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Archive for the ‘Sex’ Category

SOUNDTRACK: THE LAST BISON-“Switzerland” (2011).

The Last Bison is a band based out of Virginia.  They seemed to ride the wave of aggressive folk rock that came out with Mumford and the Lumineers.  They described their sound as “mountain-top chamber music” as they added classical elements (strings mostly) to their alt-folk.

This was the the first song I’d heard by them and I found it really compelling.

The song opens with a quiet melody played on an acoustic guitar or mandolin.  It feels pastoral and I loved that the melody was accented with a percussive banjo or guitar strum.

The vocals are high and rustic with nice harmonies.  After the introduction, a quick acoustic guitar propels the verse (in which singer Ben Hardesty sings high enough to be almost out of his range).

About half way through, tehs ong shifts gears to a minor chord and the heavy strings come in–deep cello and a soaring violin solo.  The song slows down to gentle strums and vocals as he sings the chorus once more before everything builds up one more time.

In 2018, The Last Bison released a new album with a new lineup and a reinvented sound with more keyboards and percussion.

[READ: October 20, 2020] “Switzerland”

The narrator’s family moved to Switzerland when she was 13. Her father was a doctor who wanted to specialize in trauma and Switzerland had the best hospital for trauma study (which was ironic given that Switzerland “is neutral, alpine, orderly”).  She was too young to live on campus, so she resided with her English tutor, a Mrs Elderfield.

Two other girls, both eighteen, were also staying there. The girls were Marie who came from Bangkok via Boston and Saroya who came from Tehran via Paris.  The older girls laughed at her naivete but they were always kind to her.

Marie and Saroya were sent to Switzerland because of their troubled past–sex, stimulants, and a refusal to comply.  Their parents hoped the school would “finish” them, but the schools knew they were finished already. (more…)

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SOUNDTRACK: ANGEL OLSEN-Tiny Desk (Home) Concert #92 (October 7, 2020).

Angel Olsen is a favorite of many critics. I rather enjoyed her new album–but I think more for the sound of the production than the songs themselves.

I had the chance to see her recently but didn’t go and later heard the show was amazing.

This is a super-stripped down set (just her and her guitar on a balcony in North Carolina).

She opens with “Whole New Mess.”

The song is actually about addictions, defining her “home” amidst a life of touring that kept her on the road for large chunks of time. Much like this Tiny Desk performance, the original recording is just her stunning voice and guitar (minus the birds and the trees), recorded in a church-turned-studio a few years ago.

Up next is “Iota”

a song that wishes “that all the world could see something for what it is at the same time.”

“What It Is” is the only song I knew.  It was played on the radio a bunch and I grew to really like it.  This spare version is less interesting to me, but the melody is still lovely.

Angel leaves us with “Waving, Smiling,” a farewell song. She says goodbye to the sounds around her, the birds, the chainsaws, and leaves us with a theme of acceptance, bittersweet but without regret.

The whole set is gentle and lovely–it’s hard to believe she put on a dynamic and exciting live show.

[READ: October 1, 2020] Child Star

I am only mildly upset to learn that Box is not Box Brown’s real name (it seemed unlikely but amusing, nonetheless). But I am in no way upset about how great this book is.

In the author’s note, Brown says that he grew up watching TV in the 80s–he especially enjoyed the shows that had child actors in them.  He learned that the lives of child actors tend to follow a particular, tragic arc.

So for this “biography,” he created a child star, Owen Eugene, as an example of the kind of life.  If you grew up watching the same shows, you’ll recognize the children that he is drawing from.

You’ll recognize some of the notable episodes from shows.  Like the “very special episodes,” about drugs, or pedophilia or smoking or whatever; or the one where Nancy Reagan came on set; or when the younger, cuter kid came on to take over being the cute one.  And of course, the inevitable catch phrase.

The book is written like a Behind the Scenes kind of TV show.  There’s interviews with all kinds of people–his parents, his costars, washed up actors and ex-wives.

