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kazam1 SOUNDTRACK: ALISA WEILERSTEIN-Tiny Desk Concert #80 (September 15, 2010).

alisaI have concluded that the cello is my favorite solo classical instrument and Alisa Weilerstein plays a beautiful cello indeed.

She plays three songs: two pieces from Bach and one from Golijov.

I can’t speak to specifics about Weilerstein’s style or skills, but she plays beautifully.

J.S. Bach: “Bourree & Gigue” (from Solo Cello Suite No. 3)
Osvaldo Golijov: “Omaramor”

[READ: May 15, 2015] The Last Dragonslayer

I have loved Jasper Fforde’s books.  His Thursday Next series is brilliant (and I plan to re-read it someday).

This is the first book of his 4 part (not a trilogy!) YA series (called The Chronicles of Kazam) and it was fantastic.

The story is about Jennifer Strange.  Jennifer is a foundling who has been working for the past four years at Kazam Mystical Arts Management.  Foundlings from The Lobster are sent for indentured servitude for six years.  She has been quite successful at Kazam and when the owner Zanarerilli disappeared several months ago (she wont say how) she has basically been in charge of the building.  Not bad for a 16 year old  (well, she’ll be sixteen in a couple of months).

Kazam is in the Kingdom of Hereford in the Ununited Kingdoms.  Kazam is the home to some of the most powerful wizards alive.  Sadly there aren’t that many left.  Magic has slowly been dying and as the magic goes so goes the fancy titles of the wizards.  And now you have to fill out all kinds of paperwork every time a wizard is going to cast a largish spell.   They are stuck doing basic magical deeds for people–lifting illegally parked cars, magically rewriting houses, etc.

Also in the house is the Quarkbeast–the most ferocious creatures every created. Well, at least he looks that way.  He is actually quite sweet. Continue Reading »

dragonsSOUNDTRACK: THE NELS CLINE SINGERS-Tiny Desk Concert #78 (September 7, 2010).

nelsNels Cline has played guitar with Wilco for over a decade, but he has also played with punk rockers and jazz musicians.

The Nels Cline singers are an instrumental collective  that consists of Cline on guitar, upright bassist Devin Hoff and distinctly jazzy drummer Scott Amendola (he plays a lot of percussion including hitting a cymbal with what looks like a chopstick).  They also have special guest Yuka Honda from Cibo Matto on keyboards.

Cline gets some great sounds out of his old beat up guitar (I have genuinely never seen anyone play harmonics on the guitar in the manner that he does).

The music is airy and spacey (especially “B86 (Inkblot Nebula)” which features bowed bass and interesting sounds from Honda and a fascinating array of bell and cymbals on the drum set.

For “Thoughts on Caetano” he switches guitars.  Unfortunately the video seems to keep cutting out around this point so the rest of the show has to be on audio only.  But the sounds that they create are very cool and interesting.

The biggest surprise to me in these pieces is that they are mostly fairly short.  They seem like they could be side-long explorations, but “You Noticed” comes in around 4 minutes or so, and “B86” is only around 3 minutes as is “Thoughts on Caetano.”

The final song has a more jazzy feel.  Complete with a  bass solo and some very interesting drum sounds (I wish I could see how he’s doing them).  This last song is the longest it’s about 7 minutes.

I was really surprised by this Tiny Desk–I had no sense of what Nels Cline would play, and it was a real treat to hear.

[READ: August 19, 2015] Dragons at Crumbling Castle and Other Tales

Obviously death has never stopped anyone from releasing books.  So here is one of the first collections of posthumous stories from Sir Terry Pratchett.

Interestingly, these are stories from when Terry was a young lad.  This is a selection of children’s stories that were first run in the Bucks Free Press (he was a junior reporter).  They are simple but clever, with lots of ideas that Pratchett would explore in greater details as he got older.

There are 13 stories in the book, and they explore variations on Pratchett’s themes like that the unfamiliar is not the enemy (necessarily) and that people can and often will be surprised by how others react.  He also has some a story idea that would blossom into the carpet people stories later on.

