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Archive for the ‘Therapy’ Category

SOUNDTRACK: SONIC YOUTH-Live At Brixton Academy (December 14, 1992).

Sonic Youth (well, more accurately, Steve Shelley) has been releasing all kinds of old Sonic Youth releases on bandcamp.  I used to collect a lot of Sonic Youth stuff, so this should scratch all kinds of itches.

However, as I’ve gotten older, I’ve been less “gotta-catch-’em-all” about stuff like this.  Plus, there’s something so impermanent about digital releases, that it sort of doesn’t count.

Nevertheless, I was pleased to see this live recording because this is my favorite era of Sonic Youth.  I first really got into them with Goo and Dirty so this show really pushes all the buttons for me.  Sonic Youth is the one band I really regret never seeing live (especially after having seen Thurston Moore solo–his show was fantastic, so I can’t imagine how good a full band show would have been).  This era would have been the one I would have most wanted to see.

Recorded live on the first of two December nights in 1992 at the Brixton Academy in London, near the end of Sonic Youth’s European tour with Pavement and Cell. This concert was recorded and broadcast by the BBC, and then subsequently widely-bootlegged. This sound-recording is from the band’s own audio master of the December 14th concert and includes performances not broadcast by the BBC or on bootlegs.

The set opens with a little jazzy sax intro music.  The band starts playing some feedback noise and then after a minute and a half Steve Shelley starts the nifty drum pattern for “Shoot.”  Then comes the recognizable bass line and guitar noises before Kim starts whispering the lyrics.  Her voice sound rough and whispery.  It segues into “100%” with a wall of noise and scraping guitars.  I always enjoyed the noises that this song throws around the simple riff.  It’s not as controlled as on the record, but it’s all there–I’d have loved to see this live.

This set feel like a greatest hits to me, perhaps because of how much I like these albums.  To segue from “100%” to “Dirty Boots” is terrific. This song sounds fantastic live–some wild guitar noises from both Thurston and Lee and some really intense drumming from Steve in the middle.  This basically means that Kim is holding the whole song together.

“Kool Thing” starts up–once again the guitars duplicate the record remarkably well for a sound that I don’t understand how its made.  Kim’s delivery is unusual here–she seems strained and like she’s improving things (unless that’s just how she sings).

Thurston sends “Swimsuit Issue” out to Cass from the Senseless fucking Things.  The noisy guitars coordinate with the rumbling drums as Kim growls through the song.

“I Love Her all the Time” has what I assume is a loop of guitar noise that is a sort of the bedroock for Kim and Steve’s rhythm. The song is slowly sung until the middle freakout–another thing I wish I’d seen live.  During the end part as Thurston whisper-sings the lyrics, someone (Lee?) is making terrific waves of noise and feedback.

Lee sings “Genetic” and his song adds such a nice distinction–a catchy song with a great melody.  It’s a shame this is his only song of the show.

“There’s a Sound World” is a another slower Thurston song.  It’s followed by “Tom Violence” which is dedicated to Richard Hell (who I assume was not there).

Then Thurston says “I’m pretty happy for the freedom and liberation of Princess Diana.  [I had to do a little historical digging, because i thought he was talking about her death, which seemed really harsh.  But she made news in 1992 when she divorced Prince Charles.]  “She should never have married that fucking asshole.  But her baby is the king.  And this is for her, this is called “Sugar Cane.” It’s catchy and smooth with some great noises.   There’s a quiet jamming session in the middle with them quietly getting their guitars to ring out.  At the end of the song it sounds liek Thurston says “you’re way out of tune there.”  This is fascinating given the noise that just came out.

They follow it with a bunch of guitar gibberish as a way of introduction to the simple and catchy “Shizophrenia.”  The middle has a fun juxtaposition of gentle harmonics and noises.   The end of the song sounds like a manic saxophone solo and drums–presumably prerecorded.

Thurston thanks Pavement and Cell [what a bill!].  He says they’ll be back tomorrow if any of you have enough money to afford it. Huggy Bear are playing tomorrow.

Then he introduces the next song: “This is an anti police song called “Drunken Butterlfy.”  It starts off but immediately crashes Thurston says “I’m not drunk” and Kim says “You mentioned that world police and it put total bad juju all over the fucking song.”  I always enjoyed the presumably Doors-mocking chorus of “I love you. I love you. I love you.  What’s your name.”  I also absolutely love the short feedback noise that separates the chorus from the verses.  I’m so glad its duplicated here. Sometimes you never know if the noises are purposeful or just happy accidents.

