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SOUNDTRACK: NADA SURF-“When I Was Young” (2011).

This is a new song from Nada Surf’s new album (due out in January 2012).  Nada Surf aren’t changing much from their tried and true sense of pop hooks, but this is a slower, statelier song (with strings!).  It features a challenging-to-sing-along-with chorus (“I wonder what was that world I was dreaming of”).

It’s a bit longer and slower than my preferred Surf songs, although I can see it working well in the middle of an album.  About two minutes in, the guitars kick in and the song really comes to life.  It’s catchy and fun and has me excited for their new disc.

[READ: October 23, 2011] “Memory Laps”

This article came around the same time that our tickets for Sedaris’ upcoming performance at Raritan Valley Community College arrived in our mailbox (nicely timed, that).

It did make me wonder if I shouldn’t be reading anymore of these pieces, since I don’t want to spoil the humor of Sedaris live (although I think Sedaris is funniest when delivering his pieces–his monotone is just wonderful–even if I have heard them before).  And plus, the show is not until April, so chances are I’ll have forgotten about it by then.

This essay is all about young David when he was on the swim team (this guy has done so much in his life–who knew he was a swimmer too?).  The crux of the essay is that David’s father never praised him for his swimming; instead, he heaped tons of praise on David’s teammate Greg Sakas (I wonder if names have been changed in these essays). 

True, Sakas was pretty great, and he won every meet, but even when, on that one freakish instance when David beat Greg, David’s father was unimpressed, saying that Greg must have been ill or something. (more…)

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SOUNDTRACK: MC PAUL BARMAN-It’s Very Stimulating (EP) (2001).

So is this guy a joke? Well, he’s very funny.  Very funny, in fact.  But to my ear, not in a novelty sort of way.  He’s got the kind of rhymes that make you laugh but still work upon multiple hearings.  And, yes, Paul Barman is a squeaky, Jewish boy from Ridgewood, New Jersey (again!) and he really can’t rap on the beat and he really doesn’t have much in the way of rhythm, but got awesome skills in the lyrics department and he has production from Prince Paul (that’s the kind of credentials that anyone would like).

The theme of this EP is Paul’s utter failure to get with women (even in his fantasies).  He’s crass and vulgar and yet he’s also quite smart and rather witty (“I think about all the pube I got while reading the Rubaiyat“) .  The music is more or less inconsequential.  As Prince Paul noted, the craziness comes from the lyrics, so you don’t want to overkill the song.  But there’s some great samples and some solid beat work as well.  Nevertheless, we’re here for the words.  So, sample a few of these rhymes:

“The Joy of Your World”

It was time to copulate but we didn’t want to populate
So my bold groin reached for my gold coin proooophylactic
I unwrapped it, you can’t know how I felt
It wasn’t a gold coin condom, it was chocolate Chanukah gelt
The white part crumbled on her tummy and the rest began to melt
Foiled again…..

“School Anthem” or “Senioritis” (this song was renamed for the reissue of the disc it seems)

Homework is tell major lies or plagiarise encyclopedias, so boring
Fresh-faced teachers want to tickle ’em
but a test-based curriculum excludes exploring

I’ll let a mystery gas out of my blistery ass
Just to disrupt the misery of history class

“Salvation Barmy”

She said, “Go get a haircut”
So I showed her my bare butt
Pulled down my Carhartts put my moon in her star-charts

“I’m Frickin’ Awesome” ( I love this especially for the Lila Acheson bit)

It’s nice to be hypnotized by a man you don’t despise yet
He had a type of flow and I can’t quite label it
All I know it made me want to take off my cableknit
Sweater, Oh he better be hetero
I hope they don’t catch us in the Lila Acheson
Wallace Wing when Paulus brings the mattress in–rudely
He backlashed my booty
like I was Susan Faludi over the Grace Rainey Rogers Room rostrum

“MTV Get Off The Air, Pt 2”  (the first two lines are fantastic, but the whole thing is genius).

Smirkin’ jocks with hackysacks
in Birkenstocks and khaki slacks
I’m the hypest lyricist
while they’re like, “What type of beer is this?”

Just wait until the full length for the utter genius that is “Cock Mobster” (how can be s o smart and so stupid at the same time?)