“Dragons at Crumbling Castle” (1966) is a story of everyone overreacting when they find a dragon in the castle  (it proves to be a little baby dragon).

“Hercules the Tortoise” (1968) is the story of a brave tortoise who crosses his pond.

“The Great Speck” (1969) is an interesting story of huge worlds on tiny specks and how even they can be territorial

“Hunt the Snorry” (1966) is  a very funny story about brave hunters going in search of an elusive thing which proves to be something else entirely (and which they inadvertently catch).

“Tales of the Carpet People” (1965) is similar to the Speck story in that it talks about very small people living in a carpet and their adventures as they try to see the world beyond (the dreaded linoleum).  I actually found this first story to be kind of dull and confusing, but I can see how it became the basis for greater things.

“Dok the Caveman” (1966) invents all kinds of things but they usually go wrong–nevertheless the inventions themselves are pretty spectacular.

“The Big Race” (1968) differs from all the other stories in that it is about technology (although it is very Pratchettian in the end).  It proves to be a race between a gas-powered car and a steam-powered car (and anyone else who wishes to join the race and cheat if necessary).

“Another Tale of the Carpet People” (1967) was more successful perhaps because they actually got off of the carpet and met new people.

“The Great Egg Dancing Championship” (1972) was a funny story about how cheaters never win (and about dancing on eggs).

“Edwo the Boring Knight” (1973)  Sometimes boring people to sleep can be your greatest weapon.

“The 59A Bus Goes Back in Time”  (1966-67) This story was fun in its time travel (going to the major historical epochs) but more so because of the way the locals reacted to the bus.  And that the bus should always try to stay on schedule.

“The Abominable Snowman” (1969) had a lot of fun with the conventions of exploration and how easy it is to derail a planner.  It also works with the idea of a very tiny creature that everyone is searching for.

“The Blackbury Monster” (1968) is all about how fame may not be the best thing for a small town after all.

“Father Christmas Goes to Work” (1973)  How is Father Christmas supposed to make any money on the other 364 days of the year?  Get to work!  But what can he possibly do?  Not much it seems.  (There’s a happy ending of course).

The text is manipulated to make it very kid friendly (large print when people yell, different fonts, dark pages when it is a dark scene, that sort of thing.  It also has illustration by Mark Beech, but I found them to be really basic sketches.  I would have loved to see more by Pratchett artist Paul Kidby.

I tried to imagine my kids enjoying these stories, but I didn’t really think they would.  Perhaps because they aren’t British and it isn’t forty years ago.  But I enjoyed them.  And each one brought a smile to my face.

borgesSOUNDTRACK: SEU JORGE-Tiny Desk Concert #79 (September 13, 2010).

seuSeu Jorge was the melancholy singer in Wes Anderson’s movie The Life Aquatic With Steve Zissou. He sang the David Bowie songs and was amazingly soulful and brought a completely unexpected quality to the Bowie songs.

He plays these five songs with his band Almaz.  For reasons unclear to me only one of the songs is on the video, but the other four are available in audio format.

He sings three songs in Portuguese, and his voice is husky and passionate, so even if you don’t know what he’s singing about, you can feel the emotion.

The first song in English “Everybody Loves the Sunshine” has a cool trippy 70s vibe, with some cool keyboards.  Although I don’t love his version of “Rock with You” which I imagine was super fun to sing, but it’s so different from the Michael Jackson version that it’s hard to reconcile the tow.

  • Cirandar” (Audio Only)
  • “Saudosa Bahia” (Audio Only)
  • “Everybody Loves The Sunshine” (Audio Only)
  • “Pai Joao”
  • “Rock With You” (Audio Only)

[READ: October 19, 2015] The Last Interview and Other Conversations

I have never really read any Borges (a piece here and there sure, but I have his Collected Fictions waiting for me and just haven’t gotten to it. However, when I saw this book at work I decided to give it a read. I have very much enjoyed the other books in The Last Interview series (there are ten and I have read four) so I thought I’d like this too, and I did.