The song is fairly short and the band leaves for an encore break with a wall of low end feedback and crashing sounds–I assume it was deafening.

The band comes back to start “JC.”  This slow song features Kim singing and a lot of scraping and noisy elements especially during the stretched-out middle section.

Up next is the anti-white power song “Youth Against Fascism.”  He says it’s an anti-Skrewdriver song.  I’ve never met the guys from Skrewdriver.  They might be nice guys but they sound like fucking assholes.”  Skrewdriver is  neo-Nazi band I’m glad I’ve never heard of before.  “Y.A.F.” has the most explicitly political and clear lyrics of all of them.

Then he says he’d like to send this song out to Sinead–I believe you.  I can’t recall what was happening with her at the time.  “Expressway to yr Skull” is the final song.  It starts slowly and turns into glorious noise fest.  The first part of the is loud and brash.  The second half slows things down with the guys manipulating feedback and Steve hitting the occasional cymbal.  I’m sure Kim is creating feedback, but she’s still adding some low end rumble to the noise.  This song is listed as 14 minutes but the noise ends around 11.  It’s replaced by a really beautiful acoustic guitar piece.  No credit is given to the creator. I wonder who it is.

This is a great live concert document.  It sounds great and is like a greatest hits for me.

[READ: September 7, 2020] “Flashlight”

This story concerns Louisa.  She is a young girl who is suddenly afraid of the dark.

Her mother is in a wheelchair and Louisa been punishing her in subtle ways.  Mostly by being distant.  The first time, when her mother came to say goodnight “she couldn’t stand another second of her mother being there,” peering in through the cracked door.  From that moment on she has said every night, “close it all the way please.”  It was satisfyingly hurtful without being wrong.

Then she would lie in bed listening to her mother wheel away.  When she was safely far enough away, she would get out of bed and reopen the door a crack.

On this night she overheard voices talking about sending her to a child psychologist.

The therapist was nice, the room was friendly, but Louisa wasn’t having any of it. (more…)

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SOUNDTRACK: THE JACK FAMILY-“You Are My Sunshine” (Moose: The Compilation, 1991).

Back in the 1990s, it was common to buy a compilation or soundtrack or even a band’s album based on one song.  Only to then find that you didn’t really like anything else on it.

Maybe that single sounded like nothing else on the album.  Maybe the movie was almost entirely one genre, but they had that one song that you liked over the credits.  Or maybe the compilation was for something you didn’t know, but a song you really wanted was on it, too.

With streaming music that need not happen anymore.  Except in this case.

I bought this compilation, used, recently exclusively for one song, Rheostatics’ “Woodstuck.”  It’s a goofy song and this is the only place you can get the studio version.  The actual compilation was not well documented, so I didn’t know what the other bands on it might sound like.  It turns out to be a compilation for Ontario based Moose Records which specialized in Rock, Folk, World & Country.  They put out another compilation in 1992 and that’s all I can find out about them.

According to Reno Jack’s biography: The Jack Family was a bunch of musicians who jammed out to whichever song was chosen by whoever was singing. Unrehearsed and free floating each member choosing an alias with the last name Jack just having fun away from the pressures of presenting original music. The band had names like Reno Jack, Bunk “Everyone Drums” Jack, Chief Don Jack, Mercedes Jack, Monterey Jack, Nevada Jack, One-Eyed Jack, Y “Tip” Jack and The Jackets backing singers.

This is the slowest, mopiest take on “You Are My Sunshine” I have ever heard.  Reno Jack is know for “country blues” and this version sounds like the most depressing part of both genres.

[READ: July 30, 2019] “The Pancake Supper”

Thomas suggested that all of the teaching analysts go out for a pancake supper twice a year.  Not at the fancy pancake house, but at the modest open-all night Pancake House & Bar.

Because Breakfast foods, except for cereals, that contain inordinate amounts of sugar, have, in my experience, a comforting, antidepressant quality.

The first to arrive was Manuel Escobar who disagreed with that sentiment: “I suppose that is true is you are an American.”

Escobar flirted with the waitress.  He also wanted to make love to Thomas’ wife.  Thomas was introspective about this:

It has occurred to me from time to time that an affair between this man and my wife could be harmless enough, and might solve a variety of problems in my home life.

