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Gary Shteyngart–“The Luck of Kokura” (New Yorker, June 25, 2018)

June 25, 2018 by Paul Debraski

SOUNDTRACK: GOLDLINK-Tiny Desk Concert #753 (June 13, 2018).

GoldLink is a D.C. rapper.  The blurb tells us he

acted as if his Tiny Desk performance was a family reunion and took the opportunity to invite everybody and their cousin in as his guests.  To mark the moment, Link wore a crisp T-shirt reading ‘I Told You So’ — a nod to the haters, no doubt — and jumped around his discography to perform cuts from each of his three projects: “Bedtime Story” from 2014’s The God Complex, “Dark Skin Women” from 2015’s And After That, We Didn’t Talk and finally “Some Girl” and “Pray Everyday (Survivor’s Guilt)” from 2017’s At What Cost.

I’ve never heard of GoldLink, so I have no idea what he normally sounds like, but the blurb continues:

instead of the usual Steve Lacy or Kaytranada-aided beats, Link delivered his verses accompanied by a smooth six-piece band and two velvet-voiced singers. (Link’s longtime producer Louie Lastic plays bass for the entire set.)

 I like the fast rapping and 70s vibes of “Bedtime Story”–the strings are a nice touch, too.  As with certain rappers, the repetition of words drives me nuts, especially if they are just spoken.  So “Dark Skin Women”s repetition of “you’re a star come and dance baby” drives me a little nutty.  The backing vocals are pretty, though.

I enjoyed the self-deprecating intro of “Some Girl” I wrote this about an ex … stupid.  But these lyrics, good grief

I met her in the summer, started with a kiss
But she fucked her so good that I had to flood her wrist

Flood her wrist?

The final song “Pray Everyday (Survivor’s Guilt)” begins with a woman stating a prayer:

Lord I pray for wealth and power over all these motherfuckers
For the DMV to reign for many moons
Fuck these rappers, fuck these labels
Fuck these bitches, fuck these bitches, you hear me
They killed my nigga and I pray for revenge
Control me and use me the way you would allow me to
Amen

The DMV?

And then there’s just really bland sex boasting

All my life been addicted to the pussy that’s my vice, yeah
Drinkin’ drinkin’ drinkin’ all my problems
I don’t need nobody, I just need my bottle that’s for certain
Put the pussy on the pedestal

So, yeah, I could take or leave GoldLink.  There’s certainly some good sounds, but it sucks when a rapper’s rhymes are so lame.  Here’s who made it:

D’Anthony Carlos (GoldLink), Kiara Brown (Kelow) (Poet), Elliot Skinner (Vocals), Grace Weber (Vocals), Billy Davis (Musical Director/Keyboardist), Alex Ben-Abdallah (Louie Lastic) (Bassist), Danny McKinnon (Guitarist), Darren Hanible (Lil Dream) (Drummer), Burt Jackson (Trumpet), Marvill Martin (Violinist).

[READ: July 1, 2018] “The Luck of Kokura”

This is an excerpt from Shteyngart’s new novel Lake Success (due out in Sept).

Barry wakes up on a bed, not knowing where he is.  He had fled New York and the hedge fund he worked at.  He has fled his wife and son (and the boy’s autism).

It was the hedge fund (This Side of Capital) that was causing him his troubles. He says he hadn’t done anything wrong–he had shorted GastroLux a new GERD medication that was going to do wonders for yuppies.  He was also a major shareholder in Valupro which had almost bought GastroLux .  Everyone else had piled onto the trade, so why should he have not?

He fled New York with $600 in his pocket and his Rollaboard of expensive watches–his only pride..  He had fled to Atlanta on a Greyhound and crashed at his former coworker Jeff Park’s condo.  The condo was amazing–tastefully decorated and really expensive (even for Atlanta). Continue Reading »

Posted in Funny (ha ha), Gary Shteyngart, Humiliation, New Yorker, Racism, Stock Market, Tiny Desk Concert, Wall Street | Leave a Comment »

Ernest Hemingway–“The Education of Mr. Bumby” (Harper’s, May 2009)

June 24, 2018 by Paul Debraski

SOUNDTRACK: JORJA SMITH-Tiny Desk Concert #753 (June 11, 2018).