Borges is a fascinating individual. He was legally blind from a youngish age and was completely blind by the time of the last interview. He was humble (but not exactly humble—he genuinely didn’t think he was that great of an author). He was a pacifist (remaining neutral even in WWII) and basically spent his whole life immersed in books.

This book contains three interviews

“Original Mythology” by Richard Burgin (from Conversations with Jorge Luis Borges, 1968)

“Borges and I” by Daniel Bourne, Stephen Cape, Charles Silver (Artful Dodger 1980)

“The Last Interview” by Gloria Lopez Lecube (La Isla FM Radio, Argentina, 1985) [translated by Kit Maude] Continue Reading »

regretSOUNDTRACK: ANA TIJOUX-Tiny Desk Concert #77 (August 30, 2010).

Atiojouxna Tijoux was born in France.  Her parents moved there to escape the Chilean dictatorship.  She returned to Chile as a teenager and started rapping first in French and then in Spanish,

This Tiny Desk Concert is just her and a percussionist (Names Thompson) who is playing nothing but a modified tambourine (it’s an impressive variety of sounds he’s getting out of that).

Ana raps in Spanish.  I don’t really know anything that she’s saying.  And I have to admit that many times hearing someone speak quickly in Spanish sounds melodic anyway.  But she seems to be rapping with a great flow. It’s especially noticeable in the final song “Go!” when her speed increases exponentially.  And she is still very clear in her delivery.

I really enjoyed how in “La Rosa de los Vientos” she had sung a chorus at the end (her singing voice is lovely).

[READ: September 4, 2015] The League of Regrettable Superheroes

I received this book with my Loot Crate (this is the Loot Crate edition, which as far as I can tell just means it is smaller).  It is yet another wonderful book from Quirk Books.

This is a collection of superheroes who actually existed in comic book form–forgotten heroes, also-rans and all around second-tier superheroes.  The introduction is quick to point out that none of these superheroes is inherently bad.  Perhaps they had bad timing or got lost in the crowd.  He assures us that every character here has the potential to be great. In fact several have been revamped and revived

Each listed superhero has a brief synopsis which includes a Created By blurb, a Debuted in (giving the comic and the date of first publication) and an amusing commentary to accompany it.  There is a one page summary of the superhero and then a sample page from the comic (sometimes a cover, but more often a page of dialogue–which is always more fun).

Beginning in the Golden Age 1938-1949 (when every Super-Tom, Wonder-Dick, and Amazing-Harry could throw on a cape and a cowl and give Hitler the Business).  Superman debuted in 1938 and soon after everyone was making a superhero. Continue Reading »

peanuts4SOUNDTRACK: BRIAN COURTNEY WILSON-Tiny Desk Concert #76 (August 25, 2010).

bcwBrian Courtney Wilson is not Brian Wilson. Rather, this Wilson sings  lovely religious songs.

This is an overtly Christian performance and as such I did not really enjoy it. Having said that, his voice is terrific and his backing vocalists are subtle and uplifting without overpowering the music.

He sings three songs: “All I Need” “Believe” and “Already Here.”  For some reason, there’s no video for “Believe” so you have to listen to the audio only track to hear it.

[READ: September 29, 2015] The Complete Peanuts 1957-1958

Some new themes emerge in this, the fourth volume of the Complete Peanuts.  Charlie seems to get branded with the “wishy-washy” curse a lot more (except when it’s raining and he’s not willing to give up his baseball game).

The angst is getting heavier now too with Charlie Brown saying “sometimes I think my soul is full of weeds).   Then in April 1958 he says “It always rains on the unloved.”   Even the normally chipper Snoopy (who at one point says “to live is to dance, to dance is to live”) gets a little mopey and introspective “when I was a puppy every day was a happy day suddenly bang, and I’m in my declining years.”

I feel like Lucy and Linus are showing up a lot more.  And Pig-Pen, really a one-joke character is appearing less but has not been forgotten.