Up next was Maria who immediately praised Escobar’s work. (more…)

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SOUNDTRACK: NEGATIVLAND-No Other Possibility (1989).

In the year that Helter Stupid came out, Negativland released this one hour video.  It is a visual approximation of a Negativland album.  Lots of cuts, lots of snippets of ads and songs and news broadcasts.  It’s mostly nonsense with some reality and some things that may or may not be reality.  Who knows?

It opens with a critical diatribe that scrolls over a test pattern.  The diatribe by Crosley Bendix criticizes everything that is (correctly) poor about the video and making up other things–the death of a stuntman.

After the opening credits, the video opens with David Willis’ mother watching TV.  On the screen is a clip from Dick Vaughn and his Jack-O-Lantern (more below).  Then she asks David for her cigarettes and the song from A Big Ten 8 Place is acted out hilariously.

After some clips from video games and a commercial for Marlboro, there’s a video for “Nesbitt’s Lime Soda Song.”  When the bee comes into the song, it turns into clips of David filming his family talking about bees and more (like his grandma looking in the fridge for potato chips which makes David laugh).

Change channels until The Dick Vaughn Show comes on and he brings out David Willis to light up a Jack-O-Lantern with 700 volts.

After a commercial from ZOTOS and Nation Hairdressers and Cosmetologists Association that tells women they have to look their best in order to get a job.  “Appearance and good grooming are essential.”

Then it’s time for Trick or Treat with David Willis who is dressed as E.T.

He talks about Halloween safety with 5 hand drawn posters.

  1. no fresh fruit–nails razors
  2. looks for holes or tears in wrappers–inject chemicals
  3. avoid homemade treats
  4. avoid weird, strange-looking people.
  5. if you bob for apples make sure your partners are not sick

Then some explosions with cars flipping.  A small video slowly evolves revealing a live performance of David singing the “Very Stupid” song from 10-8.   It is noisier and rocks pretty hard while David yells the lyrics: “1, 2, stupid ; 3, 4 dumb.”  The version slowly comes into focus as David roams the audience.  he even adds new lyrics: “1,2 urinate ; 3, 4 defecate ; 5, 6 fornicate ; 7, 8  seat be sate!”

After a text: “Earlier that same evening,” a car drives into the building under a scroll from Dick Goodbody raving about this beauty, “her name is Monarch Mercury Monarch.”

Followed by a commercial for the Monarch.

Then there’s a video clip of the fire in the Negativland recording building (which I think is true?).  They interview Mark Hosler who grabbed master tapes and studio equipment.  He tours the burned out building.

Then there’s interstitial questions of what people think about TV.

  • An old man complaining about sex on TV.
  • Teenage girls saying they like soap operas because of the sex.
  • A guy saying TV would be improved if they quit showing so many commercials.

Up next is Crosley Bendix (“Director, Stylistic Premonitions” played by Don Joyce) of the Universal Media Netweb has an insane piece about numerology, at the end of which he cries, “Thanks a million!

  • MTV has fine guys on it

Then comes Negativland “Fire Song” with Mark singing in the burnt house.

A series of ads for canned foods: tomatoes, grapes, yams, dog food over a muzak version of “Age of Aquarius.”

Then comes the religion portion of the show.  Another diatribe by Crosley Bendix complains of people always searching for more intense entertainment.  Since Jesus’s time.  In fact, The Last Supper is the crucial link-up of food and show business.

Then comes more live scenes of some crazy music and kids walking around in costumes who start shouting about ice cream and other food.

  • I don’t watch religious TV because I have a personal relationship with Jesus Christ.

Clips of preachers and then Pastor Dick comes out,

He tells some dad jokes like asking for coffee without cream and the waitress saying “you’ll have to have coffee without milk because we are out of cream.”

He brings out a racist ventriloquist dummy Enrico Gomez.  Then has everyone sing along with the Christian Youth Fellowship song from the album How Do You Spell Joy?

He has a Stop sign and asks everyone to clap along. Stop! [clap clap] And let me tell you what the Lord has done do me.  When he turns around the sign is a hand written note “fuck you pastor dick.”

Then comes the 5 eyewitness news team featuring Hal Eisner, with the video of the audio used in side one of the album Helter Stupid.  Don Joyce is interviewed.