I’s never heard of Jorja Smith before.  But the blurb really sets the scene for the R&B that followed.

It’s a good thing the weather was gloomy the day Jorja Smith rolled in for her Tiny Desk concert. Even though the skies threatened rain and thunder, the overcast light lingering in our dimmed office space allowed the teardrop pendant lights, hung from the ceiling by her lighting team, to cast the desk in a warm, honey-hued glow. And while the nimble guitar strings and double-time drums of her supporting band was enough to dizzy the focus in the room, it was the U.K. singer’s slow, silky cadence that anchored the performance in tranquility.

Smith sings three songs.

“On My Mind” starts out wonderfully with slick trippy drum beat (lots of double-time rim shots) and a great funky bassline.  The keys add nice touches on top of the songs.  But when Jorja sings, she sounds just like a soulful British pop singer, which I just don’t like all that much.  There’s some interesting and at the same time cheesy-sounding electric guitar that accents the ends of the verses.   In other words, there’s a lot to like but overall I just don’t.

It is followed by “Teenage Fantasy” (a ballad to love lost written when she was 16).  It’s a lot poppy and less funky.

When she closed her eyes to deliver the rap verse of “Blue Lights,” the anti-injustice song that first positioned her as a SoundCloud darling in 2016, a hush fell over the room in awe of her precision.

She ends with “Blue Lights” a more R&B poppy song.  Again I like the drums but don’t like the R&B keening.

After she finished, but before retreating to the comfort of Supreme sweats, Smith and her band bestowed the Tiny Desk with a blue lava lamp signed by every member. Keep an eye out for that Easter egg in future episodes.

[READ: February 4, 2018] “The Education of Mr. Bumby”

This was a previously unpublished sketch included in a new edition a A Movable Feast, which I’ve never read.

I’m not a huge fan of Hemingway, and this excerpt (even if it is a sketch) didn’t appeal to me much.

This is non-fiction.  The narrator and his son Bumby spent much time in cafes.  I know that Hemingway is known for his brevity so this long sentence was quite surprising.

Touton had a great part in the formative years of Bumby’s life and when there would be too many people at the Closerie des Lilas for us to work well or I thought he needed a change of scene I would wheel him in his carriage or later we would walk to the café on the Place Saint Michel where he would study the people and the busy life of that part of Paris where I did my writing over a café crème. Everyone had their private cafés there where they never invited anyone and would go to work or to read or to receive their mail. They had other cafés where they would meet their mistresses and almost everyone had another café, a neutral café, where they might invite you to meet their mistress and there were regular, convenient, cheap dining places where everyone might eat on neutral ground. It was nothing like the organization of the Montparnasse quarter centered about the Dôme, Rotonde, Select, and later the Coupole or the Dingo bar which you read about in the books of early Paris.  As Bumby grew to be a bigger boy he spoke excellent French and, while he was trained to keep absolutely quiet and only study and observe while I worked, when he saw that I was finished he would confide in me something that he had learned from Touton.

Continue Reading »

Posted in Drinking, Ernest Hemingway, Excerpt, F. Scott Fitzgerald, Harper's, Jorja Smith, Memoirs, Tiny Desk Concert | Leave a Comment »

Diane Williams–“My First Real Home” (Harper’s, January 2009)

June 23, 2018 by Paul Debraski

SOUNDTRACK: MILCK-Tiny Desk Concert #752 (June 8, 2018).

I know of MILCK the same way anyone who has heard of her knows her:  from her performing her song “Quiet” during the Women’s March On Washington last year.

MILCK is the music of Connie Lim:

Before the concert, we talked a lot with her and her production team about how to best share her deeply affecting, anthemic pop songs. Should we have a choir? Maybe a string quartet? Or should she bring out all her gear and perform as a one-woman band, live looping everything with backing tracks, to recreate the album experience? In the end she chose the simplest (and perhaps most fitting arrangement for an artist often billed as a one-woman riot): just MILCK, by herself, with a keyboard.

MILCK has a great powerful voice and she writes some very pretty melodies.

