Feeds:
Posts
Comments

handdrawnSOUNDTRACK: STRAND OF OAKS–Tiny Desk Concert #449 (June 15, 2015).

soaI didn’t know anything about Strand of Oaks when I first heard them last year.  I assumed from the bio info that I’d heard that he, Timothy Showalter, had been in a a band and that this was his solo project.  But no.  His history is actually far more interesting.

The Wikipedia summary is pretty simple and shocking:

While Showalter was on tour, his wife had an affair. Escaping his detrimental relationship, he moved back to Wilkes-Barre, Pennsylvania in 2003. A couple of months later, he came home to find his house burned down.  [WHAT??].  Showalter spent his nights in hotels and on park benches with a borrowed guitar while working at an orthodox Jewish day school. Despite the turmoil, he was able to find inspiration to continue writing music that would later be released.

He released three self-produced albums and then made Heal.  Which ALSO has a shocking tale attached to it:  On Christmas Day in 2013, Showalter and Sue were driving back to Philadelphia from Indiana when they hit a patch of ice and crashed into two semi trucks. Showalter suffered a concussion and broke every rib on his right side. The near-death experience gave Showalter a boldness during mixing sessions while creating HEAL with John Congleton, just days after the crash.

Yipes.  I don’t know his earlier records, but I really like Heal.  It’s got an interesting sound, with some great guitar work.

For the Tiny Desk, he plays three songs.  The first is the single from his album, “Goshen ’97”.  This version is just him on his black electric guitar with lots of echo.  It’s very slow and kind of broody.  I prefer the original, but this is a very interesting version.  And his voice sounds really good in this stripped down style.

After the first song he says how nice it feels to play this gig–just what he imagined it would be like. He says he could play there a long time and when someone says “Ok” he say they’d get sick of him: “Oh that bearded guy is still here.”

“Plymouth” has even more echo on the guitar–this one a hollow bodied steel string guitar.  It sounds lovely and since I don’t know the original as well, I like this slower more meditative version.

“JM” is for Jason Molina and for this track, he switches its back to the black electric.  I love the album version of this song a lot, as the soloing is just fantastic.  This version is quite different.  Again, it’s slow and broody, and really good. I still like the album version (because of the solos) but this is good too.

I’m fascinated by Showalter now, and plan to see what his earlier albums sound like.

[READ: June 15, 2015] Hand Drawn Jokes for Smart Attractive People

Although I was unfamiliar with Diffee’s name, I was familiar with his cartoons from the New Yorker.  Diffee has three other books out (under the Rejection Collection moniker–he’s great with book titles).  I certainly loved the title of this book.

There are 16 chapters in the book–each is devoted to a particular topic and has a rather amusing introduction in which Diffee goes off on that subject: Medical Professionals, Lumberjacks, Relationships, Pet Owners, Old People, Utensils, Real Jobs, Indians and Eskimos, Food, Sex, Prison, Religion, Wealth, Children, Sports and Tattoos.

What I really enjoyed was that the cartoons that fill the introductory sections look very different from his more “official” style (which I recognized immediately from the magazine).  It’s cool that he has a distinctive style but is not pigeonholed into that style.

matthewOccasional cartoons have an accompanying silhouette (presumably himself) with an extra bonus joke tangentially related to the topic.  Sometimes these are funnier than the original cartoon.  (Does a polygamist refer to his wives as his “better eighths?”).

It’s hard to mention favorite cartoons without describing the cartoon, which is never funny, but there are few punchlines that work with out a visual, like:

“Therapist: “These feelings of inadequacy are common among the inadequate.”

Waitress: “Sorry, we don’t serve the Lumberjack breakfast to accountants.”

Drug sniffing dog: “I’m starting to really like the smell of cocaine.”

And this one which is not from the New Yorker: “Wade Greenberg, wearing his hemp blazer, inadvertently became the life of the party when he stood too close to the menorah.”

He also really loves to hate sporks: (50% spoon, 50% fork, 85% useless).