Owen Eugene had a hormone issue so he didn’t grow very tall–which meant he stayed adorable for a long time.  He was also a lot older than he looked.  So he could try out for roles and get them because he was the most talented 5 year old (because he was ten). (more…)

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SOUNDTRACK: SUNFLOWER BEAN-“Moment in the Sun” (2020).

When Sunflower Bean first came out they were a wonderful poppy guitar band.  They sounded like a classic indie pop band from the 90s with Julia Cummings great vocals and Nick Kivlen’s delicate guitar sound that also worked in some roaring solos.

Their last EP was a lot more synth and even more poppy.  This new track, “Moments in the Sun” continues in that poppy synthy style.

The song opens with a slinky disco bass line and guitar chords.  Cumming’s voice sounds husky until the end of the each verse which has a catchy echoing falsetto vocal.  Bouncy synths accompany the vocals.

The propulsive chorus strips out the synth for a really catchy vocal harmony between Cummings and Kivlen.

The song sounds vaguely familiar–very catchy and simple

This aggressively poppy direction is a bit surprising given their earlier sound.  It’s not all that far afield from their initial sound, but I do miss Kivlen’s excellent guitar work.

[READ: September 14, 2020] “The Englishman”

This is the second story of Stuart’s to appear in the New Yorker this year.

In this story, a college-aged Scottish man has answered a want ad to help an older Englishman named William.  The young man (who is nicknamed Caspar by William) was expected home from college for the summer.  His family farmed on a Scottish isle and were often buffeted by the harsh Atlantic winds.  His older brothers had been saving up the worst chores for his return.  So when he said he wouldn’t be coming home, they were furious at him.  His father was also disappointing–he said nothing when Caspar told him he was spending the summer in London.

The position paid four hundred quid a week.  William was a wealth man, with much cash at his disposal–he offered to fly William in from Scotland.  William was fastidious in his dress but his house was a shambles.  (The narrators mother would have died to have her house look like this). (more…)

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SOUNDTRACK: BURT BACHARACH & DANIEL TASHIAN-Tiny Desk (Home) Concert #75 (September 3, 2020).

Obviously, Burt Bacharach needs no introduction.  He has written hundreds of songs that everyone knows. It’s rankly amazing that he is still living given his long and storied history.  Well, it turns out he is 92 (!).  And he can still play and compose.

I don’t know who Daniel Tashian is, but I see that he is a songwriter who seems to have written for a lot of country singers.

For this Tiny Desk Home Concert, the two have written music together for an EP called Blue Umbrella and they perform three songs while far apart: “Bells of St. Augustine,” “Blue Umbrella,” and “We Go Way Back.”

The melodies are lovely, as you’d expect.  Tashian is a lyricist, so the lyrics are very good as well.  I guess the one unknown turns out to be Tashian’s voice.  I found that I liked it quite a lot.  He reminded me a lot of Jim James in his delivery.  It’s also fascinating to watch his beard grow over the three songs.

In between songs, first Daniel addresses us.  he says that music is an oasis of calm and peace.  He says, seriously that he hopes this time next year we’re looking at a different picture of where this country is headed.

A love of songcraft brought these tremendous talents together, writing songs of friendship, songs that have been a comfort for both of them in these challenging days.

Bacharach talks about what it’s like being 92 and being sequestered like this.  He’s been out of his house once–to a small party at a friend’s house.  But he is happy to be at home with his wife.

And he has a direct message to the anti-maskers out there.

It’s okay to wear a mask.  You’re not proving anything walking around without a mask like some kind of hero.  You’re not.  You know who the heroes are.  They’re all walking masks and working in hospitals.

[READ: September 11, 2020] “End of the Line”

This is an excerpt from Franzen’s The Corrections.  

The Corrections is a large book that covers, in depth, a large family.   I enjoyed the novel very much and this refresher (I read the novel nine years ago), was a nice reminder of the novel.

The family has three adult children: Gary, a banker in Philadelphia who is (more or less unhappily) married with three children; Chip, a former school teacher and current playwright who sponges off of his younger sister while he tries to live the high life in New York City; and Denise, a very successful chef who also lives in Philadelphia.

This excerpt is about Denise.