The beautiful soaring “Black Sheep” is restrained in this version.  Her voice sounds lovely but this song needs to soar.  Nevertheless, her positive message is undeniable.  Indeed:

the ultimate message in “Black Sheep,” like pretty much all of MILCK’s music, is that you are not alone. It’s a celebration of universal, unconditional love, something the whole world could stand to hear and get behind. These songs also resonate so profoundly because they come from a genuine and heartfelt place – from MILCK’s own experiences and not a corporate office churning out scientifically proven pop formulas

Next came “Quiet” which she says she wrote as a healing song.  It has become an anthem for women and men around the world.  She laughs that this song pulled her out of her own emo isolation.  It’s wonderful how clear and powerful her voice is on this version of the song.

She encourages everyone to take a deep breath which reminds herself how shallowly she breathes.  She was comfortable being emo and then complains that “Oh My My” is “infuriatingly joyful,” it reminds us that even if we suffer there is still room for joy.

The verses are spoken/sung with this amusing start

Thought I’d be 50 still alone chain-smoking cigarettes at a bar
talking shit about my married friends to my single friends

Mid song she annotates a line that she was singing songs in hotel lobbies–covering songs by Adele and Jason Mraz and now she is opening for Mraz, so she gets to tell his audience that she used to be ignored singing his songs in hotel lobbies and now she opens for him.

It’s a lovely happy song, with some pop leanings although she keeps it on this side of good taste.

[READ: February 7, 2018] “My First Real Home”

This story was in Vicky Swanky is a Beauty which I read so long ago I don’t remember. Of course these stories are so short I don’t remember most of them anyway.

For a Diane Williams story, I felt like this one was actually pretty enjoyable and pretty understandable.

Of course, once again, it ended and I had to double-check to make sure I hadn’t lost the last page.

This is about a man who sharpens knives .  He did a great job and the narrator discovered him because Tommy used to use him and Ernie’s have hit the chain saws.  Or the man’s name was Ernie and he would do Tommy’s chainsaws.  It’s not clear. Continue Reading »

Posted in #ITMFA, #RESIST, Adele, Diane Williams, Flash Fiction, Harper's, Huh?, Jason Mraz, Knives, MILCK, Short Story, Tiny Desk Concert | Leave a Comment »

Ben Marcus–“The Glow Light Blues” (New Yorker, June 22, 2015)

June 22, 2018 by Paul Debraski

SOUNDTRACK: BAHAMAS-Live at Massey Hall (February 5, 2016).

Afie Jurvanen is Bahamas, an indie folk act.  For this set he is joined by Jason Tait, Felicity Williams, Christine Bougie, and Darcy Yates in various roles.

This set opens with “Like a Wind.”  Jurvanen’s voice is rough and scratchy  and quite nice. But its his backing vocalist (not sure which one) that really launches this song into the ether.  She sounds amazing.  There’s a nice touch a of a slide guitar and the rumbling drums are a great addition as well.

It was some time around “Southern drawl” that I realized he sounds a bit like Tom Petty.  It’s a pretty poppy song–perfect for summer.

“Caught me Thinking” is another poppy song with a rocking 1-2-3-4 rhythm for the verses and “I Got You, Babe” has a wonderful pop riff (but is not a cover).

“Alone” is a new song that he says he’s been working on.  It’s just him and the staccato guitar plucking is quite arresting.  I love the lyric

“men and women equal, but we’re not the same.”

It’s a great song–shame it gets interrupted by his interview.

The final two songs are “All the Time” which has a great solo at the end and “Never Again.”

[READ: February 5, 2016] “The Glow Light Blues”

This story started off doing one thing and then quickly went in a direction I did not expect.

As the story opens, Carl Hirsch is going to a party.  He rarely goes to parties, especially work holiday parties.  And when he shows up, the host greets him with alarm.

There’s some weird things mentioned in the opening paragraphs too. He compares going to the party to going to a dog house where you have to sniff ass and compliment the host.  He hopes there’s food: “even if he was only permitted to sniff…because of his feeding regimen.”