As the video ends, there’s one more guy that they interview.  He says

TV is gonna make me famous one day.  When the interviewer asks how, the guy says

“you gotta know how to exploit the media.”

Was he a plant?  Who knows.  There is no other possibility, godammit.

Watch the whole video here.

[READ: April 25, 2019] “Attention Geniuses: Cash Only”

Woody Allen doesn’t seem to write much for the New Yorker these days.  I’ve found over the years that I rather like some of his New Yorker jokes and then others are just ho-hum.  Of all of the short “funny” pieces in the New Yorker, Woody tends to be able to pull off three pages better than others.

Although this one drags and often come across as an excuse to throw out pretentious references.

And yet he’s got some great turns of phrase:

Jogging along Fifth Avenue last summer as part of a fitness program designed to reduce my life expectancy to that of a nineteenth century coal miner

(more…)

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SOUNDTRACK: RHEOSTATICS-Marine Midland Arena, Buffalo, NY (November 26, 1996).

This is the 13th night of the 24 date Canadian Tour opening for The Tragically Hip on their Trouble At The Henhouse Tour.

It’s also only the second Rheostatics show recorded in the United States on the Rheostatics Live website.  There was an earlier recording of this show which was not a soundboard show.  My complaints about the show were mostly about the audience.  And you can’t hear them on this.  The recording is much clearer too.

They opened the show to “Ding Dong the Witch is Dead” from the Wizard of Oz.   There’s no graceful segue into the music, Martin just starts playing “A Midwinter Night’s Dream.”  It sounds perfect.  Everyone is tight and right with the sounds and Martin hits those high note perfectly.  It’s an amazing and bold introduction to the band if you didn’t know them.

“Fat” is next.  It’s more conventional, but there’s some really amazing guitar work from Martin.  And the band is really into it by the end.  It sounds fantastic.  “All the Same Eyes” is up next and it sounds rocking and fluid.

Tim introduces the band in this way:
We’re the Rheostatics from Toronto, Canada.

Then Dave says:
We’re B.T.O. from Red Deer, Alberta.
We’re The Spoons from Burlington, Ontario.
We are every Canadian band that ever was and some that haven’t even been born yet.

The play “Motorino” which is dedicated to Brad May, the Buffalo Sabres player.  It’s a bit chaotic, and Martin sounds a bit unhinged, but I love that he speak/sings in Italian.

Tamara Williamson joins them for “Sweet Rich Beautiful Mine.”  She and Martin sound great together.  I love that she gets a few solo moments.  And when they both hit those incredibly high notes–she goes even higher than him–goosebumps!  Martin breathes very heavily into the mic after the song–it’s so hard to tell if he’s having fun or is really going mental.

Don says “So far all of these songs have been from our brand new record.  And this next one is too.  And I think the only place it’s available in the States is right here in the lobby.”

They play a great “Bad Time to Be Poor” which Dave dedicates to “Chrissy?” “for playing our record.”  I feel like Tim emphasizes the “don’t give a shit no more” line.  He sings the whole song very clearly, which is nice.  Then they move on to a great “Self-Serve Gas Station” with excellent backing vocals from Tim.

Dave says “To all those people in the cheap seats, we can hear your cheers.  We appreciate them.”

The roaring ending segues into the quiet opening of the final song “Fan Letter to Michael Jackson.”  Instead of shouting “Michael” the first time around, Dave shouts “Triumph!”

During the verse, Dave says, “I see two angels with funny lights on their heads in the 11th row.  It’s like some kind of dream or something.”

Martin plays some fun wild soloing including a bit of “Sweet Child of Mine.”  There’s some wildness by the end with them all singing parts and martin soloing but they tack on a quieter ending, with martin noodling about and Dave whispering “big white buffalo”  Tim and martin end it with several falsetto “It feels good to be alive”.

As they leave, they thank The Tragically Hip, the best guys in the land.

[READ: March 23, 2019] “Childhood”

Mark is bringing his son Reuben to a doctor’s appointment.  They stopped at an Indian restaurant which caps off a pretty amazing trip so far since there was so much usual in their routine.  Riding a bus, strange smells.  A year earlier he wouldn’t have set foot in such a strange restaurant.   He was eight now and seemed to be doing better.

He could now read proficiently in English and French and seemed to remember the lyric to every song he heard.  He even got invited to friend’s houses.

Although group dynamics were still awkward.  There were also fits of temper and absent-mindedness.  And general spaciness.  But was all this normal?  What was the margin of error?