All of these are funnier with the accompanying cartoon of course, and I really like his drawing style.

By the way, the section on tattoos was capped off by “knuckle tats you’ll never see” like FLAU TIST or ALAN ALDA.

I enjoyed this book a lot and will certainly look for his previous collections.

milkSOUNDTRACK: ANNA & ELIZABETH–Tiny Desk Concert #447 (June 8, 2015). 

annaelizAnna Roberts-Gevalt and Elizabeth LaPrelle are from different parts of the country but share a love of old stories and songs.  This Tiny Desk features three songs and one story (with visuals), and it’s quite different from pretty much anything I’ve ever seen.

“Long Time Traveling” is an a capella song that has a very olde sound of what I can only call “mountain music.”  The women have lovely harmonies reminiscent of O Brother, Where Art Thou?

And just when you think you’ve got these two figured out, they do “Lella Todd Crankie.”  This is a spoken word piece.  Anna (the taller one) explains that they would go into archives and listen to blank CDs of people telling stories from the old days.  And this is one that they memorized.  But just telling the story isn’t enough.  They have resurrected the “crankie” which is like a mural on a spool.  Each one is drawn and crafted to be hand-cranked and unfurled at the pace of a song.  This visual accompaniment (hand cranked by Elizabeth) follows the story as it is told, with visuals that relate perfectly to the story (I’m not sure who created those either).  Part of this story tells of how Miss Lella played fiddle, and as they get to that part, Anna starts playing the fiddle, and it is magical.

“Goin Cross The Mountain” is a war-based song on banjo and guitar with, again, great harmonies.  “Little Black Train” is a judgment day dark song sung with great harmonies and Anna’s twangy guitar.

I don’t think I could do a whole concert with them, but this little fifteen minute show is mesmerizing.

[READ: May 25, 2015] French Milk

I had gotten this book out at the same time of Age of License.  But since that one couldn’t be renewed (someone else wanted it) I read that first.  So, out of sequence, I now read this, her first book.  I’m kind of glad I did read it out of sequence, because the events of Age of License shed some light on this book, which is pretty neat.

This book looks at the trip that Knisley and her mom took to France back in 2007.  They lived in a rental apartment for New Years and much of January.  The book sets the standard for her other books–lots of (really good but simple drawings–the sample faces on page 78 are really amazing–and belie the simplicity of her other “simpler” drawings ), many photos–rather blurry frankly, which is weird (see page 8 for an example), although the non blurry one of her mom in front of a nudie magazine is very funny.

We see some of her life before the trip.  We meet John, the awesome boyfriend (spoiler: she has broken up with him by Age of License).  She describes the airport, airplane (complete with kicking child) and arrival.  (The descriptions in License are more enjoyable–she had become a better writer by then).

Knisley is a foodie.  She talks a lot about the food they eat, including a bunch of foie gras and baguettes, sausages and the delicious French Milk (which she says is the best milk she’s ever had).

I enjoyed her descriptions of her apartment (and the creepy half-cat head on the door).  The strange standing screen which blocks nothing and has hunting fabric.

There’s also talk of them not paying attention to the world around them (like the execution of Saddam Hussein–although honestly if you’re on vacation for a month in France I think its okay to be oblivious although by 2015, it would be virtually impossible to be so oblivious).

They spend a lot of time in art museums, and she says by the end that she is basically sick on naked women, even if her favorite painting is “L’Origine du Monde.”  And I loved her disappointment to find out that famous Moulin Rouge is “a papier-mache windmill on the roof of a strip joint”

But as the book hits its final third, Knisley gets really bummed out.  She starts thinking about failure and that fact that she is turning (gasp) twenty-two.  And that’s when I wanted to throw the book against the wall.  A 22 year-old being whisked around Paris has no right to complain about financial responsibility–nor even does her mother have a right to talk to her about it on the trip.  The quote on page 125: “Even though I’m in my 20s, because I’m an only child, sometimes I feel a little like a spoiled brat…”  Well, it has nothing to do with being an only child if you can spend a month in France.  And when she says that her pie chart of her time management is spent 50% worrying 30% eating and 20% thinking about sex?  No, I will not accept that.  Go out and enjoy Paris for Christ’s sake.