What the heck is going on? Continue Reading »

Posted in Bahamas, Ben Marcus, Live at Massey Hall, New Yorker, Short Story, Tom Petty, Work | Leave a Comment »

Barry Hannah–“Sick Soldier at Your Door” (Harper’s, June 2009)

June 21, 2018 by Paul Debraski

SOUNDTRACK: THE WEATHER STATION-Live at Massey Hall (February 5, 2016).

I know of The Weather Station from All Songs Considered.  The Weather Station is Tamara Lindeman and she has been making music under this name for many years.

But as her profile rises, she says that she has been moving from small clubs to bigger venues:

“So many things I’ve learned, like how to perform on a big stage and make sure people pay attention to you and hear your words.”

The larger venues are odd because her songs are “thoughtful and philosophical not full of showmanship” but you don’t really have a choice you’re in that situation–step up and be confident

The set opens with “Tapes” which is very quiet and soft with lovely backing vocal oohs and a pedal steel guitar.

“Floodplain” is a bit more upbeat but there’s some  interesting guitar work and a nice juxtaposition with the bass.

I love the titles of “Almost Carless” and “Shy Women.”  About “Shy Women” she says it’s about a particularity conversation but it could apply to 1,000 conversations.  It’s my favorite song with some great moments of backing vocals and chord changes

On “All of It was Me” she sounds a bit like Aimee Mann. She says “Loyalty” is also about a conversation.

She talks about evolving as a performer, playing electric guitar on “Personal Eclipse.”  She talks about how on a big stage you have to expand to fit the space you are given and so “Know It To See It,” finally rocks out–the drums and bass really adding something to her music.  The show ends with “Way It Is, Way It Could Be.”

She was joined by Ben Whiteley, Ian Kehoe,  Adrian Cook, Ivy Mairi and Misha Bower.

[READ: February 4, 2018] “Sick Soldier at Your Door”

Reading all of these excerpts in Harper’s has really brought to my attention just how much fiction is written about war.  It’s not a genre I like, so I had no idea it was so popular. This is an excerpt from a then forthcoming novel.

Anse Burden is apparently the main character. He says he has found six soldiers from the ’91 desert war with Iraq.

He talks about how he was on Percordan and Dexedrine when he was shot down.  Others believe he shot himself down (is that even possible?  I guess so.) He was found babbling incoherently.  There’s a great description of him being in the surf with his parachute attached looking like a dirty white whale rising up and down. Continue Reading »

Posted in Barry Hannah, Canadian Music, Funny (strange), Harper's, Huh?, Live at Massey Hall, Sex, Short Story, The Weather Station, War | Leave a Comment »

Karen Russell–“The Bog Girl” (New Yorker, June 20, 2016)

June 20, 2018 by Paul Debraski

SOUNDTRACK: PEACHES-Live at Massey Hall (August 4, 2016).

Peaches is afraid of no one.  She bears it all, lyrically, visually, sexually (sample lyric: “Can’t talk right now this chick’s dick is in my mouth”).

She stands center stage, all by herself atop a small pyramid.  She programs some beats at the back of the pyramid and then begins singing the lyrics to “Rub.”  She demonstrates quite exaggeratedly where the rubbing out to take place

Tell on my pussy
Whistle blow my clit
Watch it open up
Cause it can’t keep a secret

What’s great about Peaches is that she was 49 at the time of this performance and she held nothing back–doing a very impressive split at the top of “Operate.”

She began the show with an oversized cape and what looks like a catcher’s chest protector with the outline of abs on it.  When she takes those off she reveals a body suit with hands all over it–grabbing her.

Next up is “Vaginoplasty.”  She introduces the song that it “is not about a big dick or big tits it’s about my big fucking vagina.”  Its at this point that her two dancers (Jess Daly and Agent Cleave) come out wearing gigantic vagina body suits.

In addition to being about her vagina though, she also addresses transgender issues

If you’re born as a man
But know you’re a woman
I understand
Gotta get it, get it girl

About this song she later said:

I think “Vaginoplasty” is about an important subject, but I also think it’s hilarious. The song is about a big vag, but then you have to think, Why does that gross me out?

Her voice is terrific on this song as well, she hits some really powerful notes.