School wasn’t always a help–“report cards were composed in a language that bore only a faint resemblance to English.  Parent-teacher conferences had thepolite, anxious feel of second dates.”

Mark wonders about his only childhood, did he have any really distinct memories before he was turned eight?  Or twelve?  Everything felt like a brown haze.

So he and his wife put off the appointment until “it felt too irresponsible an cowardly not to.  And then they put it off some more” (more…)

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SOUNDTRACK: MIGUEL ZENÓN feat. SPEKTRAL QUARTET-Tiny Desk Concert #814 (January 4, 2019).

When I saw that the artist was a quartet, I assumed this was classical music.  But then I saw that the main guy played saxophone.  So was this jazz?

In the end it doesn’t matter.  It’s glorious, modern instrumental music with instruments that at times fit so perfectly, you don;t realize there’s a reed in the strings.  And at times an instrument that stands out like its own unique thing.

Saxophonist Miguel Zenón is a big thinker — that much is clear from his recorded output, with its deep and inspiring connection to the folk traditions of his native Puerto Rico. But you also get that sense from his turn behind the Tiny Desk, where we can watch the concentration on his face and those of his adventurous band, the Spektral Quartet. This is life-affirming music with curious twists and turns, expertly performed by amazingly talented musicians.

The three songs work on mainly the same principle: fast, intricate string melodies with sudden time changes.  And a saxophone that either accompanies them or solos around them.

“Rosario” opens with the strings and sax playing an almost warm up sound before the pizzicato strings support the main sax melody.  There’s some very modern frenetic striking string music (with no sax) which is followed by the same strings with a lead sax solo over it.  The end of the piece features a delicately plucked cello and a lovely violin melody.

“Milagrosa” opens with everyone playing the same melody.  It’s fascinating how much the sax does not contribute–until it does.  But I’ll let the blurb talk about the amazing ending of this song:

There are two ways to marvel at the stunning unison playing that comes about three-quarters of the way through “Milagrosa.” First, listen with your eyes closed. The notes cascade at a such a fast clip, it can leave you breathless. Now, watch with your eyes open: It’s a joy to see Zenón and his band read the notes from the page, at times sneaking in visual cues with smiles just below the surface. It must be such a pleasure to make music like this.

The way the song starts and stops and starts again with such speed is really spellbinding.

He says that these songs were inspired by cultural and musical traditions from Puerto Rico.  Specifically, the final song, “Villabeño” alludes to a subgenre of Puerto Rican music–from the mountains

It is the quietest and lest intense song of the bunch.  The strings, even though they are largely playing staccato, are kind of hushed as Miguel plays the most jazzy solos of the set.  There’s a brief moment near the end where the strings come back to the fore, but it’s more as a supporting agent than a competitor.  It’s quite cool.

[READ: January 11, 2019] “Wrong Object”

I loved the way this story revealed the heart of itself.

It is written from the point of view of a therapist.  She writes that she has a new patient and he is very dull: “He is a nondescript man.”

He said his problem was himself–that his wife was thoroughly nice.  While she preferred a self-critical patient to a blamer, there was just nothing to him.  Usually her notebooks were full after a session, but she wrote very little about him: “Talks about wife, what a good person she is.  Annoying.”

She actually had to google him to find out even a little bit of information about him.  She felt bored by him.

She was about to suggest he seek a new therapist when he finally revealed what he had been holding back.

“I’m a pedophile,” he said. (more…)

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SOUNDTRACK: CHEF-Chocolate Salty Balls (single) (1998).

This single itself is not a Christmas song (obviously).  But “Chocolate Salty Balls” is really catchy (with great organ) and is pretty funny.

The Christmas songs are the other two that are included with the disc.

They both come from South Park commercials or interstitials or something that was aired on TV back in the heyday.

The third (and weaker) song is Ned Gerblansky and Uncle Jimbo singing “Oh Little Town of Bethlehem.”  Ned is using his “cancer kazoo” to drone his way through the song.  It’s kind of funny.  But the real joke is that his batteries die and the whole song is less than a minute long.

The real treat is Cartman singing “O Holy Night.”  There is a second version that comes on the South Park Christmas album and it is also wonderful.  I have a hard time choosing which one of these I like more because that one is done well (but is still funny) and even has backing singers..  In this one, Kyle is given a cattle prod and is allowed to shock Cartman every time he messes up.  Which he does a lot.  Like, “Jesus was born and so we give presents, thank you Jesus for being born.”  This leads to a lot of cursing and screaming and a hilarious moment where he sings a beautiful operatic “divine.”  “Damn, Cartman.”

