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Archive for the ‘Threats’ Category

feb2003SOUNDTRACK: LAURA GIBSON-Tiny Desk Concert #1 (April 22, 2008).

gibsonI have enjoyed many of NPR’s Tiny Desk Concerts over the years.  And while I was listening to an All Songs Considered show, it was mentioned that there have been over 200 shows (I believe it is now over 300).  And I realized that I had missed dozens of good ones.  So, being the kind of person I am, I decided to start watching/listening to them all.  I don’t typically watch most of them as they’re usually not very visually interesting–they’re fun to watch for a minute or so, but most of the artists are there to sing, not to do visual entertainment.  So usually I just listen while doing something else.

I toyed with the idea of writing about one a day until I was done.  But the logistics of that made my head hurt.  So instead, I will write about them all over the course of however long it takes.  (And since they don’t post one every day, I will catch up eventually).

Laura Gibson had the first ever Tiny Desk show, and there’s some notable things about the show itself.  First, look how empty Bob’s shelves are!   And the camera work is a little wonky, I think.  I also enjoy how they introduce this performance without a clue as to whether there would be more of them!

I had never heard of Laura Gibson before listening to this.  She plays simple but beautiful guitar (I enjoyed watching how confidently she played the chords and individual strings).  But the big selling point is her voice.  Her voice is very quiet (this was the impetus for the Tiny Desk concept–they saw her in a club and the crowd was too loud for them to enjoy her so they invited her up to their office).  But her voice is also slightly peculiar (in a very engaging way), which you can especially hear on “A Good Word, An Honest Man,” where she is practically a capella.

She sings four songs: “Hands in Pockets,” “A Good Word, An Honest Man,” “Come by Storm,” “Night Watch.”  The sing-along at the end of the last song is really pretty–shame the audience wasn’t mic’d.  All four songs are beautiful and slightly haunting–her delivery is so spare you kind of lean in to hear more.  She currently has three albums out, and I’d like to investigate her music further.

[READ: October 31, 2013] “A Comet’s Tale”

Despite the fact that this article talks about and more or less guarantees the end of the world by asteroid or comet it was incredibly enjoyable and staggeringly informative.

Bissell begins by talking about the Biblical Apocalypse and how in 1862 Premillennial Dispensationalism (premillennialism is the belief that Christ will return before setting up his millennial kingdom and dispensationalism divides up the Bible and human history into various eras or dispensations, based on how God deals with humanity) was smuggled into the Americas and it has never left.  Fully 59% of Americans now believe that Revelations will come to pass (although what that could possibly literally mean is another question).  [Incidentally the book is not called Revelations, it is Revelation or more specifically Revelation to John.  And all of that numerology (666) must mean something right?  Well, yes, it means that the Ancient world was obsessed with numerology. The bible makes great use of the trick of predicting the future by describing the past.

Bissell pulls back from the bible to look at planet Earth “the most ambitious mass murderer in the galaxy.”  He then lists all the atrocities that have happened from natural causes to all species in the history of the planet.  But even recent tragedies (which seem to only happen to people in far off countries says the westerner) are only by happenstance happening there.  Between overpopulation and global warming we are preparing for our own apocalypse.  Although we also mustn’t look too crazy like in The Late Great Planet Earth (which still sells around 10,00 copies a year).  In that book Hal Lindsey predicted the end of the world but also the rise of a single world religion, a Soviet Ethiopian invasion of Israel and the obliteration of Tokyo, London and New York.  But astonishingly, Lindsey also worked for the Reagan administration, much like Tim LeHaye (famed “author” of the Left Behind series) was co-chairman of Jack Kemp’s 1988 presidential campaign.  Apocalyptos have way too much power in this country.

But even if we weren’t preparing for our own doom, there would still be space items to do it for us. Like 1950DA an asteroid that has near-missed the earth fifteen times and may just not miss us in the future. (more…)

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harper septSOUNDTRACK: PHISH-Lawn Boy (1990).

220px-Lawn_Boy_coverFor what I consider a guitar dominated band (Trey Anastasio is certainly the frontman), the early Phish albums have a lot of piano dominated tracks.  It’s not the guitar is absent but the piano is mixed quite loudly which gives these songs a slightly different emphasis than when they are played live.