“Mean Something” features a duet with “Feist.”  Feist sings the eerily compelling chorus.  It’s a great song without being explicit.

During an interview she talks about going to Berlin where she was appreciated before returning home to make her album.

After an onstage costume change, Peaches wears a fabulous outfit that’s a giant vagina and she walks out into the audience, walking across the backs of the chairs until she stops and says, “These are my parents!” (their reaction is..amusing).

“How You Like My Cut” is more of a rap–incredibly sparse with lyrics that are not terribly eloquent

How you like my cut
How you like my cut what
How you like my cut

But it seems more about the mood than the words.  Words are suitably important for “Fuck the Pain Away” (now that is something you did think you’d be singing at Massey Hall).  Both songs feature her dancers in minimal bondage gear.

The chorus that gets the crowd chanting is

S I S I U D, stay in school cause it’s the best

With repetition, the lines eventually sound like “SIS, stay in school cause it’s the best IUD.” Peaches thus ties the education of women directly to birth control and reproductive autonomy.

For the final two songs, she has one more outfit change (which leaves her topless, but with pasties on).  “Dumb Fuck” has an incredibly catchy chorus of “dumb fuck, you dumb fuck, you dumb fuck” which is certainly cathartic.

The final song is “Close Up” and is a duet with Joel Gibb from The Hidden Cameras.  They have a lot of fun with the song.

[READ: January 9, 2017] “The Bog Girl” 

Some stories are so weird that you have to keep reading.  And when they get even weirder and even more compelling, you sort of marvel at the way it unfolds.

This story was one of those.

Cillian is a fifteen year old boy working in the peatlands in an island off of Ireland on the archipelago known as the Four Horsemen.  He is working illegally, but his boss hired him because his house abutted the peatlands.

The story gives a brief history of peat–how it is created and used for fuel and explains that the lack of oxygen allows things to decompose there–so there are all kinds of dead animals in the peat.  But no one notices because it is now industrially harvested.

Then one day, as he is digging up the peat, Cillian sees a hand.  It proves to be the hand of a girl.  When she is exhumed, her body comes out intact.  She is cute with a sweet smile.  The police determine that she is not a recent murder, that she is probably 2,000 years old.  Well, Cillian is lucky that he lives on a remote island. Continue Reading »

Posted in Canadian Music, Death, Feist, Irish Writer, LGBTQ, Live at Massey Hall, Peaches, Romance, Sex, Short Story, The Hidden Cameras, Transgender | Leave a Comment »

Simon Rich–“Edison Labs, 1891” (New Yorker, June 25, 2018)

June 19, 2018 by Paul Debraski

SOUNDTRACK: CHILLY GONZALES & KAISER QUARTETT-Live at Massey Hall (February 5, 2016).

Years earlier, Chilly Gonzales had signed a record deal in Toronto but it didn’t go well “because I wasn’t prepared for what the job of being a true musician was.  I didn’t really have a narrative.  I couldn’t draw people in and guide them.  I thought the music would be enough.”

He went to Europe–Berlin–taking the name Chilly Gonzales and creating this persona.  He wanted reassuring satisfying elements and surprising, uncomfortable elements.  He wanted to  take a page out of the rappers playbook–embodying superficiality and depth ant the same time ridiculousness and seriousness at the same time.

Toronto was like the place where lighting hit the lab and turned him into a supervillain.  The failure of the label is his origin story.

They play primarily instrumental compositions, but ones that are very different and unlike anything else I’ve heard.

“Green’s Leaves” is a staccato piece with great melodies from the Quartett and lovey piano sprinkled throughout.  It’s a short piece with a lot of beauty.

He tells the audience he thinks of the Kaiser Quartett (Adam Zolynski-violin; Jansen Folkers-violin; Ingmar Süberkrüb-viola; Martin Bentz cello) as the world’s most expensive sampler.  He tries to use them in ways that string quartets might not be used.

“Sample This” is a simple request to rappers or producers to feel free to sample this piece of music (and of course call my lawyer beforehand).   He says you don’t have to have a rapper to make rap music–it is an attitude.  He says, “see if you can rap along in your mind.  Imagine what a rapper might say over this.”