[READ: October 10, 2011] E Pluribus Venom

Like most people, I learned the name Shepard Fairey because of his iconic prints for Barack Obama.   In addition to supporting Obama, I really liked the design of the prints–simple, bold, an easy iconic style (which has since been lifted, morphed and used everywhere).  I know that many of Fairey’s prints actually come from other people’s original photos.  He has a print of Muhammed Ali in this book, and he clearly didn’t take the original photo (I don’t know where it came from).  But since all art is theft, I’m okay with Fairey taking someone else’s work and making something new from it.  I’ve always felt that attribution should be enough if you modify the original enough to call it different (which I feel this print does).  [The fact that he didn’t acknowledge the source does bug me, of course].  But that’s neither here nor there because this book predates all of that.

This book documents events that occurred in 2007.  The E Pluribus Venom show was based largely around two images that Fairey designed to reflect the two sides of capitalism.  The image to the right really doesn’t do any justice to the work itself, but you can kind of see that he created two-sided faux dollar bills.  The front showed all the good things that capitalism can do.  The back showed all of the evils that capitalism causes.  The images resemble dollars, but the text is straightforward in its message.  As with a lot of what Fairey does, it’s blunt and obvious but pretty cool.

As far as I’m concerned, though, this is the least interesting image in the book.  Although I love that they made dollar bill sized prints of these faux dollars and left them scattered around in cities to promote the show.  They way they were folded made them look at a glance like actual currency.  Very cool. (more…)

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SOUNDTRACK: DINOSAUR JR.-Live at the 9:30 Club, Washington D.C. October 8, 2009 (2009).

This was one of the first shows I downloaded from NPR.  I’ve been a fan of Dinosaur Jr. since my friend Al turned me on to Green Mind back in college.

This is an amazing show created by the original Dino Jr. members.  This tour is in support of their second album since reuniting, Farm. This set-list is an outstanding mix of old songs, new songs, Barlow-sung songs and even some songs from when Barlow and Murph weren’t in the band.  (Green Mind is still my favorite album by them).

When the band reunited there was much joy, and I’ve said in reviews of the newer albums, I’m not entirely sure why.  I mean, Dino Jr has always been about Mascis, and it’s not like Barlow is such an unusual bassist (although Murph’s drumming is always solid).  I’ve nothing against Barlow (I love Sebadoh and Folk Implosion) or Murph, it just seems odd to get excited about having them back in the band aside from nostalgic reasons.

Having said that, the band sounds amazing (and yes, Barlow does get to sing on “Imagination Blind”).  What never really came across to me until hearing all of these great songs live was that Mascis has always been a great pop song writer.  These songs are catchy as hell. But Mascis buries them under loud squalling guitars and a voice that is almost whiny, almost off-key, a total slacker voice.  (But you’ll notice it is never actually off-key.  He must work very hard at that.)

By the nd of the show Mascis chastises the audience for not moving (we obviously can’t see what they’re doing), saying he forgets that people don’t move in Washington, D.C.  But during the encore break, NPR host, Bob Boilen, points out that Mascis himself doesn’t move either–he just stands in front of that wall of Marshall stacks (Boilen wonders how he can hear anything anymore).  And looking at the pictures it’s comical the way he looks, surrounded by amps.  The picture above doesn’t fully do it justice, but check out the extra photos at the NPR page.  And while you’re there, listen to this show. It is amazing.  For a total slacker, Mascis can rock a guitar solo like nobody’s business.

[READ: July 20, 2011] The Best American Non Required Reading

I’d been meaning to read this series for years (yup, Eggers fan), But I have a hard time starting “collections” because I feel like I’d rather be reading a novel.  Nevertheless, I have most of these Nonrequired books, so it seemed like I should dive into one and see what it was like (I don’t think the year really matters all that much–some of the articles are topical but most are not exactly).  Then Sarah said this would be a great book to read on vacation because it’s all short essays, and she was right.  It was perfect for late nights when I wanted something to read but didn’t feel like getting involved in the novel I was reading.

DAVE EGGERS-Introduction
Eggers’ introduction is actually a partial short story about kids who go swimming in pools around town. It reminded me of the opening of Life After God by Douglas Coupland, but of course, lots of kids did that so I’m not saying it was “lifted” from DC.  The story “ends” (it doesn’t really end so much as stop) with an interesting scene between two unlikely kids who get caught.