It is a story about her as a youngish woman working in her father’s railroad office.  She is a strong, hard-working young girl in an office full of men.  And they don’t know what to do about her. (more…)

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SOUNDTRACK: VOIVOD-The End of Domancy EP (2020).

Voivod has released a new EP for 2020.  The metal band were invited to play the 2019 Montreal Jazz Fest.

To do something special, guitarist Chewy created some orchestration for a song hey had not played live before.  This EP has the live version of the song as well as a newly recorded studio version.  There’s an extra live song from the Festival as well.

The newly recorded studio version of the song is now called The End Of Dormancy (Metal Section). It has  brass quintet comprising saxophone, trombone and trumpet.  It works quite well because of how cinematic their music (and especially their newest album The Wake) is.  I mean the military drum march in the middle of the song could come from any terrific sci-fi movie. The horns add a very interesting cinematic quality and do not detract from the heaviness of the original.  Even though the horns do a lot of the dramatic rising and falling parts there is still plenty of room for Chewy’s guitar soloing.  But that high note trumpet at the end is pretty spectacular.

The live version runs about a minute longer because even though Voivod is tight AF and very meticulous, they allow for an improvised saxophone solo.  The audience is pretty thrilled by it.  I love the way the band is quiet at the beginning of the solo and then builds in intensity to the end of the solo.  And that ending trumpet high note is even more impressive live.

The third song is a live version of The Unknown Knows, a fantastic song from Nothingface.  Voivod plays incredibly complicated an intricate music and the fact that they can pull it off live–and have it sound even better–is a testament to how great they are.  And also how great Chewy is as a replacement for Piggy.

[READ: September 10, 2020] Do You Mind If I Cancel?

I had no idea who Gary Janetti was before reading this book.  S. brought it home and thought I’d enjoy reading it.  With a title like that I thought it would be kind of funny.

Turns out that Gary Janetti is a TV writer for a few different comedies (although none that I watch).  And his writing is a lot like that of David Sedaris.  By that I mean he is lauded as being a hilarious writer.  But in fact, while some of his piece are funny, there is a lot of sadness and despair in some of these essays.  I mean, the last essay is about the many men who died of AIDS in the 80s.  To call this book “laugh-out-loud funny” is slightly off base.

I hate to lump Janetti in with Sedaris, because it’s not really fair.  They are both gay men, no longer young, with a great eye for details and a snarky attitude.  But the difference is in perspective.  Janetti is ten years younger (which isn’t that big of a deal, but given the time frame they are talking about, it was quite a change in gay culture).  More importantly, whereas Sedaris is from North Carolina, Janetti is from Long Island. So he has has much greater proximity to a big (gay) city.  His family also seems to be much less antagonistic with each other–so Janetti’s comedy doesn’t stem from familial wars.

Janetti lived much of his twenties in New York City as a single guy working in a fancy hotel where rich, fabulous people showed up regularly. He has many stories of Broadway, and disappointing encounters famous people and the like.   Amusingly he also has a lot of stories about how he watched a lot of TV–typically not the most exciting thing to write about–but his essays about this are quite funny.

There are eighteen essays in total. (more…)

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SOUNDTRACK: BILL CALLAHAN-Tiny Desk (Home) Concert #77 (September 9, 2020).

Bill Callahan has been making music for thirty years (half of them as the band Smog).  He has a deep, calming voice.

His songs are slow and almost spoken word.  They might even start to put you to sleep until you start listening to his lyrics.

For his Tiny Desk (home) concert, Bill Callahan stands outside his home, near a desk adorned with a taller-than-usual globe, two books and a single banana. [They play] three songs from Gold Record, which came out just last week [as well as an older song, “Released”].