I think its’ nice that her divorced parents are still friends and that he came to visit in France (how can a former English professor afford that?).

And then after a few more meals they are wending their way back home.  The flight back is hilarious and I love that they punished the person who complained about their DVD player by talking really loudly instead.

I can’t help but feel that each book has gotten progressively better.  And while I didn’t enjoy this one as much, I feel like each book has gotten better.  But how much more can she travel?

[ATTENDED: July 20, 2015] Modest Mouse

2015-07-20 21.06.16Just as I had seen Neil Young less than a year ago, so I had seen Modest Mouse less than a year ago.  The last show I saw with them was a sort of preview of the then unreleased new album.  Now the album is out and there’s a single from it and everything.  This show was announced very quickly and it was in the Levitt Pavillion at Steelstacks, a venue I didn’t know, but which I will certainly return to.

It was awesome being about seven or 8 people away from Isaac to really watch him go nuts.

Modest Mouse can be really catchy, but they are often dissonant and Brock is known for being prickly.  So, imagine starting off your show with the third from the last song from your new album.  And from there, Brock sang and raged and jumped around and was a total maniac.

He seemed to get shocked twice (from sweating a lot?–it was 85 degrees at night) and said “Did you see that?  That hurt so much!”  And man can he yell. Continue Reading »

[ATTENDED: July 20, 2015] Gene Ween

2015-07-20 19.31.35I knew and liked Ween back in college. I stopped following them once they released their country album, so I was surprised to see just how many records they had released and just how respected they had gotten (relatively of course).

Dean and Gene Ween are from New Hope and they released dozens of records as Ween. Gene Ween (real name Aaron Freeman) quit the band in 2012, which basically dissolved the band.

Freeman released a few records under the name Freeman and some under Aaron Freeman and one or two under Gene Ween (not to be confusing or anything).  It seemed like he wanted to dissociate himself from Ween a bit, although since hardly anyone knew his real name, it seemed like a hard thing to do, which explains why he is touring as Gene Ween now.  And given that much of this show was made up of Ween songs, he’s clearly not ashamed of it or anything. Continue Reading »

[ATTENDED: July 20, 2015] The Steelstacks Pavilion

2015-07-20 19.18.38We have been to the Sands Casino stage in Bethlehem three times.  The sound isn’t great, but it’s a close venue and that’s where we saw “Weird Al” from row three, so it will always be awesome to us.

But just a few blocks away there is the Steelstacks venue.  I’ll be seeing the Flaming Lips in the larger venue (I don’t even rally have a sense of where it is) in a few weeks.  But last night I saw Gene Ween and Modest Mouse in the Levitt Pavillion.  And while I’ll talk about the shows, I had to spend a few paragraphs talking about this amazing venue.

After going to Philly and spending $25 for parking that was almost a ten minute walk away, or traipsing to New York City ($14 just for the tunnel), imaging going to a venue and getting free, close parking (I sorta hoped that Modest Mouse would play “Convenient Parking, but they didn’t).  Continue Reading »

dispSOUNDTRACKTHE PRETTIOTS–Tiny Desk Concert #448 (June 15, 2015).

prettiotI hadn’t heard of the Prettiots before this set, but I loved them right from the bat.  The band plays super catchy, simple (funny) pop songs.  Kay Kasparhauser plays ukulele and lead vocals and bassist Lulu Prat sings great harmonies.  Kasparhauser is quite mobile, singing and bouncing around.  While Prat almost stares down the camera.  Meanwhile,  drummer Rachel Trachtenburg from the Trachtenburg Family Slideshow Players sits mostly stone faced as she thumps along on the drum.

Their songs are rather funny (even when they aren’t).  The first song “Boys (I Dated In High School)” names the boys she dated, whether they were good at sex and why she dumped them.  All with a call and response in the verses that’s fantastic.