Also was with many songs on Junta, “Reba” feels slower than the live versions.  It also has some funny backing vocals (a common occurrence with these early songs).  “My Sweet One” is a lot more honky tonk than the live versions, which often feel almost barbershoppy.  In “Split Open and Melt,” the vocals are done in a very funny mumbly way (with weird background vocals).  There’s also horns (crazy horns) and female vocals –giving it  vaguely R&B feel.

“The Oh Kee Pa Ceremony” (for origins of the phrase, check out this) is a live favorite that’s a fun and funky guitar solo (with a retro feel) and in this version there is much laughing and carrying on in the background).  “Bathtub Gin” opens with the crazy seemingly out of tune piano that they do live (although not as much).  There’s more funny voices on the chorus and crazy sound effects throughout.  Earlier Phish were a lot sillier than later Phish.

“Run Like an Antelope” also has crazy sound effects and it’s funny how I forget that the song is almost entirely introductory guitar solo wailing.  It’s not until 8 minutes that we get to the “rye rye rocco” section and the actual “run run run” part.   In this studio version, the “set your gear ship for the heart of your soul” section is spoken so quietly.  And the song is not quite ten minutes long.  “Lawn Boy” sounds clean and jazzy in ways that it doesn’t live.  And “Bouncing Round the Room” sounds a lot like the live version.  It’s a little slower, with a few more details thrown in.

Overall, Lawn Boy is a great early Phish album, with every song being a success.

[READ: October 3, 2013] “Life as a Terrorist”

William Vollmann was a suspect in the Unabomber case.  All because a “concerned citizen” alerted the FBI about his fiction.

This sounds utterly crazy, but it is true.

Vollmann has written about all kinds of things, both fiction and non-fiction.  For his non-fiction, he has traveled extensively, to Afghanistan and other places where terrorists reside.  So when he was detained upon reentering the United States from Yemen, he didn’t think too much of it.  But when he was detained a second time, years later–for seven hours and treated like a criminal–well, that got him mad.  And he used the Freedom of Information Act to see what the FBI had on him.

This is a sobering look at how the justice system in its zealotry to protect us can actually do far more harm than good, at least to innocent individuals. Vollmann uses this as the basis of his essay which looks at the omnipresent Unamericans: those who would attack without provocation and intimidate the weak. (more…)

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aug2013SOUNDTRACK: KEVIN DEVINE & THE GODDAMN BAND-“Nobel Prize” (2013).

PrintI’d never heard of Kevin Devine before (he apparently has 7 solo albums out).  This track is his first single with his new (radio friendly it seems) band called The Goddamn Band.  Interestingly, the album is called “Bubblegum” and it’s that sentiment that sticks out with this song.

Over buzzy guitars and pounding drums, a screamed (but not unpleasant) voice comes piercing through the fuzz.  And once the guitars come in, it’s all bubblegum pop (fuzzy and distorted absolutely, but pure bubblegum chord structures).  The song (including the voice) remind me a lot of Cheap trick–simple, catchy melodies with vocals that are urgent and intense.  Even the quieter spoken word section sounds like Cheap Trick.  The very mellow bridge or chorus or whatever it is mixes things up when it brings in picked strings and a gentle vocal.

It’s catchy as hell and could fit into a lot of playlists of poppy rock.  At only 2 and a half minutes it’s a pop gem.  Too bad no DJ would ever say the band’s name.

You can hear it an NPR.

[READ: September 19, 2013] “The Way Things Are Going”

As the story opens we read the Gwen had insisted that “Ma and I” move to America (from South Africa). Gwen wanted them to move because “sooner or later…it would happen again.”  The narrator says that what had happened was actually her fault.  But really what difference did it make whose fault it was—once they were tying you up.  She only let them in the first place because she was trying to be mannerly.

The story flashes back to what happened. The narrator had been struck across the head with a gun, praying that the men would leave her alone—just take their few valuables and go.  And then she had to worry about her mother, who was upstairs by herself.  It was only the phone call (and the answering machine) which saved them from further damage because a neighbor said she’d be right over. (more…)

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CV1_TNY_09_02_13Viva.inddSOUNDTRACK: TYPHOON-“Artificial Light” (2013).

typhoonartSince I mentioned “Artificial Light” the other day, I thought I’d link to it today.

The song opens with a pretty guitar melody punctuated by horns.  The singer’s vocal style is dramatic and often unexpected–especially the way he gets louder mid sentence and then drops to a whisper at other times (reminds me a bit of Wolf Parade or perhaps even Modest Mouse).