I particularly enjoyed the concern that the earth was overpopulated (from Lucy).  And after she says “The earth can’t feed this many people” Linus replies “Why Don’t You Leave?” Continue Reading »

sunSOUNDTRACK: MARTIN TIELLI-Fall Nationals The Horseshoe Tavern Toronto (November 17, 2003).

horsehoeA few weeks ago I wrote about the Violet Archers playing on this same night.  This was night 8 of 13 in the Rheostatics Fall Nationals 2003 Tour.  This was called SoloStatics Night.  Martin played and then Tim and the Violet Archers played.  And then Luke Doucet’s band Veal played (not sure if they were first or last).  Evidently Dave was sick, so he didn’t play.

The band for Martin’s set is Monica Gunter (Violin), Greg Smith (Bass), Ford Pier (Guitar), Michael Wojewoda (Drums), Luke Doucet (Pedal Steel).

It’s a short set (only 45 minutes) and he doesn’t play any Rheos songs (which makes sense).  It opens with “Double X” which is just him on guitar and Monica the violin. He plays very aggressively. It’s great.  Being in a fun mod he mentions that tonight is the solo show for the Rheostatics and whatnot, then he says that that’s not true, the Whatnots are playing tomorrow.

This is the first live instance of “The Temperance Society Choir.”  But he forgets a verse and they all seem to put their heads together trying to remember it until he says “somebody help me with this fucking song.”  There’s some wild bass and guitar noises on this song, too.

For “Sergeant Kraulis,” there’ a big chorus with everyone singing along.  And Martin gets out his Steinberger to really wail  And I love watching him (see video below) make the crazy noises at the end of this song.  Luke Doucet joins them on “Winnipeg.”  It’s a really good, robust version of the song, with Ford Pier taking some of the vocal lines (like “get the fuck off the stage.”)  And also jumping around like a lunatic during the more rocking moments.

They rock out “That’s What You Get for Having Fun” and the cover of “Cold Blood Old Times” (which Martin says they have to play faster).

Before the final song they start asking each other if any of them has any T-Bone, they all say they got mashed potatoes but no T-Bone (which references a Neil Young song, but is still pretty weird).

The set ends with a solo acoustic guitar version of “From the Reel,” which is beautiful.

It’s a really great performance and amazingly, it was captured on video, too.

 

[READ: October 22, 2015] The Sun Has Forgotten Where I Live

In all of the Christian McPherson blurbage, it mentions his two books, Six Ways to Sunday & The Cube People.  And these are the two books of his which I have not read.  Huh.

This was McPherson’s second collection poetry.  It is very much like his first collection: musings on being a dad (which are quite tender and sweet and very true to life) and then darker thoughts about society and such.

And he gets to the crux of what I find hard to know about whether I like his poems.  The entirely of the poem “trying to” consists of this valid exchange: Continue Reading »

logo_OL-lgSOUNDTRACK: MARTIN TIELLI-Lee’s Palace, Toronto, ON (April 5, 2002).

Lees-Front-360x238By April, Martin was back in Toronto.  The newer album would be coming out in 2003, and he plays 4 songs from it.  The rest of the songs comes from his first solo album with a couple of Nick Buzz songs, a Rheostatics track and a Joni Mitchell cover thrown in.

For the first three songs, it’s just him and his acoustic guitar.  “World in a Wall” sounds great and he even plays a gnawing sound on the guitar strings (sliding the pick up them).  He’s got cool, aggressive strumming in “Double X.”

For Joni Mitchell’s “River” Kevin Hearn plays piano. It’s quite lovely (and Hearn is applauded, of course). Then Martin plays an outstanding version of “She Said ‘We’re on Our Way Down’” (each live version gets better).

Before playing “My Sweet Relief” he says “stay tuned for Operation Infinite Justice.”  He is clearly keeping this as the band’s name, even if the next album will be changed somewhat to Operation Infinite Joy.