“Stabler” is an ode to the guy From Law and Order, which I don’t watch, but I can still appreciate it.  It ups the musicianship a bit from the much simpler first song.

“Suicide Hotline” is a humorous look at a dark subject: The lyrics name check lots of famous suicides and starts with the lyric “On a scale of 1 to Plath I’m like a 4.”  Prat switches to guitar for this last song and it boosts the sound a bit.

I actually don’t know what the band really sounds like–I sort of picture them being bigger and more punk, and yet their lyrics work perfectly in this more acoustic style.  (They have two songs on Spotify and they are still quite acoustic in their sound).  I’m looking forward to hearing more from them.

[READ: July 15, 2015] Displacement

I enjoyed An Age of License, even if I didn’t always love Knisley’s attitude.  This book, which is sort of a companion to License (although not really, it’s more like another travelogue released around the same time as the first one), was something I wanted to read.

In a nutshell this book is another travelogue, but it is not anything like the previous one.  In this one, Lucy volunteers to go on a cruise with her 90 year old grandparents.  The grands wanted to go on the trip, but no one in the family felt that they should go alone.  Lucy thought it would be a good way to spend time with her grands and also to get a chance to enjoy a cruise (which she would never be able to afford).

Knisley ends each “chapter/day” of the cruise with a quote (and her own illustration) from a book that her grandfather wrote about being in the war.  A decade or so ago he decided to put down all of his memories about his time in the service.  He had them bound and gave a copy to each of his children.  And his stories are exciting and scary and thoughtful.  (I wouldn’t be surprised if Knisley had the whole book published with her illustrations–I’d certainly read it).  So, after a trying day with the grands, we get a perspective of the man she was looking after as a young man in a really serious situation. Continue Reading »

ageSOUNDTRACK: GENEVIEVE-Tiny Desk Concert #446 (June 1, 2015).

genevieveI enjoy that the opening of this Tiny Desk Concert shows Genevieve “creating” her backup singers.  So that when she gets to the chorus and taps that loop pedal her harmonies really shine.

Genevieve is a poppy singer with a sometimes raspy but often really clean singing style.  She has a great voice and vibrant personality (and hair color).  Even though she is from Chicago, I hear some tinges of Bjõrk and maybe even Tori Amos in her voice.

Evidently she normally plays with a full band, but for this concert, she is accompanied only by Chris Faller who “plays all of the instruments.”

The first song “Colors” is played only with keyboards (and feels like it could use a little but more music–although her voice is powerful enough and that chorus is super catchy as is).  “The Enemy” is accompanied by an acoustic guitar and is a suitably mellower–a kind of sad ballad–which shows how powerful her voice is even in this more quiet setting (she has a lovely range).

The final song “Authority” feels like it might be a big raver (she adds hand claps that seem like the kind that might get the crowd going, but the claps are quiet and subtle here).  The chorus is big with lots of long-held notes and is super catchy.

Genevieve would probably be too pop for me in general, but the Tiny Desk Concerts tend to remove a lot of gloss and leave the heart of the musician.

[READ: May 15, 2015] An Age of License

I enjoyed Knisley’s Relish, so when I saw this in the library I decided to check it out.

Unlike Relish, which was about food, this book is about her travels outside of the country.  But like Relish, this book is another memoir/journal/autobiography.

Since I have been having a major Norway kick (thanks to Karl Ove Knausgaard and some great sites on Instagram) I was pretty excited to see that her travels began in Norway.  Her itinerary is short but very busy.  Fly into Iceland than immediately to Norway (for the Raptus Comics Fest in Bergen).  Then it’s off to Sweden (to visit a guy she knows in Stockholm).  Then to Berlin to join her friends on their honeymoon (which is not as tacky as it sounds). Then it’s off to France to visit her friend in Beaune, and then to hang out with her mom and her friends on Royan.  Finally a day in Paris before flying back home.  I’m exhausted just writing it all.

Knisley also has the headache of dealing with a breakup (to the nice guy who has been in her previous books) although he is kind enough  to babysit her cat while she is gone.