It cracks me up every time.

[READ: December 4, 2018] “Counselling”

Once again, I have ordered The Short Story Advent Calendar.  This is my third time reading the Calendar (thanks S.).  I never knew about the first one until it was long out of print (sigh).  Here’s what they say this year

Fourth time’s the charm.

After a restful spring, rowdy summer, and pretty reasonable fall, we are officially back at it again with another deluxe box set of 24 individually bound short stories to get you into the yuletide spirit.

The fourth annual Short Story Advent Calendar might be our most ambitious yet, with a range of stories hailing from eight different countries and three different originating languages (don’t worry, we got the English versions). This year’s edition features a special diecut lid and textured case. We also set a new personal best for material that has never before appeared in print.

Want a copy?  Order one here.

Like last year I’m pairing each story with a holiday disc from our personal collection.

This story is about a woman making questionable decisions. (more…)

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[LISTENED TO: Summer 2017] Middle School: The Worst Years of My Life

download (50)I might be one of the few people in America to have never read anything by James Patterson.  Well, C. really enjoyed this series (and his other books for young readers) so we decided to listen to this on a car ride. (Both kids had seen the film already, although I hadn’t).

I have to say that right off the bat I was turned off by the introduction of this book because there was this hard rocking guitar that they played through about 3 minutes of opening text.  And it was too loud!  It was really hard to hear the narrator.  I kind of tuned out because I feared that the whole book would feature this (it doesn’t).  And while I won’t say I was confused by what I missed, I did wonder if I’d missed some things that were revealed later (also, some of the main character’s motivation).

Rafe Khatchadorian is starting Hills Village Middle School.  It’s a new school (sixth grade).  Rafe seems to have a hard to succeeding in school in general.  There’s also a lot going on at home.  His mom has been dating a jerk named Bear.  Bear is unemployed, and living with them while Rafe’s mom is working two jobs and is hardly ever home.

The only person who seems to help Rafe cope with things is his friend Leo the Silent.  Leo doesn’t talk much, but he is an awesome artist.  And he also encourages Rafe to do things that maybe he shouldn’t.

When Rafe arrives at school, he is given a rule book with over 100 rules that he must follow.  Given the possibility of hanging out, being good and following the rules or having fun and enjoying school, he and Leo make a choice.  And they come up with “Operation R.A.F.E.” (which stands for Rules Aren’t For Everyone).  The operation is set up like a video game.  Rafe is going to try to break every rule in the handbook. Leo will award him points.  But he will also only have three “lives,” which he will lose if he gets caught or otherwise fails in his quest. (more…)

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815SOUNDTRACK: BORIS-DEAR (2017).

The plan was that after 25 years, Boris would retire.  They recorded songs for Dear, but then toured the anniversary of the album Pink.  This inspired them to write more songs, and somehow through all of that, Dear was created (with apparently enough music for two more albums).

Then they toured Dear (a tour I was lucky enough to see) and are still going.  Who knows if they are done.  Who knows if this is their final album.  Either way, this is a doozy.

10 songs and 70 minutes (on the U.S. release), Dear specialized in slow droney heavy songs.  The album opens with seven smacks of a drum before loud heavy chords signal the beginning of “D.O.W.N -Domination of Waiting Noise.”  The vocals are loud but just loud enough to add to the overall drone sound.  Things slow down further with “Deadsong” a deep bass drone with whispered, rather spooky/demonic vocals.

Despite the drones there are moments of catchiness (relative).  “Absoluego” is a faster, downtuned song with a big shouted chorus and “Beyond” is a quiet, moody song featuring Wata on vocals.  About 90 seconds into the song there is blast of metal guitars and drums that lasts for 30 seconds or so before fading out.  When it happens again, one of the guys starts singing too, a faster heavier, catchier melody.

“Kagero” opens with a low rumble.  Eventually a slow, heavy guitar comes in with near falsetto singing.  “Biotope” has a steady pulsing bass drum through the track.  The guitars are slower with an occasional plucked string that resonates. This song even has some ooohs in it.