After this story Eggers includes these three notes about the collection: It’s not scientific, It’s alphabetical, and We had a lot of help with this.  Of the three, it’s the middle one that’s most useful because Eggers says that you shouldn’t necessarily read them in order just because they are printed this way: “In the first half of this collection, you get a good deal of hard journalism, primarily about war and refugees, from Afghanistan to the Sudan, followed immediately by a number of less serious pieces, about malls and Marilyn Manson.  We didn’t group anything by theme , and won’t be offended if you skip around.”  This was good to know (not that we needed the permission of course), but yes, the beginning of the book is pretty heavy. (more…)

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SOUNDTRACKLOS CAMPESINOS!-“By Your Hand” (2011).

I’ve enjoyed Los Campesinos!’s records in the past and I’m pretty excited about the prospect of a new release.  This song doesn’t deviate too far from their previous releases although to my ear it sounds a bit more musical (more instruments, more vocals) and less abrasive.  The basic elements are still there:great lyrics delivered in a more or less spoken way, followed on its heels by big shouty sections (and the whole band seems to be shouting along on this one).

This song also feels a little warmer, although the lyrics “by your hand is the only end I’ve foreseen” is either really dark or really naughty depending on how well it correlates to the verses.  Regardless, the chorus is catchy and fun to sing and the lyrics are wonderfully twisted.  Los Campesinos! have done it again.

And here’s the video.

[READ: September 16, 2011] “Jean-Baptiste Labat and the Buccaneer Barbecue in Seventeenth-Century Martinique”

I was interested in this article because it talked about the boucan and the buccaneer, and both of these things were mentioned in Book 9 of The 39 Clues.  It was a weird sort of coincidence that the boucan which I had never heard of before should appear in two things that I read about week apart (and then this weekend the Pa Renaissance Faire was pyrate themed!).   I was also interested because of the way this article was presented in the email to us: “if you have ever wondered on what foods a seventeenth-century missionary from the island of Martinique dined, check out this article from Gastronomica. (Hint: They include manatee, lizard, and parakeet)” made it a must-read.

While the article does, indeed make mention of these foodstuffs, it is by no means the extent of the article.  Rather, Toczyski looks at what Labat, a French priest and a missionary, wrote in his extensive chronicle about his stay in the Caribbean.  In particular, she focuses on the amazing breadth and depth of his gastronomical accounts (which includes details about all the meals they ate en route (the ship was amazingly well stocked–they even had a garden on board, which was under guard day and night (!); and then on the island he also talks in loving detail (with recipes) of all of the native dishes that he would eventually consume (including turtles, frogs and the palm worm (see picture at right (the picture and an awesome description of eating the palm worm is here at Boots in the Oven, at the bottom of the page).

(more…)

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SOUNDTRACK: RUSH-“Not Fade Away” (1973).

I never understood this song.  Grammatically it drives me nuts.  “Love is real, not fade away.”  Why would someone write that?  Anyone with even a rudimentary grasp of English would know that that is just a horrible way to speak.  Okay, I got that off my chest.

So this is the first single that Rush ever released.  You can find out information about it on the web (of course, I didn’t know it existed until a couple of days ago).

What we get here is a pretty rocking version of this rock n roll standard.  The band has some nice group vocals on the chorus.  I like the echoed chanting of the chorus before the solo kicks in.  And I love the rough sound that Alex’s guitar has as the song opens.

As I noted the other day with the concert from circa 1974, the band was really all about Alex’s guitar work back then.  Geddy doesn’t do anything impressive on the bass (a couple of fills, but nothing special).  But Alex’s guitar solo is amazing (and you can hear snippets of future guitar solos buried in this solo).

It’s funny to me that when they recorded their covers EP Flashback, that they didn’t include this song, too.

Check it out:

The B-side comes tomorrow!

[READ: March 12, 2011] Babymouse: Skater Girl

Well, fair enough, I said that I liked Babymouse: Dragonslayer because it had a plot.  This story has a plot, too.  Interestingly, it ties in kind of nicely to the Dragonslayer story, too.  (It’s all about winning something).

As the story opens, Babymouse feels bad because she never wins anything.  She’s looking at all of the trophies which she has not won; then there’s an amusing fantasy of all the things she has won (honorable mention for spelling the word “the” correctly; honorable mention at the swim competition for “getting wet”; and amusingly, archenemy Felicia Furrypaws’ trophy for worst whiskers).