There are very pretty moments in the song (especially when the orchestration fills in).  But the horns also give it a kind of Spanish feel, which rides on top of the heavier guitars in the verses.

At about two and a half minutes, the song drops out completely.  It is picked up by some gentle guitar and horns as it builds back up.  By the end the chorus of voices builds the song to new heights and widths.

It’s interesting what you can do with so many band members in five and a half minutes.  This song really runs a breadth of ideas but remains quite pretty throughout.

[READ: September 12, 2013] “The Colonel’s Daughter”

The Kids in the Hall once made a sketch in which there was no beginning or ending, just a middle.

In the sketch, a man in a tutu slaps a man in a scuba diving suit saying.  “Stop it. stop it. I’ve got to stop you and your revolutionaries from taking over this country.”

This story is like the inverse of that sketch.  It has a beginning and an end but no middle.  Interestingly, since it is also about revolutionaries taking over a country, I now just insert that sketch into the story (I’m sure that makes Coover very happy.  I wonder if anyone else mentions this sketch in the review of this story).

I have mixed feeling about Coover’s work in general.  It often feels more style over substance.  And I fear that this one may have been playing with that somewhat. Interestingly as well, there is a lot of substance, but it is played in such as way as to make it almost seem meaningless—unless you are willing to really unpack it (which I wasn’t).

So, the Colonel is intent on overthrowing the President (the country is unnamed).  He has chosen the group of men sitting in the room with him.  Some of them know each other but not all do.  They look around and size each other up.  Indeed, 5/6 of the story is the men sizing each other up.  To me, the men are interchangeable.  I don’t know if that is lazy reading on my part or if it is indeed on purpose.

Each man gets a brief biography—the Deputy Minister, the Police Chief, the biplane pilot, the business man, the professor, the doctor and possibly someone else.

We learn a little about each man and why the Colonel would have chosen him.  We learn about his fears about the mission and who he mistrusts the most.  We also learn that one of the men is a double agent, working for the President.  Like a game of Clue, pieces of information are given that would let you know who the man is, but again, I didn’t feel like doing the work to figure it out.  I am curious to know if you can tell who it is from the story, but not curious enough to do the work (so I should not be rewarded). (more…)

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CV1_TNY_06_10_13Schossow.inddSOUNDTRACK: SHIGETO-“Ringleader” (2013).

shigeto-0caa8a419820269d8ca02d9c5e6508d195563bba-s1The cover of this album gives you an idea of what lies within–and yet the complexity in this one song alone makes me wonder just how much is hidden by those clouds.

The song opens with delicate bells and a persistent pinging metronome.  Then come a series of complex notes—seemingly rando…but not.  Add to this some watery sounds.  And then some buzzing percussion.  That’s the first minute of this six-minute instrumental.

The song begins with a  very delicate vibe, and yet once the tribal drums come to the fore the song takes on a very different feel.

By the middle of the song that original sound is more or less gone, replaced by a more classic “new age” sound.  But again, things change around 3:45 when the song quiets down a bit, allowing new percussion to enter and giving it a kind of world music feel.

I enjoy how at the end, when the drums stop it actually sounds like real drumsticks clattering together—as if the whole song were played by a drummer and not a machine.

[READ: June 17, 2013] “From the Diaries of Pussy-Cake”

This is labelled as a memoir, so I assume it is true (and I wonder if he is writing his memoirs, or if this is just an amusing story for this issue).  Gary talks about his life a teen when he was in love with a girl named Pamela (not her real name).  She was an urban hermit and an unreformed shoplifter.

She was totally in control of the relationship because he was utterly smitten. He sums up their relationship with a typo that he sent her.  He left out the “at” and wrote: “I am your disposal.” (HA).  And so their relationship was very much like that.

She had an ex-boyfriend whom she couldn’t (or wouldn’t) finish it up with–his parents loved her and she wanted to keep up pretenses, so she would be with him quite often.  Although the rest of the time she was with Gary, and that’s because she was always in charge with when she was with him.  I loved this description: (more…)

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CV1_TNY_06_10_13Schossow.inddSOUNDTRACK: JAMES BLAKE-“Retrograde” (2013).

retrogradeI don’t know anything about James Blake.  Indeed, I always assume he is a country singer.  Which he isn’t.