“The Power” has my favorite Boris riff since “Tu la la.”  It’s got six notes all of which are strangely menacing and yet catchy at the same time. This was a great song to see live.  “Momentio Mori” is slow and menacing with cool echoed/chorused vocals–there’s an Alice in Chains vibe to the vocals.  With about a minute left, the song slows down and grows quiet almost as a lead in to the 12 minute “Dystopia -Vanishing Point.”  This song opens with two minutes of warbly accordion (I loved watching Wata play this part live) and some thundering drums.  It all fades away into some quiet ringing guitars and whispered vocals.  This continues for a few minutes as waves of guitars are added.  And then at 7 minutes the loud guitars and drums blast forth and Wata gets to do a screaming solo for the final 4 minutes.  She is still soloing as the song abruptly ends and switches to the final track.

“Dear” opens with those low downtuned guitars echoing.  I love that the guitars simply slide up to a very high note and hold it until sliding back down.  There’s a muffled chug on the low chords while the heavily echoed vocals ring out.  The song continues like this, a mountain of low rumble, for 9 minutes until it starts to consume itself–feedbacking and disintegrating until it sounds like all of the plugs are pulled.

There’s not a lot of diversity on this disc, which resembles some of their earlier music.  I’m very curious to see what they do next.

[READ: February 9, 2016] “The Republic of Bad Taste”

This story (it feels complete and not like an excerpt, although the title seems unlikely as a short story title) was 20 pages long in this issue of the New Yorker.  That’s one of the longest pieces I’ve seen in the magazine.

And it covers a lot of ground.

Like how does an at-risk-youth counselor agree to commit murder?

It begins by introducing us to Andreas Wolf in East Germany circa 1987.  He is a disaffected youth, an atheist with a super libido and he has found employment at the church on Siegfeldstrasse.  Andreas felt the whole regime was ridiculous.  In fact he felt that a lot of things were ridiculous.  The Republic was just so German that it couldn’t even go after misfits unless it was by the book.

His “job” at the church was as a youth counselor.  He was surprisingly good at it. In part because he really didn’t care and in part because he himself was almost at risk.  He wasn’t really at risk because his father had a good position with the government, but they had more or less disowned him (aside from agreeing to make sure he never got into real trouble).  Plus, he was pretty good-looking so many of the at risk girls found him attractive–with all that implies.

He took advantage of this.  He found that his monetary reward was so pitiful that a reward in beautiful girls made up for it.  At the same time, he did have some scruples.  He never had sex with anyone underage or anyone who had been sexually abused.  What a guy. (more…)

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SOUNDTRACK: THUNDERCAT-Tiny Desk Concert #660 (October 18, 2017).

I had never heard of Thundercat.  Except I probably have:

Thundercat, born Stephen Bruner, is willing and able to shape-shift to fit into just about any box you show him — he just won’t stay in there for long. Whether fusing his talent for jazz while a bassist with punk legacy act Suicidal Tendencies or as a member of Snoop Dogg’s band — maybe running a little too far with a solo here and there — the focus seems to eventually drift his way.

After releasing two brilliant solo albums, he was plucked to work on what eventually became one of the most important works of art released this decade: Kendrick Lamar’s To Pimp A Butterfly. Capitalizing off of the new exposure, he quickly released the EP The Beyond/Where the Giants Roam. That was followed about two years later by Drunk, his most solid project to date.

I didn’t know what to expect in the days leading to the performance, but I was hoping to get what I thought a Thundercat experience would be like. All boxes ended up checked: He arrived wearing a neon pink hoodie with his signature logo plastered about, kickboxing shorts, white chancletas, playing a Nintendo portable gaming console. He and his bandmates Dennis Hamm (keys) Justin Brown (drums) and Miguel Atwood-Ferguson (violin), all master musicians in their own right, polished off some bacon croissant sandwiches and proceeded to give us three of the best of what Drunk has to offer.

Overall, Bruner sings with gentle falsetto.  Most of the lyrics are pretty funny, with some pointed lyrics.  But the really impressive thing is that he is playing a six string bass and getting all kinds of great sounds out of it.

I love love love the bass sound that he gets on all of the songs.  And I love that he throws in some fascinating solo moments where he does these incredible runs up and down the fretboard.

The bass is sort of watery on the first track “Lava Lamp.”  It opens with him picking out the melody on chords and some delightful backing ooohs.  The violin is electric and plays these really trippy synthy sounds.