But despite her complaints about not being good at anything, we quickly see that she is actually very good at ice skating.  She rules the pond in town–until the big hockey players crash into her, that is).  She even daydreams of winning a skating trophy. (more…)

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[WATCHED: August 22, 2011] “The Calamity Song”

I woke yesterday to the news that one of my favorite bands had made a music video which was a tribute to one of my favorite books, Infinite Jest. Colin Meloy was a reader during the Infinite Summer project (one of the more high profile readers, although he didn’t really contribute beyond the first week).  When I saw him at BEA, I asked him if he finished the book and he said that indeed he had. Weill according to this story from The New York Times, Colin liked the book so much that he wanted to use one of the great scenes from the book as the basis of a music video.  And since The Calamity Song has the line “In the Year of the Chewable Ambien Tab” which is an allusion to Infinite Jest‘s Subsidized Time, well why not use that as the song.

The video was directed by Michael Schur (a huge Infinite Jest fan) who is a major figure behind Parks and Recreation. The video is a bare-bones retelling of the Eschaton sequence from the novel. For those who have not gotten to that scene yet, Eschaton is a game of global annihilation played on a tennis court. There are strategic places you are supposed to hit from across the court (so it’s a physical game, not just an academic one) with your 5 megaton tennis balls.   The scene is challenging to read because there’s so much going on, but the video does a very good job of giving you the essence.

Sure, diehards will have lots to quibble about (it’s raining, not snowing; Ann Kittenplan (the girl who gets hit with the ball) is totally hot–not so much in the book; and the scene doesn’t end with someone’s head crashing through a computer monitor).  Most of the quibbles are addressed in the Times article but some are easily answered anyhow–it was filmed in two days, it’s a flat screen monitor (you can’t put your head through that), and why not have a hot Ann Kittenplan, it’s a music video, right?   (more…)

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SOUNDTRACK: WEEZER-Raditude (2009).

I didn’t buy this Weezer album when it came out because I had heard really bad things about it (like the “guests”), but when I saw it cheap I decided to check it out.  This has to be the most polarizing Weezer album of them all.  I listened to it twice yesterday.  The first time I thought I had been too harsh on it.  The second time I thought it was godawful.  It’s amazing what a couple of hours can do.

It opens with a wonderful bit of poppy wordplay ala Cheap Trick: “(If You’re Wondering If I Want You To) I Want You To.”  It’s catchy as anything and is a wonderful start to the album, even if it is probably their poppiest song ever.  From there though, the album really degenerates.  And mostly it’s because it’s so dumb.  I mean the album title should tell you what you’re in for, but who would have expected the moronic sub-pop-metal of “The Girl Got Hot” or even the reprehensible lyrics of “I’m Your Daddy” “You are my baby tonight And I’m your daddy.”  It’s just creepy.  Or gah, a song about the mall?  “In the Mall.”  It’s not even worth mocking.  And really, try to picture Rivers Cuomo in a mall.  Any mall.

But nothing could prepare anyone for “Can’t Stop Partying.”  Unlike Andrew WK’s ouvre, which is so sincere about partying that you can’t take it seriously, this song really seems to be about the guys partying.  It’s laughable.  The anemic rap but Li’l Wayne certainly doesn’t help.

Even the collaboration with Indian musicians on “Love is the Answer” (yes, seriously) doesn’t really work.  It feels like they wrote the song and then said, “Hey let’s throw some sitar on it.”  It’s not enough to be exciting but too much to ignore.

This is not to say that these songs aren’t catchy.  I mean, geez, I still have “Can’t Stop Partying” in my head while I’m listening to something else.   Rivers knows how to write a pop trifle.  And the more he writes songs like this, it makes me thing that Pinkerton was the fluke.  Which is fine. The music world needs poppy songs, right?

[READ: early August 2011] various nonfictions

I thought about doing individual posts for all of Arthur Bradford’s non-fiction that’s available on his website (that’s right,  yet another author that I have read short uncollected pieces by without having read any of his bigger works–I’m looking at you Wells Tower).  Bradford has links to all of his nonfiction ( I assume) on his website.  There are 12 links in total.  One is to his blog (which I’m not reviewing).  The rest are for articles covering a pretty broad array of topics from a pretty broad variety of sources.  (more…)

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SOUNDTRACK: FOO FIGHTERS-Wasting Light (2011).

The Foo Fighters are huge.  Duh.  But when I think of that, it amazes me that a) the Foo Fighters are the band from “the drummer from Nirvana” and that b) while Dave Grohl knows his way around a melody, he is a metal dude at heart, and some of his most popular songs are really heavy.  He can scream with the best of them.