This song moves along prettily at a rapid pace.  As it reaches the middle it slows down to a gentle piano with pulsing low notes from the strings and just as it feels like it has hit the end, Joe Elory (I wish it was filmed better) gets up and thuds the drums for one loud beat as the song resumes and picks up the pace.

The fact that he ends the song with quiet piano melody and a rapper pose and says “bitch” is really quite funny.

He says that a sampler can contain the history of all recorded music.  The Quartet plays  a bar of “Eleanor Rigby” which he introduces as “Elizabeth Ridley by the Rolling Stones.” Then they play Joseph Haydn–the song we all know– but says he wants the gansta version–put it into a minor key.  Then they play the opening of Schoenberg’s “The Rites of Spring.”  When Schoenberg played it, it caused a riot.  The dissonance is something.  He jokes that that was the verse now here comes the catchy part (it’s the same).  Is this offensive to you?  Or is this offensive that I’m wasting so much time playing this terrible music “hashtag fuckscheonberg.”

He mashed all the above together to make “Advantage Points.”  The loud and quiet parts balance nicely and its really quite catchy.

“Supervillain” has lots of high notes on the piano before the strings kick in.  And then its a rap (!).  The lyrics are good but the flow is only okay.  It’s funny but not comic.  When it’s over he affirms: “So you like rap music when it is over a waltz beat.”

“Knight moves” is a fast piano piece that builds to some really fun rollicking piano and even adds (minimal) drums by the end.  As it moves along he starts playing very very fast and heavy, including more or less pounding on the low notes for a low rumble.

“Smothered Mate” has a kind of action movie vibe.  There’s also percussion for the whole piece.  Unfortunately, he speaks over it for the end:

In the pre-Drake era there were not a lot of reasons to think that Toronto was on the musical map.  But Charlie Parker and Neil Young  showed this hall had glamour you dint get in a lot Canadian venues.

[READ: June 19, 2018] “Edison Labs, 1891”

This story goes in a direction I never expected and the anachronism of the humor is terrific.

Thomas Edison is working in his lab when his assistant, Jed, confesses that he screwed up again–he used centiliters instead of milliliters.  Which leads to a beaker exploding.

Edison believes that this boy is an idiot–useful only as a subject for medical experimentation.

Except for one other possibility.

He asked Jed to stand there in one spot.

Then he pulled over his new contraption, an apparatus made of metal and glass. Continue Reading »

Posted in Anachronisms, Arnold Schoenberg, Chilly Gonzales, Film & TV, Funny (ha ha), Joseph Haydn, Kaiser Quartett, Live at Massey Hall, Short Story, Simon Rich, Smarty Pants, Technology, The Rolling Stones, Thomas Edison | Leave a Comment »

King Gizzard and the Lizard Wizard (Union Transfer, Philadelphia, PA, June 18, 2018)

June 18, 2018 by Paul Debraski

[ATTENDED: June 18, 2018] King Gizzard and the Lizard Wizard

‘I’ve been a fan of Melbourne’s King Gizzard and the Lizard Wizard since I heard Nonagon Infinity which came out in 2016.  SET

Since that record, the band have released five full length albums (five in 2017!).

And that kind of dedication to making music has seen their fanbase grow and grow.

From the 140 capacity Kung Fu Necktie in 2014 to the 650 capacity Underground Arts in 2016 to the 1,200 capacity Trocadero in 2016 (I found out about this show literally two weeks after it had happened or I would have been there!)  And now finally to selling out Union Transfer (a higher profile show to be sure).

When the band came around in 2016, most of their set came from the then new Flying Microtonal Banana, but here they were one year and four albums later.  What would they play?

They played twenty songs dividing them between Murder of The Universe, Polgondwanaland (their fifth album of 2017, coming out on New Year’s Eve) and Banana, as well as a few from Gumboot Soup (yet another 2017 release) and Nonagon Infinity.  They went back to an earlier album for “Cellophane,” but this show was all about the newest stuff. Continue Reading »

Posted in Australia, King Gizzard and the Lizard Wizard, Philadelphia, PA, Union Transfer | Leave a Comment »

Amyl and the Sniffers (Union Transfer, Philadelphia, PA, June 18, 2018) [KING GIZZARD AND THE LIZARD WIZARD]

June 18, 2018 by Paul Debraski

[ATTENDED: June 18, 2018] Amyl and the Sniffers

I had never heard of Melbourne’s Amyl and the Sniffers before this show.