Every few pages has colored (watercolor I assume) drawings which add a nice touch to the otherwise black and white story.

Starting Sept 8th, she arrives in Norway.  We see the flight and other people on the flight.  We see a nice meal that she eats (Pinnekjott–someday I hope to get to the Scandinavian countries and eat food that I cannot pronounce).  Norway is fun–she goes to the Fest (where she gets to draw with Ethan Nicolle of “Axe Cop” (presumably his five-year old brother stayed home).  She shows students how to draw (her friend is a teacher), although she declines to eat Lutefisk (which she illustrates as Fish + Lye.  Lye??).  She also mentions that she was not only stalked, but that the boys who stalked her then made and published (and had it available at the following year’s Raptus Fest) a comic about stalking her–creepy! Continue Reading »

[ATTENDED: July 16, 2015] Neil Young + Promise of the Real

2015-07-16 22.28.13Sarah has always wanted to see Neil Young.  And she finally got to, back in October.  And now here it is just nine months later and she gets to see him again.

I enjoyed his previous show quite a lot, but said I didn’t need to see him again unless he was with a band (which I assumed would be Crazy Horse).  But here he was with a new band (just what does Crazy Horse do in their off years?).  The band was Promise of the Real, which features Lukas Nelson (Willie Nelson’s son) and for this tour also featured Willie’s other son Micah (whom I gather is not usually in the band?).  I knew nothing about POTR, but I did get the new Monsanto album, so I got a sense of what they sounded like.

Speaking of the Monsanto album….  Lyrically it’s strident and a little obvious, but musically it’s really quite good–a lot of variety with some good loose rock.  And when they played it live, where it really loosened up, it sounded even better.

But back to the show.  Sarah and I predicted that he would play the entire Monsanto album, talk a lot about GMOs, and then maybe play a few classics.  We could not have been more wrong.

The show opened (well, actually, the concert opened with a Native American dance which we missed–I gather they were going to march on Washington and asked if they could address the crowd first) with two people planting seeds along the stage.  They put out plants and scattered seeds all over the place (I can’t believe no one slipped on them!  And then Neil came out.  It was like the previous show.  He played a few acoustic pieces on his various instruments: Continue Reading »

[ATTENDED: July 16, 2015] Band of Horses

2015-07-16 19.36.14It was almost exactly a year ago that Sarah and I saw Band of Horses in this exact venue (we had much better seats last year, though).

Last year they co-headlined with Beck.  This year they were opening for Neil Young, which meant a much shorter set.  Because the parking situation was insane ($25 and a 7-10 minute walk to the stadium?) we wound up missing the first song.

They sounded great.  Although I have to admit that even though I was incredibly psyched to hear them, I couldn’t really settle into the show.  This had to do with a) the sun setting at an awkward angle and b) the guy sitting next to me who was talking a lot.  The Bank Center is a nice venue with really good sound, but I was amazed at how chattering people were able to rise above the music.

They played pretty much the same set that they did last year (although last year they played an amazing cover of Neil Young’s “Powderfinger,” which for obvious reasons they did not do this year).

They were a lot more no-nonsense as well, with very little chatter.  Indeed, their set was really quite short (although I never actually checked the time, I’d say maybe 35 minutes).  I love that they still let the noise ring out between songs (either feedback or drums or something).  And Ben Bridwell’s voice still sounds fantastic.

The setlist that I have below may not be exactly right.  But if it is, I am quite bummed that we missed “The First Song,” since they didn’t play it last time.  Of course, I love every other song, so that’s okay.

Sarah and I agreed that we need to see them headline a small venue, so guys, do please come back so we can watch your whole set (and finally get to see “St. Augustine.”