There’s a great percussion sound on “That’s What You Get for Having Fun.”  On Voices in the Wilderness” he finally just comes out and mentions the source of the lyrics: after singing “if you choose not to decide…” he changes his own words to “I know Geddy, he don’t know me” (from the usual “I know him, he don’t know me”).

During “Sgt Kraulis” (one of the newer songs) they have a jam section in the middle it turns reggae and someone starts singing “Legalize It.”  And in “Love Streams” the piano (I assume no longer Kevin Hearn) plays a “stoned” melody when the lyrics speak of being stoned (musical humor!).

“Saskatchewan” sounds great—it’s a really passionate versions (with some backing vocals going “woah woah” near the end).

Martin has fun with “How Can You Sleep?” he seems to be talking during it, expanding on a line in the song ”Want to quit drinking? Cut off your head.”

This is a outstanding show.   The recording quality us great and Martin is in fine and funny form throughout.

[READ: October 20, 2015] Killer Dope

Since I found some McPherson books in the library, I decided to also grab this book.  This is a short story, but it was published by Bad Moon Books (in a limited edition of 150 copies) and was the winner of 2004 New Cat Tattoos.  I believe that it was reprinted in his short story collection Six Ways to Sunday (but I cannot confirm this).

So this story is, as the title suggests, all about drugs.

Our two protagonists are Two Seconds (whose name has a wonderful derivation) and Little Fish (whose name is also cleverly derived).  Little Fish is painting graffiti under a bridge (a UFO flying out of the eye of a kid shooting smack). Two Seconds is watching him add details and believes it to be the best art he had ever seen.

Then Little Fish asks him if he is ready for tonight.  Continue Reading »

cubeSOUNDTRACK: MARTIN TIELLI-Richard’s On Richards Vancouver BC (March 30, 2002).

rich The download for this show is notable for being (in my opinion) out of sequence.  After the second song it seems pretty clear that the concert is now over. Looking at some of the other shows at the time, I wasn’t sure if I could reconstruct the actual order. It was a bit harder than I anticipated, but I think the show actually went like this

World in a Wall
CCYPA
Double X
Love Streams
My Sweet Relief
That’s What You Get for Having Fun
Voices from the Wilderness
OK by Me
That’s How They Do It in Warsaw
I’ll Never Tear You Apart
Winnipeg
Beauty On

I’m guessing “World in a Wall” is first because before playing it he does a brief intro of “CCYPA,” and it seems unlikely that he would do it again after he just played the song. For this set he is solo for the first three songs . He’s kind of all over the place in “Wall” throwing in some extra lyrics and repeating verses—I’m surprised he didn’t get mad at himself.f

Then the band comes out and he introduces them as Operation infinite Justice (incidentally, “Operation Infinite Justice,” was the name of the military intervention that the U.S began after 9/11.  Muslim groups protested the name on the basis that their faith teaches that Allah is the only one that could provide “infinite justice”.  Thus, “Operation Infinite Justice” was changed to “Operation Enduring Freedom” on Sept. 25, 2001).  So clearly, Tielli was making a point.  The band consists of Greg Smith on bass, Barry Mirochnick on drums and Ford Pier on guitar and keys.

For “Ok By Me” he gets that great chorusing guitar (that sounds like Queen) just like on the record.  For “Love Streams” it’s just him and the piano (presumably Ford Pier) who at the line about being “stoned’ play a riff from Eric Clapton’s “Cocaine” (did anyone know that was a cover of a J.J. Cale song?)

“Shaved Head” stays in the delicate style of the previous show and for “My Sweet Relief,” he starts the song solo and the band kicks in about 1/2 way through.

After playing “That’s What You Get for Having Fun” someone in the band says that they have merch in the back of the room and that they will be flogged by their manager if they don’t mention it.

In “Voices in the Wilderness,” he sings the actual Rush lyric “if you choose not to decide” (rather than “if you choose not to be free”) and has fun with the word “squeaky” in squeaky voice.  There’ as mellow jam at the end of the song.