“Pigeons” starts with Callahan saying “Hi, I’m Johnny Cash,” and, with his deep voice you might be inclined to believe it.  The music comes in with a picked guitar intro and Callahan’s slow delivery of this engaging story:

Well, the pigeons ate the wedding rice
And exploded somewhere over San Antonio
I picked up the newlyweds and asked them
Where they wanted to go
They said “We don’t care, we don’t know, anywhere, just go”

Outside of Concan, the groom noticed the gold band on my left hand
And said “You got any advice for us, old man?”
Well, I thought for a mile, as I drove with a smile
Then I said when you are dating, you only see each other
And the rest of us can go to hell
But when you are married, you’re married to the whole wide world
The rich, the poor
The sick and the well
The straights, and the gays
And the people who say we don’t use these terms these days
The salt and the soil
After I’d said my piece
We drove on in silence for a spell
How my words had gone over, I couldn’t tell
Potent advice or preachy as hell
But when I see people about to marry
I become something of a plenipotentiary
I just think it’s good as you probably can tell

Midway through, the song turns into a bouncy waltz for a few bars.  Then it returns to that slow picking of the verses.  Derek Phelps adds trumpet accompaniment and Matt Kinsey plays a lot of guitar lines that act as mini solos as well as dramatic bass lines.

He says he wrote “Released” a few years ago but it seems more and more appropriate every day.  The dramatic guitar opening is great and Kinsey’s lead fills add a lot of depth to this simple opening.

The music gets really loud and dramatic as he sings the middle part (italicized below), before the song returns to that gentle, vaguely Mexican sounding (especially with the muted trumpet) melody.

The lyrics are a short poem

Like two wrestlers
I am mostly still
As the Four Horsemen
Come over the hill
Trying to pass themselves off as the Holy Trinity
When any fool can see
Any fool can see
Everything is corrupt
From the shoes on our feet
To the way we get fucked
Oh, I know that we are free
Don’t tell me again that we are free
Tell me, when will we be released?
Released

“Another Song” is a bit faster even if his vocals aren’t

I keep coming back to a lyric from “Another Song,” which he performs here: “Lonesome in a pleasant way.” We’re all a little bit more lonesome than usual right now, but we’re lonesome together. Maybe that feels OK, pleasant even.

It’s quite catchy.  It’s also fairly short except for the coda which is louder than anything else as it builds with the repetition of the title.

“The Mackenzies” is another story song.  It’s sweet and sad and comforting and painful.  And the tempo rises and falls accordingly.  Kinsey’s lead guitar lines throughout the verses are really something delightful as are Phelp’s trumpet additions.

The blurb ends with a nice sentiment from Bill.

Callahan, in the zone during this performance, shares so few words between songs that we decided to follow up and ask what he’s been feeling about his world today.

“There are a lot of voices these days. So many that, I think, even positive sentiments become detrimental in their deafening number,” Callahan explains. “Quiet reflection can be the clearest and most informative and soothing voice you’ll ever hear. There are many unknowns at this time in history. It’s more than a junction in our old world. It’s the possibility of a whole new world. A large part of me believes this. Listen to music, read books, talk to friends and family. Don’t listen to the voices, not even mine!”

[READ: September 8, 2020] “The Husbands”

This story is about Maggie, a woman who likes to sleep with other women’s husbands.  She knows it’s not healthy (mentally or physically) but she does it anyway.

She started with her sister’s husband.  She had dated Patrick in high school.  Then they broke up and her sister, Sarah, dated and then married him.  That’s not why she sleeps with Patrick now (probably).

She has slept with her best friend’s husband, her librarian’s husband, many other husbands.

Most of them are one of, but the thing with Patrick has been going on for quite a while.  She even flew with Patrick to Texas for a weekend. (more…)

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SOUNDTRACK: PROTOJE-Tiny Desk (Home) Concert #76 (September 7, 2020).

Protoje is another reggae singer (who I’d never heard of before this Tiny Desk) who seems to be breaking the mold of what reggae sounds like.

Protoje is a not-so-secret treasure who’s been a vital force in the reggae revival movement these last several years. Perched in the hills of Irish Town on the fringe of Kingston, Protoje welcomes us into his backyard (which doubles as The Habitat Studio) for a uniquely fresh spin on a Tiny Desk (home) Concert. With a custom-designed set flanked by lush greens and mountains in the distance, this creative backdrop complements the uplifting feeling of Protoje’s music.

He performs three songs from his fifth album In Search of Lost Time and ends his set with an older song.