Daft Punk raved about this song as well, so I’m giving it a listen.

There’s not a lot to it, but I love the hummed melody–it’s catchy and distinctive.  The whole production of the song reminds me of Seal’s bigger hits.  Blake has a very beautiful voice as well.

 Even though I probably won’t listen to it again, (although now that it’s over I kind of want to hear it again), I’ll bet I have that hummed melody in my head all day.

[READ: June 17, 2013] “Slide to Unlock”

This was a short story rather than a True Crime, but it was very short, so I’m including it here at the end of the week.  I have complained before about stories that are more or less lists–series of words or phrases that don’t really create a story, just a series of ideas.  This story takes that premise of a series of ideas and actually makes a story out of it and I liked it very much.

As the title suggests. the story is about passwords.  And it begins (in second person) “You cycle through your passwords.  They tell the secret story.  What’s most important to you.”

And he gives some examples: (more…)

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CV1_TNY_06_10_13Schossow.inddSOUNDTRACK: TEGAN AND SARA-“Closer” (2013).

Tegan and Sara have teganandsarabeen making interesting folkie pop music for years.  While they’ve toiled in indie-land for years, their last album had a couple of songs that fell squarely into the pop world.

Well, “Closer” says, hey pop world, here we are.  It’s got everything that Tegan and Sara do well–catchy melodies and great harmonies–and it adds all manner of treacly delights to it.  There’s little keyboardy sound effects that sprinkle around the song.  There’s a big swirling keyboard chorus, and the song even slows down briefly so that it can build back up.

It’s frankly hard to swallow.  Aalthough I can appreciate just how well written it is.  And I hope they can make some cash off  of it.

[READ: June 17, 2013] “The Crime of Our Life”

Roger Angell’s True Crimes story talks about crime in New York City in the 70s and 80s.  I recall growing up and being afraid of the City (and for all that we complain that it has been Disney-fied and cleaned up, it is nice to not be worried about getting mugged on every dark street).  And Angell, who lived through it, has some less than cheery anecdotes to relate.But he opens with the good news: burglaries and street robberies are down 80% since 1990!  And, as he puts it, “even lifelong Manhattanites like me have almost forgotten the mixture of anxiety and scary anecdote we all shared back in the seventies and eighties.”

He gives some examples: leaving any place at night and immediately walking in the street if you saw someone even remotely suspicious on the sidewalk.  The friend of his who heard “Sorry, Mister, you’re going down” just before he did go down.  The friend who took karate lessons–and then wound up in the E.R.  And the other friend who took to carrying a sword/umbrella and had a chance to use it (with much success it turns out–“Yow–a fuckin’ sword”).  Even the Angells were broken into (their door taken off the hinges and leaned against the wall. (more…)

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CV1_TNY_06_10_13Schossow.inddSOUNDTRACK: BOSNIAN RAINBOWS-“Torn Maps” (2013).

bosnianBosnian Rainbows are the collaboration of Omar Rodriguez-Lopez (At The Drive In, Mars Volta) and Teri Gender Bender (Le Butcherettes).  Interestingly, I normally think of Omar as being the dominant force in the music he makes, but for this song, it seems to be all Teri.  Teri is a Latina singer who takes no shit.  In her Tiny Desk concert, she is fierce and intense, and that comes across here as well.

Perhaps the biggest surprise is how synthy this song is.  It has a very retro feel–like a lot of 80’s bands (Missing Persons and ’til Tuesday’s darker moments and of course, there’s an element of Siouxsie in her voice as well).  But there is something especially intense that Teri brings to this song that takes it out of the realm of safe synth pop (perhaps it the dark bridge).  Omar peeks through a bit during the instrumental break which has a pretty wild guitar solo and some intriguing effects that I wish were more prevalent.

I’m fascinated by this song (although I wish I could hear the vocals more).

NPR is streaming this whole album as I write this, although I’m not sure if it will still be available as of this posting.

[READ: June 17, 2013] “The Ripper”

The second in the “True Crimes” series is from David Peace (an interesting name, hmmmm).  In this one, the year is 1977 and young David is obsessed with Sherlock Holmes (and I would assume Encyclopedia Brown, but he doesn’t mention the boy detective).  Peace was ten years old and set up his own detective agency, intent on solving all local small crimes.

