel and the bots did their movie watching from over there.

I have been very lucky to have gotten two movies each time I’ve seen the performance.  It seem like a lot of locations get only one movie.  I’m not sure why I’ve been so fortunate.  (And State Theatre offered a discount if you bought seats for both movies!).

Last time the riffing was done by Joel Hodgson and Jonah Ray as well as many of the actors from the show.

This time things were very different.

Jonah Ray was not there.  Nor was Rebecca Hanson as Synthia Forrester.  And of course, no Felicia Day nor Patton Oswalt (not even on video).

But the big announcement was that this was going to be Joel Hodgson’s last MST3K Live tour.  I don’t know if that means there will be more, or if this is the end of them entirely. (more…)

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[ATTENDED: October 25, 2019] Ghost

A few years ago Ghost had just popped on my radar when I saw that they were playing the Fillmore in Philly.  I didn’t go, but a friend of mine took his son and said the show was outstanding.

Before getting tickets for Starset, I had bought tickets for C. and I to see Ghost.  I had heard that their live shows were tremendous and I was pretty excited to bring him to a show like this.  When I looked for tickets, I knew we wouldn’t want GA Floor, but I didn’t know if we should go straight back or close to the stage on the side.  I chose close to the stage and I was pretty happy with the location although C. thought it would be better straight on.

I had no idea we’d be going to see two concerts in two nights.  But it was fun for him to compare the two styles of venue–club vs. arena.

Starset has a backstory and Ghost has a backstory too.  Ghost’s story is pretty fascinating.

But before getting to that I have to say that this show was spectacular.  Holy cow was it fun–the band was fantastic.  The stage set was incredible and Cardinal Copia was an amazing front man.

Now, onto the story of Ghost. (more…)

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[ATTENDED: October 12, 2019] Explosions in the Sky

I saw Explosions in the Sky three years ago. It stands as one of the most memorable shows I’ve seen and I knew that I wanted to see them again whenever I had the chance.

I don’t know if the band doesn’t tour all that much or if they just didn’t come my way, but after three years, when I saw they were playing at the Starland Ballroom on their 20th Anniversary Tour (part 1), I got tickets right away.

It took about 20 minutes for EITS to come out on stage.  It was nice to not have those horrible red lights that flooded FACS.

Before they actually started, the lights were natural, so I made sure to snap a few pictures before the colored lights came onto the stage.

All five guys came out and guitarist Munaf Rayani (the only guy to talk) said they were Explosions in the Sky from Texas–looks like some of you know us.  That’s good.”  And until he said good night that was the only voice for 90 some minutes. (more…)

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[ATTENDED: September 12, 2019] Prism Bitch

I hadn’t heard of Prism Bitch before this tour.  I looked them up and listened to their EPs on bandcamp and rather liked them.

They have great lyrics and a catchy punky style, including a song called “Tits Off” which I think they played but I’m not sure.  But mostly they have a lot of energy.

Before they went on, we could see their ankles and feet below the screen that was in front of the stage.  I was amused that they all seemed to be wearing different colors.  And indeed as the screen went up they were revealed to be all wearing matching Adidas tracksuits. (more…)

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[ATTENDED: September 12, 2019] And And And

When I saw the band that was opening for Built to Spill was called And And And, I knew it sounded familiar.  I knew it was from some work of fiction.  And then it finally came to me that it was from The Commitments. Roddy Doyle’s hilarious book that inspired the movie.

The band is mentioned here:

Jimmy Rabbitte: What do you call yourselves?
Derek: “And And And.”
Jimmy Rabbitte: “And And fuckin’ And?”
Derek: Well, Ray’s thinking of putting an exclamation mark after the second “and.” Says it’d look deadly on the posters.
Jimmy Rabbitte: Psshh…
Outspan Foster: You don’t like it? You think it should go at the end?
Jimmy Rabbitte: I think it should go up his arse.

Excellent.

I instantly loved this band from Portland who were so bold as to take this name (no exclamation points). (more…)

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[ATTENDED: September 8, 2019] Uniform

Uniform is a duo from New York.  But for this tour that had a live drummer Michael A. Engle (from Crawl).  The main two guys in the band are former Drunkdriver singer Michael Berdan and recording engineer Ben Greenberg (formerly of the Men) on guitar and other sounds.

I looked them up before the show to see who they were and the general impression I got was that they were loud.

So when the band walked on stage, I said to the guy next to me, “time for earplugs.”  And before I could put the second one in, Berdan pressed a button on a machine behind him and out blasted the single loudest sound I’ve ever heard.  Granted, I was standing literally right in front of the massive cabinet that the sound came from, but holy crap.  I assumed it was some kind of accidental feedback.  But indeed, no, that was the opening sound of the band.

And it never let up. (more…)

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[ATTENDED: August 27, 2019] Mac Sabbath

When I saw that Okilly Dokilly was opening for Mac Sabbath I had to check out who this band was.  They’ve been around for a few years and this was their “American Cheese Tour” (that’s a good one).

And so basically, they are a Black Sabbath cover band, but all of their lyrics are about McDonald’s and the fast food industry in general.  So that’s pretty funny.  But that’s not all.  They have taken this concept to an absurd length.   Each band member is costumed or wears makeup.  And the costumes are phenomenal–not cheap little handmade things, but remarkably detailed and well constructed heads and bodies.  The attention to detail is really impressive.

The band members are also completely anonymous, which is also pretty funny.   And that is why they have such great band names:

The lead singer is Ronald Osbourne.
The guitarist is Slayer MacCheeze
The bassist is Grimalice (the least impressive name, it’s Grimace with an Alice in Wonderland hat on, but his other name is brilliant: “I Can’t Believe It’s Not Butler.”)
On drums is Catburglar or Criss Cut Fries (he is dressed like the Hamburglar with Peter Criss Makeup).

I didn’t really think too much about the music before the show, I just wanted to see the stage show. (more…)

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