“Deliverance” has a loud bassline from Donald Dennis and an electronic drum sound from Peter Samaru.  Protoje sings and raps with a really fast delivery.

He speaks to his spiritual philosophy and faith on “Deliverance” with a chorus stating, “I hold my order, give my praises / Oh Jah, deliver me through these days, Jah deliver me / Sometimes really hard to go and face it / Oh this life can truly be amazing, amazing.”

The song is catchy and uplifting.

I really like that Lamont Savory is playing an acoustic guitar.  It’s never obtrusive.  In fact it often fades into the background, but it’s always there keeping the rhythm and melody afloat.  As the song ends he walks over to Sean Roberts and starts messing around on Roberts’ looping box.

“Strange Happenings” opens with Savory’s quiet, pretty guitar melody.  I usually find reggae to be samey and kind of dull, but these songs have a lot of vitality.  And lyrically they are sweet and powerful.

to me life was easy, it was just fun and games
Until I saw that people were filled with so much pain
It’s harder to share sometimes, easier to pretend
The way we treat each other, I just don’t comprehend

And then it came as a surprise to me that Sean Roberts busted out a violin and began playing a kind of mournful solo.

“Same So” has the standard reggae rhythm but the bass line is a bit more interesting.  It feels warm and inviting–much like the place where he is playing (which seems so placid it almost looks like a photograph backdrop).

After joking that “this is awkward” he proposes one more song.

He wraps his performance with his most recognizable chart-topping hit, “Who Knows,” which featured Chronixx on the original recording.

This song also has a pretty guitar opening and Protoje singing in a high, soft register.

Who knows / I just go where the trade wind blows / sending love to my friends and foes.

A message of peace in a time of hostility,

[READ: September 5, 2020] “What is Remembered”

In this story Meriel and her husband Pierre are getting ready to go to a funeral.  They had to come travel to Vancouver from Vancouver Island and it was their first night in a hotel alone since their wedding night–they always traveled with their children.

This was their second funeral as a married couple.  The first was a fellow teacher of Pierre’s.  He was in his sixties and they felt that that was okay.  What difference did it make if you died at sixty-five or seventy-five or eighty-five?

But this funeral was for Pierre’s best friend Jonas–aged twenty-nine.  When she told Pierre that Jonas had died, Pierre immediately guessed suicide.  But no, it was a motorcycle accident.  Why had he been so certain it was a suicide?

They went to Jonas’ parents house for the reception.  There’s an amusing sequence with Pierre’s mother treating Pierre like a child.  But then Pierre’s mother and Jonas’ mother were distracted by the doctor who had looked after Jonas. They both approved of the man. (more…)

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SOUNDTRACK: ANAT COHEN AND MARCELLO GONÇALVES-Tiny Desk (Home) Concert #74 (September 2, 2020).

Anat Cohen plays the clarinet and Marcello Gonçalves plays the seven-string guitar.  Their

music comes from the heart of Brazil. The first two songs are choros, from the choro genre of music that originated in 19th century Rio de Janeiro. Think of choro music like New Orleans jazz, but in South America, both born of European and African influences. Cohen, on the other hand, is a clarinetist from Israel and the composer of these tunes. She developed a passion for Brazilian music while studying at Berklee College of Music and not long afterward found herself in a “roda” (choro jam session) in Rio de Janeiro with some of the most virtuosic players in Brazil’s choro scene. It was on that trip 20 years ago when Cohen met Gonçalves for the first time. All these years later, choro music has woven many of the threads in Cohen’s musical fabric.

Notice Gonçalves’s seven-string guitar, a common instrument in choro music; the additional string extends the lower register as if to combine an acoustic and bass guitar. Cohen explained in an email that playing with Gonçalves “makes me feel like I am playing with a full band.”

This duo was recently revered for their 2018 Grammy-nominated record, Outra Coisa, which celebrates the music of the iconic Brazilian woodwind player and composer Moacir Santos. Gonçalves is acclaimed for refining Santos’s orchestral arrangements down to just two musicians.