From their name, it’s pretty obvious what the band is all about.  They’re a four-piece, bass, guitar, drums and Amyl up front.  They play short, fast, loud rockers.  On their bandcamp site they have released ten songs totalling about twenty minutes.

And they were pretty fun.

This song shows their garage rock sensibility.

Amyl is an enjoyable frontwoman.  I think we were taken more with her thick Melbourne accent than any words she may have been saying. Continue Reading »

Posted in AC/DC, Amyl and the Sniffers, Australia, Beat, King Gizzard and the Lizard Wizard, Philadelphia, PA, Union Transfer | Leave a Comment »

Weike Wang–“Omakase” (New Yorker, June 18, 2018)

June 18, 2018 by Paul Debraski

SOUNDTRACK: AMELIA CURRAN-Live at Massey Hall (April 29, 2016).

I knew of Amelia Curran but I didn’t know her work before this show.

She says that growing up in Newfoundland it’s all about original music and the oral tradition and story discovering.  She loves to play at the pub back home.

But she continues that when you move into a more professional scene–recording your first album–you also become a Canadian musician, which is an extra thing that happens later.  You look to Neil Young and Joni and Massey Hall.  You come from a musical place like Newfoundland and then coming to Canada and “arriving.”

She plays great folkie songs.  Lyrically her songs are rich, but I find the drums to be quiet compelling on most of the songs.  There;s nothing flashy, but I really like the way the drums are somewhat unconventional or rhythmically interesting, like on “Song on the Radio.”

She is also quite sweet as she says, “Well thanks, oh golly.”

After “Blackbird on Fire” she says “the teenage me on the inside is really freaking out.”

Before “The Reverie,” she says “I’d like to play you a love song and to introduce you to this handsome fellow on the electric guitar Dean Drouillard.”

Before the nest song, “The Modern Man: she says, “Ladies and gentlemen, I don’t know if you know, but this handsome lad on the bass guitar has the best hair in the business.  This is Devon Henderson”

And before “The Mistress” (which is probably her biggest hit), she says “I know it’s hard to believe but there’s even more handsome up here.  This man behind me on the drums is Joshua Van Tassel.”  This song is more jagged and sharp than the others.  It’s a darker, more pointed song and it’s really great.

“Devils” is a slower, moodier song, with snaky electric guitar leads.  Next up is “Time” which is  a beautiful song that’s just her on the acoustic guitar.  It’s quite different from the other songs, much more stark.

For the final song, “Somebody Somewhere,” she says, “Here’s a happy-sounding song I wrote about being depressed.”  This song has more great drums and some cool guitar sounds that change on each verse, including a great buzzy sound during the second verse.

[READ: June 18, 2018] “Omakase”

Even though I love sushi, I had never heard of the titular “omakase” which is a meal consisting of dishes selected by the chef, typically with suggested wine pairings.  And frankly it’s something I’d likely never do (if I was paying for it).

This is the story of a couple who’d met online two years ago.  Three months ago they had moved in together.  They both liked sushi and omakase–they liked the element of surprise.   It also worked for their personalities–she second guessed herself too much and he liked to go with the flow.

They went to a tiny room with a sushi bar and cash register.  The woman (their names are never given) imagined it could fit no more than six people.  How had he even heard of it?  There was a young waitress and old sushi chef who ignored them longer than she imagined they would.

The story leaves the meal from time to time. The first time is for aside about New York City trains.  How she has not gotten used to the subway and the delays.  Tonight’s delay was because of someone jumping in front of the tracks.  In Boston people rarely did that, “probably because the trains came so infrequently, there were quicker ways to die.” Continue Reading »

Posted in Amelia Curran, Joni Mitchell, Live at Massey Hall, Neil Young, New Yorker, Racism, Relationships, Short Story, Sushi, The House of Flying Daggers, Weike Wang | Leave a Comment »

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