I’ve enjoyed the Foos for many years, but I didn’t listen to their previous discs all that much (or at least I didn’t listen to the mellow disc from In Your Honor and I don’t remember anything off of Echoes…), but this new one is fantastic.  There’s not a dull song on the disc, and Grohl has hit new heights of catchiness and singalong-ness. 

I also like how noisy the disc is.  It opens with some great discord before turning in a majorly heavy rifftastic scream fest in “Bridge Burning.”  Despite the screaming and noise of the opening, the chorus is super catchy.  “Rope” was said to be inspired by Rush.  Knowing that, I can hear a lot of little Rush-isms in the track: The main riff is very Rush-like, there’s a cymbal tapping that reminds me of Neil Peart in the verses, as well as a little drum solo in the middle (with a cowbell!) and the solo is very Alex Lifeson. (It also feels longer than 4 minutes).

“Dear Rosemary” features Bob Mould on backing vocals (but you can hardly tell it’s him).  It’s got a great chorus as well.  “White Limo” is a wonderful punk song, completely incomprehensible lyrics and all.  Meanwhile “Arlandria” (whatever that means) is another totally catchy track (I find myself singing it a lot).

“These Days” should be the next single: catchy and easy on the ears.  I wonder why it hasn’t been released yet.  “Back and Forth” has another great noisy riff.  One thing that I like a lot about the Foos is that they put different things in the same song:  so “A Matter of Time” has a very simple verse and a catchy chorus, but there’s some really buzzing heavy guitars too.  “Miss the Misery” has a kind of sleazy feel which I think is new for the Foos.  And “I Should Have Known” is a kind of angry ballad (I’d like to see Richard Thompson cover it). 

The final track, “Walk” is a fast rocker that sums up the album really well.  Bravo Dave Grohl.  I can’t get enough of this disc, regardless of how popular it is.

[READ: July 2, 2011] Five Dials Number 15

After the brevity of Number 14, Five Dials Number 15 comes back to a fuller size.  It’s strange to me that the issue is titled The November Issue, in part because they never tell us when the issues were published, but even more because this is actually the Québec Issue.  Most of the authors are Quécbecers and the issue release party was in Québec as well.

I’d like to point out that while I was looking something up about this issue (more later) I discovered the Five Dials News Page.  There are currently 43 pages worth of posts.  But most of them are short.  If there are any especially noteworthy ones, I’ll add them to reviews of future issues, but for the most part so far they’re just announcements of how well received their books are (I’ve already made notes to read two of them).  They also give release dates for the issues, which is how I have been able to retroactively attach dates to some of them.

There are many Québecois writers included in this issue (thoughtfully translated into English), as well as some standard features by Alain De Botton and frequent contributors David Shields and Raymond Chandler.

CRAIG TAYLOR-On Our Québec Issue, and Young Novelists
Taylor’s introduction discusses many Canadian’s attitudes about Québec and their (seemingly perennial) vote concerning separation from the country (“so, let them go”).

creepy beard

The confusing thing here is that it appears that Taylor is Canadian (or at least lived there in 1995/6).   But surely he is British, no?

There’s lots of information about Québec in here but no grand statement (except that Celine Dion’s husband’s beard is still creepy).

He also introduces a new section called “Our Town” which is all about London.  The final section of the note says that

we are releasing our second Five Dials list of Top Ten Novelists Under Ten (or ‘Ten Under Ten’,or ‘Ten-Ten’, or as some of the writers themselves call the list: ‘Tintin.’) As you know, many of the writers we chose for our first Ten Under Ten list went on to things such as high school.

This is how I discovered the Five Dials News page, because there certainly was no Ten Under Ten section in a previous issue of the magazine.  Of course, nor is there any mention in the news that I have seen.  So I can’t decide if the whole thing is just a big joke or what.  I assume it is (but I’d hate to not give credit to the waaaay precocious kids at the end of the issue). (more…)

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SOUNDTRACKTINDERSTICKS-Claire Denis Film Scores 1996-2009: White Material [CST077] (2009).

White Material is the most recent soundtrack that the Tindersticks created for Claire Denis.  It was recorded between their “reunion” album The Hungry Saw and their latest album Falling Down a Mountain.

This is a very moody soundtrack.  The guitars set a brisk but desperate-sounding pace.  There are feedback squalls that echo for even more tension.  The feedback could be any number of things as well: squeaky machines, industrial noise, or simply disconcerting sounds.