“Waiting for Amalia” opens with a bouncy guitar line and a sweet almost flirtatious clarinet.   This song feels quite jazzy.

“Valsa do Sul (Waltz of the South)” begins with a lovely, almost slinky clarinet melody. I love watching him play some of the fast riffs along with her, but it’s the bouncing, percussive moments that really make the song come alive.

This duo was recently revered for their 2018 Grammy-nominated record, Outra Coisa, which celebrates the music of the iconic Brazilian woodwind player and composer Moacir Santos.

Santos was the teacher of the guitarist and composer Baden Powell de Aquino.  I only recently heard of Baden Powell but here he is mentioned again–this time as an influencer before the existence of Instagram.  “In the Spirit of Baden” has some great low notes and a bouncy clarinet.  The middle has a strangely dissonant section where Gonçalves plays a few chords that are a little harsh.  Then Cohen joins in adding some wailing clarinet solos.  It’s a surprisingly dissonant moment in an otherwise very pretty song.

[READ: September 1, 2020] “U.F.O. in Kushiro”

I read this story almost ten years ago.  It was republished in a March 2011 issue of The New Yorker to memorialize the then recent earthquake in Japan.  This story was inspired by the incidents of the 1995 earthquake in Kobe, Japan.

The story (translated by Jay Rubin) opens a few days after the Kobe Earthquake.  And even five days after the Kobe earthquake, Komura’s wife is still engrossed in the TV footage from Kobe.  She never leaves the set.  He doesn’t see her eat or even go to the bathroom.  When he returns from work on the sixth day, she is gone.  She has left a note to the effect that she’s not coming back and that she wants a divorce.  Komura’s wind is knocked out of him. (more…)

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SOUNDTRACK: BORIS-Archive Volume Five “Pink Days” (2014/2020). 

a0153819288_16In early August, Boris digitally released six archival releases.  Volume Five is called “Pink Days” and it is the best sounding of the bunch.

This show was recorded live in New York on May 31 during Boris’s 2006 US tour.  PINK had just been released and the band played 7 selections from the album.  But they also played two classics from Akuma No Uta and, one from Dronevil and a track from The Thing Which Solomon Overlooked (or Mabuta No Ura depending on which version of the song they play).

This show

 transmits wild enthusiasm; the songs in this full set recording could even be called their greatest hits.
(Originally released on March 5, 2014. Included in Archive 2, limited to 1,000 copies)

The set opens with four songs from Pink.  The first is “Blackout” which serves as a noisy introduction for what’s to come–feedback, squeals, waves of noise and Atsuo’s gong.  As the songs settles in around 7 minutes, Wata takes some soaring solos while Atsuo pounds away on the drums and Takeshi plays some super heavy bass lines.   Atsuo adds some vocals and a big YEAH! before the band starts “PINK,” with its fast, heavy riff and more soaring guitars.  Atsuo sings the melody as the song speeds along.  “Woman on the Screen” continues the fast heaviness with two and a half minutes of pummeling guitars and drums.  “Nothing Special” is two more minutes of blistering noise with lots and lots of YEAHs!

A quick jump to the Akuma No Uta album for the riff-tastic “Ibitsu” before returning to Pink for the two minute “Electric.”

Boris has two songs called “A Bao A Qu.”  Apparently they are entirely different.  I gather that this one is from the Mabuta No Ura album and not The Thing Which Solomon Overlooked (that version is over 8 minutes long and this one is about 4).  It’s heavy and dense with a lot of slow vocals and screaming solos.

Things finally slow down for the 15 minute “the evilone which sobs” from the Dronevil album.  This is a solid drone song–waves of low end feedback pulsing throughout the concert hall.  After four minutes of ringing, Wata plays a slow four note melody.  About half way through the song, a new melody enters–both Takeshi and Wata play different parts while Atsuo smashes the cymbals.   By nine minutes the two parts have more or less melded and the four note melody returns with the powerful backing of Takeshi.  The last five minutes show Wata whaling away on her guitar creating soaring textures and sounds.

The feedbacking end segues into the title track from Akuma no Uta.  This five minute instrumental features a lot of gong and a lot of cymbals as the slow riff unfolds. Until about half way through when the song takes off with a wicked riff and lot of whiooping from Atsuo.