2014 2015
For Annabelle The First Song
Laredo Compliments
Powderfinger Laredo
Factory The Great Salt Lake
Cigarettes, Wedding Bands Is there a Ghost
Ode to LRC Cigarettes, Wedding Bands
NW Apartment No One’s Gonna Love You
The General Specific Ode to LRC
No One’s Gonna Love You The Funeral
Weed Party
Is there a Ghost
Island on the Coast
The Great Salt Lake
The Funeral

dotaSOUNDTRACK: ASIA-Asia (1982).

asiaI’ll finish off this run through Yes with one final offshoot project–Asia.  Geoff Downes (who had only been on Drama) and Steve Howe joined forces for this pop outfit with a hint of prog.  Indeed, this is an album that is just chock full of poppiness–despite all of the trappings of prog rock–synths, connections to Yes, a cover by Roger Dean and Carl Palmer from Emerson Lake & Palmer on the drums.

This album was huge in 1982 & 1983.  They had so many hits from it (okay well, only 3 singles, but surely everyone knows this entire album, right?).

“Heat of the Moment” opens with nice big ringing guitars.  And while the drums aren’t fancy, they are quite distinctive.  The synth isn’t too dated sounding, and the middle part with the guitar slide still sounds cool.  And of course, the chorus is practically irresistible.  “Only Time Will Tell” has a totally recognizable keyboard riff.  While the riff itself hasn’t been copied, the sound has and yet at the time, Asia made it seem fresh.  This song is so simple as it starts with just keys and drums and John Wetton’s voice.  There’s great harmonies in the chorus and dramatic keyboard splashes.  And once again, Carl Palmer’s drums are big and loud yet understated.

“Sole Survivor” opens with some darker chords nut some interesting noodling going on, too. (I always thought t was interesting that Blue Oyster Cult released a song called “Sole Survivor” the year before).  Despite the darkness of the lyrics and the music the chorus is also very catchy (I also like how nearly every verse ends with a different keyboard sound or riff).  This song also has an interesting break where things get quiet and feel very wasteland like.

“One Step Closer” has a some interesting riffs and another catchy chorus.  This is probably my least favorite track on the disc even if it’s got a good chorus.  “Time Again” has a cool dramatic opening and then a nice speedy bassline to start off with.  I like the way the chorus leads to some quieter moments of unusual guitar and keyboard sounds.

Side two has some slightly longer, sightly less poppy songs. And yet to me all the songs on this side are really good as well.  “Wildest Dreams” is a song that is a bit over the top (as all prog should be).  I remember loving the dramatic “We fight” section.  It seems a but silly but it was still fun to sing along to.

“Without You” is a slower darker song but with another big chorus.  It also has the most prog rock sounding keyboard solos of the 1980s.  There’s some time changes and even a big bell!  “Cutting It Fine” opens with some mellow guitar and then a really interesting guitar sequence.   It moves along quickly and dramatically and then stops for a quiet piano solo section (with a build up of strings, martial drums and horns–the drama seems like it is leading to something big but it just kind of fades out, which is a bummer.

“Here Comes the Feeling” ends the disc in more dramatic fashion.   I love the way the bridge builds and builds (with the “now i can…” section that leads to the long held sung notes.).   The solo section has some very yes-like moments from Howe and over all ends the disc with some wonderful prog moments.

As with apparently every progressive rock band of the era, this one was full of lineup changes too (don’t even get me started on King Crimson).  The four stayed together for the next album, Alpha, but Steve Howe left after that and then various other incarnations have toured in one form or another to this day (in fact they’ve released about 20 albums over the years.  Who knew?).

[READ: May 29, 2015] Death of the Artist

I grabbed this book from work because it looked interesting.  And it was.  I was more than a little confused as to how much is true.  And that was clearly the point.  Fransman totally pulled the wool over my eyes and I love her for that.

The premise of this book is that five artists are getting together for a weekend of debauchery.  They were friends in art school in Leeds when they were in their 20s.  Now, ten years later, they are reuniting in hopes of sparking creativity again.  Of the five only one is still doing anything “creative,” and they are all looking to reignite that spark.

And this book is the result of their week.

All five artists draw (or something) a story inspired by that weekend.  And in what turns out to be a pretty cool twist, Fransman has shaped the stories into a narrative. Continue Reading »