And then he learned of the Yorkshire Ripper.  In the piece he says “I was a lonely ten-year-old boy who found the Yorkshire Ripper” which proves to be untrue.  That was a real bummer because that would have made a great story.  As it turns out, he thinks he has found the Yorkshire Ripper, but he hasn’t.

For those of us not following English serial killers, the Yorkshire Ripper was a man who killed dozens of women from 1977 to 1979.  Peace spent his time poring over clues, certain that he could find what the police could not.  And then came the breakthrough—a tape sent in to the local police station stating “I’m Jack.  I see you are still having no luck catching me.”  Peace listened to that tape (which was available at the local police station for the public to see if they could identify the voice) dozens of times.  And his prime suspect became his science teacher “Jock” Carter.  (more…)

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CV1_TNY_06_10_13Schossow.inddSOUNDTRACK: ANNA VON HAUSSWOLFF-“Funeral for My Future Child” (2013).

anna-von-hausswolffThis was selected as one of NPR’s favorite songs of the year (so far).

It’s probably hard to like a song with a title like that, but there’s something strangely compelling about the whole proceeding–the great intricate percussion and drums that start the song, the ponderous pipe organ that lays down the melody, and then Anna’s voice which has a country-ish feel (kind of like Neko Case), but also has a kind of Dead Can Dance vocal style.   Or perhaps that’s just because she is Swedish.

By the time the chorus comes around, the ache of the song is apparent.  And the end has more of that amazing percussion.  I rather like the beginning and the end of the song more than the middle, which I guess doesn’t say a lot for it, but it is intriguing.

Evidently this album is primarily full of pipe organ, an interesting choice for a rock album.  I’d be curious to hear more.

[READ: June 17, 2013] “Twisted”

As if anticipating that I would not be able to write posts this week, the New Yorker has supplied me with a series of very short “True Crimes” pieces.  In fact, the whole issue is a fiction issue, which means a half a dozen or so stories as well.   But it’s these “True Crimes” that will keep me posting this week.

The first is from George Pelecanos, and it’s a story of his own crimes.  He explains that when he was younger, he did all manner of illegal things but had never been caught (aside from a few minor infractions).  He broke into houses and stole records from someone he didn’t like.  He rode in a stolen car, stole wallets from strangers at stores (at this point I really don’t like this guy).  But he doesn’t try to make excuses for himself.  He was a boy and he was having fun.

But the crimes continues long past adolescence.  In 1985 he was 28 and got involved in a high-speed chase.  He was drinking and smoking pot at a wedding.  He and his fiancée stopped at a convenience store where he backed  into someone’s car.  A gang of people came out and the threat of violence was imminent.  But he hopped in his car, drove on the sidewalk and sped off with the police in pursuit. (more…)

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CV1_TNY_06_10_13Schossow.inddSOUNDTRACK: NEKO CASE-“Man” (2013).

neko-case-the-worse-things-getIt was Neko Case who got me out of my NPR summer music doldrums. From her new,  wonderfully titled album The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You, comes this fast, rocking track.

It has everything that Neko does great—fast, clever lyrics over a simple but propulsive beat.  There’s a cool, unexpected guitar squiggle at the end of each verse that just makes the song seem that much faster.  But it is just an uptempo stomper from the great Case.

The song slows down in the middle with just a bass and drums and then as Case starts singing about her manliness, a harpsichord plays over the back giving it a nicely pompous air.  Which is quickly deflated by the buzzy guitar solo.  The song is clever and pointed and very well done.

The only thing missing is a great Neko Case wail, but the song (and the lyrics) are too fast for her to hold any notes for too long.  I’m really excited about this new album from her,.

[READ: June 18, 2013] “Scenes of the Crime”

The New Yorker doesn’t often tell you when something is an excerpt, but this time they tell us right up front.  This is an excerpt from an upcoming Ridley Scott film written by McCarthy called The Counselor.

Although I am told that I would love McCarthy, I have never read him with any seriousness.  And from what I have heard of his writing I don’t think I would like him.  This excerpt is more or less a useless attempt to try and get any sense for McCarthy as a writer.

There is no dialogue.  Rather, it is just a series of scenes–shot after shot, establishing the action of the movie.

I have no idea if there is dialogue in the movie or not.  I would be really impressed if there was no dialogue during these scenes and this whole sequence took twenty some minutes–with no dialogue at all.  That would be pretty cool. (more…)

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