For the last two songs the band returns to Pink.  Up first is the the ten minute “Just Abandoned My-Self” which is a simple, fast singalong (if only you could figure out the words).  The last five or so minutes lead the song into a droning outro–feeback and noise–that abruptly shuts off to wild applause and Atsuo telling everyone that there’s one more song.

The last song is the opening track from Pink called “Farewell.” It starts slowly with a pretty guitar riff.  It’s a really catchy song with a great melody.  Atsuo’s soaring vocals at the end are a nice capstone to a great show.

[READ: August 15, 2020] “Nobody Gets Out Alive”

I didn’t really like the way this story unfolded.  It started out intriguingly enough: “Getting past the mastodon took planning.”

The mastodon skull was in the middle of the room where a coffee table might normally be.  The setting is a house in Alaska, being used for a wedding party.

The newly married couple are Carter and Katrina.  They are in Alaska visiting Katrina’s father.  His neighbor Neil decided to host this wedding party for them.  Its apparent that he and Katrina used to date (or maybe wanted to) a long time ago.

They went to Alaska because Carter had never been there.  Nor had he met her father (in fact they’d only met each other a year ago). But Katrina’s father is very dull–he eats the same meal every night, he watches the same shows every night and he doesn’t even want to go to the wedding party. (more…)

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SOUNDTRACK: BORIS-Archive Volume Three “2 Long Songs” (2005/2020). 

In early August, Boris digitally released six archival releases.  Volume Three is called “2 Long Songs” and that’s what it contains.

There are two songs in this live recording, one is 15 minutes, the other is 22 and this whole recording is just fantastic.

Originally released in 2005 from the US label “aRCHIVE”, limited to 600 copies which sold out immediately. A precious live recording from their early days, of Boris’s 1996 debut single song release, “Absolutego”, and “flood”, released in 2000, performed live together as “1 song, 1 production”.
(Reissued as part of Archive 1 on March 5, 2014. Limited to 1,000 copies).

Like the other Archive releases, this one was also recorded at Koenji 20000V.  This time in 2001–so the band and the quality of the recording are much improved.

“Absolutego” is a sixty minute song released as one long track on Boris’ debut album.  So a 15 minute version is quite truncated.  This version has a slow three-note bass line that slowly adds feedbacking guitars and cymbals.   At two and a half minutes, the drums loudly pound in–like Atsuo is introducing himself to the set.  But five minutes, the full on washes of noise have taken over the song and a few minutes later, Atsuo starts scream/singing.  The song starts speeding up and by 12 minutes there’s lots of cymbal crashing as the song crescendoes into a conclusion of feedback and warped sounds.

“flood” is a 70 minute song (!).  It is their third album (which was recorded in four parts).  This song is much prettier and far less abrasive and here is only 22 minutes long.  It opens with a pretty, quiet melody.  It is slow and moody punctuated by cymbals and echoing noises.  At four minutes the vocals come in–quietly singing in harmony.  Then the drums come crashing in, building to waves of guitar noise and cymbals as the loud bass pushes the song along.  A break introduces a high three note riff as the singing continues.  Is that Wata singing?  By fifteen minutes, Atsuo is making judicious use of the gong–a great punctuating sound.  The last seven minutes are a conclusion as the song drones out to the end.

This is one of my favorite archival releases.  The band sounds great and they perfectly jam out these long songs.

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

[READ: August 15, 2020] “The Report”

This is a short story and I agree with the first sentence: “The report is bizarre.”

A woman has hired a man to bring information about her husband.  The man followed the woman’s husband who worked at an office in Barcelona.  But he spends a lot of his time in Madrid.  With another woman.  They meet every Thursday and Friday

The wife does not want to know the other woman’s name.

But the man tells her that the other woman is very ugly–her husband turns off the light as soon as he can because, “her face frightens him.”  He takes long showers after lovemaking.

Then the man stands up and says that there are solutions to problems like this–we know how to get rid of people.   But the wife is not interested. (more…)

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