The penultimate song is “Winnipeg.” It’s the first live version of this song on the site. I like that since it was a new song the guys who recorded the shows didn’t know what it was called.  And it’s such a peculiar song with different things that could be choruses that the author of this recording calls it “Anyday” and in the next show they call in “I’ve Had Some.”  But it sounds great live.

The show ends with “Beauty On,” the opening track from his upcoming album (although he leaves out the humorous “Cincinnati” bit–which makes sense).

It’s another great show, running just about an hour.

[READ: October 19, 2015] Cube Squared

I found this book at work and judged it by the cover.  I decided it would be fun. And it was.

This is the sequel to McPherson’s first novel (which I have not read) Cube People.  I thought that perhaps there would be zombies in this novel (given the cover) and there are, but not in the way one might suspect.

The basic set up is this: Colin MacDonald works for the Canadian government.  He is in a tech job which is not very techie.  He works in a  cubicle, deals with his co-workers and plans to write the great Canadian novel (if such a thing exists).  He has already written two books.  The first one was successful, the second one less so.  And he would very much like to get a third book written.

But he is now married with three little kids, he has to paint his house and his father just died.

This last bit is pretty important to the story.  Even though his father was never a very good father to him (he was an intense drunk and then an intense convert to Christianity), he has mixed feelings about his father’s death.  Worse yet, his father seems to be talking to him a lot more now than he ever did when he was alive.  And he is fairly certain that his father thinks he’s a waste of time and effort with little to show for himself (or at least that’s his take on his father). Continue Reading »

poemsSOUNDTRACK: MARTIN TIELLI-Horseshoe Tavern Toronto, ON (2002).

tielliAfter the Rheostatics’ Night of the Shooting Stars album, the band took a few years before recording their final album.  During that hiatus of sorts, Martin Tielli released his second solo album Operation Infinite Joy.  But before getting that album out, he did a short tour in 2002.  This is the second date of that tour (although, as with other bootlegs, I find it funny that the date is lost).  Speaking of lost dates, there are no dates at all for Martin Tielli on Setlist.com. Shocking!

Anyhow, this show has great audio. It’s one of those recordings where you can hear the audience, but they are not louder than Martin himself.

As with many of the shows of this era, Martin opens the show on solo acoustic guitar—with some awesomely aggressive chord strokes. He just seems really into this set, with a great growling “ain’t necessary” line in “Double X” and one of the best versions of “She Said ‘We’re On Our Way Down’” that I’ve heard (better than the album).

Before Martin is joined by more musicians, someone asks him how old his jacket it. He says about 14 years old.  Then Greg Smith joins him on bass for “My Sweet Relief”

When he switches back to the quiet “World in a Wall” it’s practically like a dramatic reading the way he performs it.  He says he was living in a cruddy apartment when he wrote this song.  As an opening for “Voices from the Wilderness” he says he used to criticize Dave Bidini for writing songs about music, but he finally embraced it and wrote this awesome song.

For “Farmer in the City,” he says they’re going to try something really quiet—and the audience is rapt. It’s pretty cool.  Selina Martin plays crystal on this song (which I assume means glasses?)

When they get to the Nick Buzz song “Love Streams” it’s very quiet and you can hear someone in the audience loudly shot “Shut the fuck up.” He doesn’t acknowledge that but says that the band Nick Buzz was named after the cigarettes that he is now craving. After getting his smoke he introduces”That’s What You Get For Having Fun” by saying this is gonna be a gooood song.

He plays a quieter, more intimate version of “Shaved Head” with a lengthy outro. The track listing says “Stolen Car” is next but there is no “Stolen Car.” They play a rocking version of “Sgt Kraulis” with some fun mechanical voices over the end.

This is a great set that runs about an hour. The crowd I really into it and so is Martin.

[READ: October 19, 2015] Poems That Swim From My Brain Like Rats Leaving a Sinking Ship

I started reading Christian McPherson’s Cube Squared.  And when I looked him up I saw that my library also had a few collections of his poetry.  So I decided to check them out.