The second song “Friend Zone” opens with watery rubbery chords from the bass and then a great funky bass line while the keys play.  The lyrics are really quite funny:

I’m your biggest fan but I guess that’s just not good enough /
is it because i wear my hair weird or because I like to play Diablo

The next time you call me / I’m just gonna sit and stare at the screen /waiting for the call to end.

If you’re not bringing tacos / you should just turn and walk away.

There’s some really cool squeaking violin notes that add a wonderful texture to overall piece.  And of course, there’s some great fat bass riffs

The chorus goes: “no one wants to be in the friend zone.”  As the song ends, he chuckles.

The final song “Them Changes” has even cooler sounds from the bass.  There’s echo and flange and it sounds like three people playing.  It’s really great, particularly the amazing bass runs.  The violin also has a really trippy echo on it.

Bruner’s bass is tremendous.  And I’m really curious to check out more from this guy.  (In fact, just listening to a few songs from the album, it’s pretty wild).

[READ: January 27, 2017] “‘Borat’: The Memo”

George Saunders is not afraid to attack injustice.  Sometimes he does it with humor.  Sometimes he does it very subtly.  And sometimes he does it in an incredibly unsubtle fashion (but still with humor).

It is clear that Saunders was completely offended by the movie Borat (this is not a timely posting about this piece I know).  But he wasn’t upset simply because Sasha Baron Cohen did rude things or was a little offensive.  He was offended at the very essence of what this movie did.

Disclosure: Sarah and I think the scene where Borat asks a stock boy what this is and the answer is “Cheese” over and over is absolutely hilarious.

So, how does Saunders deal with this movie?  By offering some suggestions for the DVD extras. (more…)

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SOUNDTRACK: RHEOSTATICS-Molson Centre, Montreal, QC (December 9, 1996).

This is the second and final Quebec show on Rheostatics live.  Once again they are opening for The Tragically Hip and although it still has that stadium feel, this one is a little muffled.

They open the show with a French language clip and once again I have no idea what it is from.

Before the first song starts either the guys are talking to each other or there’s a recording of Martin & Dave talking to each other about dreams.  “I had this weird dream we were in a giant rock stadium.  We were opening for Ringo’s All Stars  All these people were there speaking a  different language.”  “Ringo’s really been giving it all this tour.”

Eventually they start the riff and play a great version of Fat.  I love how the song builds and builds to a cacophonous racket and then quiets down into the slinky riff.

They play “Aliens” and Martin modifies the lyric from “they took you up and put you under” to “they took you up and gave you drugs.”  It’s followed by “All the Same Eyes” which is such a good conventional rocking song.  “Michael Jackson” sounds great with some wailing guitars.  At the end, Martin states, “It feels good to be alive.”  Dave retorts: “Sometimes.”

Then Dave says thanks for CFRG and CFLY (which seems unlikely to play them now) for “coming down here and talking to us today we appreciate it.  This [“Bad Time to Be Poor”] is the song that’s getting played on the radio and in all the finer dentist offices around the land.”

Martin makes some interesting guitar noises before starting a really great “California Dreamline.”  Before Claire, Dave says “Happy birthday, Gary Stokes” (their sound man).  They’ve been adding some great guitar solos into “Claire” and this one is no exception–Martin really stretches.

“Horses” is, as always, really strong.  The version rocks and then during the moody middle section Dave starts chanting about power in the darkness.  Near the end as Martin starts making his horse sounds, Dave chants “we don’t need no education, we don’t need no thought control.”

It’s a dark but effective ending.  I assume the Canadian audiences know the band already, but I wonder what they think of them as an opening act.

[READ: June 20, 2017] “The Love Nest”

This is The Walrus‘ Summer Fiction Issue with new fiction & poetry from 6 writers in total.  I won’t be reviewing the poetry, but I’ll be talking about the three short stories.

This story was delightful.  I enjoyed everything about it.

It consists of a series of log book entries at a B&B from October 10, 2013 through August 5, 2015 with a sort of addenda at the end.

It begins with a Russian couple complementing their hosts for their charming B&B in Vermont.  They learned a lot about Vermont in their stay and are happy to share their information.

The next couple mentions how once they had kids they lost all of their single friends.  Another talks about how the B&B’s mason jar cups reminds her of a college “naked party” where she and her now husband met.  Another has a small gripe (no spoilers) that he wants to write in the book–but not on Trip Advisor. (more…)

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