There is a repeated motif throughout the score that morphs and blends with the tone.  The overall feel of the soundtrack is unified but it never sounds like you’re listening to the same few notes repeated (which is actually what it is, the songs use a very limited palette).

For such a limited palette of music, they really manage to give a diverse picture of the movie.  The way “Andre’s Death” builds, using those same few notes and feedback is truly amazing.  The tension that has been building throughout the score really comes to a head in those 2 minutes.  Contrarily, the flute that plays over those same notes in “Children’s Theme 2” is a haunting exploration of the theme.

This soundtrack isn’t as industrial/weird as L’intrus, but it is probably more intense and spooky.  It’s amazing how evocative these guys are.

[READ: June 22, 2011] Merit Badges

Sarah brought this book home, but she didn’t read it.  It sounded pretty good (I mean it won the 2009 AWP Award for the Novel), so I decided to give it a go.

The book seemed strange to me in the way it was set up: it seemed to have a very specific structure but it didn’t always follow it exactly. So, there are four main protagonists who write chapters of the book.  But they don’t each get a turn, in fact one, Barbara doesn’t really have much to say until much later when her story becomes very compelling.  It also advanced over the years with no real explanation of pacing or even of when a new narrator has jumped ahead several years.

I assumed this was going to be a story of four people looking back on their high school years.  But indeed, it’s about four people looking back on their whole lives, as they grow together, drift apart, come back into each others lives and then disappear again.  In that way, it was also a bit hard to get my bearings.  It was also hard for me to keep all of the characters straight.  Because even though there are four narrators there are many many more kids introduced in the beginning of the story.

Each chapter opens by stating who the narrator is.  The first few narrators are Chimes Sanborn (Prologue), Quint (Woodwork), Slow Slocum (Cooking), Chimes (Drafting), Barb Carimona (Music), Quint (Mammals), Quint (Crime Prevention) etc.  So it’s not consistent.

But also, as you can see, all of the chapter titles are named after Merit badges (which I liked quite a bit).  The subtitle describes what you have to do to achieve the badge (and the chapter does indeed kind of work within that stricture).

So far so good, but we’re also introduced to ancillary characters who appear quite often: Dickie Burpee, Pooch Labrador, Smash Sarnia, and a psychopath named Tulep.  With all of the nicknames and rotating narrators, I admit to losing track of who was who, which I fear lessened the impact of some of the events.

Of course, that’s all structural.  And while I felt like I probably missed out on moments of impact, the overall storyline was not hard to follow.  And, indeed, complaints aside, the story was pretty intriguing.  It is set in the (fictional) small suburb of Minnisapa, Minnesota.  It feels very true to me (having lived in a small town, myself) as do the choices (bad and good) that the kids make. (more…)

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SOUNDTRACK: TINDERSTICKS-Claire Denis Film Scores 1996-2009: Vendredi Soir [CST077] (2002).

This score was created by Dickon Hinchliffe and the liner notes indicate that it was something of a jumping off point for his future film scores.  This was the third score that the band created for Denis (after Nenette & Trouble).  Stuart Staples was working on the latest Tindersticks album so Dickon took over all of the duties on this one.

This is a beautiful, melancholy soundtrack, full of gorgeous swelling strings and simple piano notes.  It doesn’t remind one all that much of  Tindersticks, but it’s not terribly far removed from their sound either.

The whole score (which is paired here with the score from L’Intrus) is 25 minutes, which made me wonder whether this is a full length film, or just a film with lots of silence (or, perhaps non-Hinchcliffe music that wasn’t included here).  [The film is 90 minutes long].

Pairing it with L’Intrus makes sense in terms of space, but the two scores could not be more different from each other.

[READ: June 15, 2011] “The Cat”

This is the first story in The Walrus’ Summer Reading issue.  As I mentioned, the intro states: “We asked five celebrated writers to devise five guidelines for composing a short story or poem. They all traded lists–and played by the rules.”  Sarah Selecky was given rules by Kathleen Winter (which I posted below).

The first line of the story really sets up the whole thing: “I am not at all surprised that my father has come back to earth in the form of a grey and white cat.”  And indeed, the rest of the story discusses her relationship with her father (those awful fishing trips when she could neither speak nor move) and how he never seemed to be pleased about her.

Now that he’s back as a cat, the dynamic has changed.  Although there’s still fish in their relationship.

I really enjoyed this story,  For although it was brief, it was wonderfully evocative.

Kathleen Winter imposed these rules on the story: (more…)

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