This was his first collection (after a collection of short stories).  Most of his poems are fast paced and immediate (as the title suggests).  There’s not a lot of reflection in them, they are more designed to get a point across.

And as such they work quite well. Continue Reading »

academiaSOUNDTRACK: MARTIN TIELLI-“We didn’t even suspect that he was the poppy salesman.” (2001).

popptI wrote about this album once before, and while I made notes about it after listening to it again, I found out that they were pretty much exactly what I thought of the record four years ago.  So I’m going to simply repost the review here, but I’m going to add some new notes seamlessly intermingled.

Martin Tielli’s first solo disc is a proper solo release: it’s almost all him on acoustic guitar and his gorgeous alto voice.  I hadn’t listened to this disc in a while and I was delighted by how much of the disc I knew so well.

The opening track, “I’ll Never Tear Your Apart” is deceptively simple: beautiful harmonic’d guitars and his gentle voice.  There’s a great video to go with it here.  That is followed by the wonderful “My Sweet Relief” which sounds like a great Neil Young folk song: great verses an a strong chorus.  Lyrically, though, it is all Tielli.  “Double X” highlights Tielli’s beautiful acoustic guitar work.  It’s another great story song, this one about a destitute person hanging under a superstore with a K and an M.

“Voices in the Wilderness” is a simply beautiful song, a lovely guitar melody and Tielli’s high voice singing along.. I also love that the lyric  (mis)quotes Rush very nicely: “‘If you choose not to be free you still have made a choice,’ said a high and squeaky voice.”

“Farmer in the City” is the only track that Tielli didn’t write.  It’s a nearly 8-minute song by Scott Walker.  I had never listened to the original, but having now done so, I find the Walker version to be far superior.  Walker’s voice is so eccentric and wonderful.  So even though I love Martin’s voice, he just can’t compare to the original.   Also find Martin’s version to be just a little spare (the Walker version has lovely strings. Kevin Hearn plays celeste and Selina Martin plays wine glasses on the track.

It’s followed by the delightful “World in a Wall” which uses mice in the wall as a metaphor for a broken relationship (with wonderful detailed lines like: She’s like a mouse, I know she’s around It’s a gnawing sound. Leaves little brown poohs from a little pink bum.”

This is followed by “That’s How They Do It in Warsaw” which is the first really rocking song (it has bass and drums) and a voiceover in Polish by Kasia Zaton.

It’s coupled with a slightly less rocky but still loud track “How Can You Sleep?” (which makes another fun musical allusion, this time about Guided by Voices). It has a co-songwriting credit from Dave Bidini and has a kind of vocal allusion to Bob Dylan, although I doubt it is about him.

“She Said ‘We’re On Our Way Down’” is a song that I really want to enjoy more.  But It is so spare and Martin’s vocal line is so abstract, that I can never really get int it. But the guitar riff is really powerful and cool.  And yet, the song seems to eschew melody but then a gorgeous guitar or vocal line shines through and really sounds brilliant.  “From the Reel” is a beautiful, aching acoustic ballad.

The disc ends with the odd, seven minute “Wetbrain/Your War.”  The first part (wet brain) is kind of slow but it builds into a beautiful dark song about addiction.

This is a really beautiful album, although there are moments when I fell like Martin gets too delicate, it’s amazing to hear just what he can do when he’s on his own.

[READ: October 19, 2015] Academia Waltz

Way back a long time ago I was pretty excited to read all of the Bloom County reissue books.  Somehow I only got through Books 1 and 2, although I see now that five volumes were released in total.

Presumably at the end of that run, (which technically ended in 2011) comes this volume.  Academia Waltz is the strip that Breathed wrote back in college.  This book collects some (but apparently not all) of the strips.  It’s odd to not collect them all since there is also an art gallery with all kinds of original pieces (complete with edits and scribbled notes) that duplicate many of the earlier strips.

The first part collects pieces from Academia Waltz the 1979 collection.  The second part comes from Bowing Out, the 1980 Collection. Continue Reading »