SOUNDTRACK: RHEOSTATICS-Static Journey 1980-2007 (2008).

I just stumbled upon this awesome site for Rheostatics fans.  Although I’m unclear who exactly runs this awesome repository of Rheostatics wonderment (oh wait, according to the Rheostatics own page, his name is Darrin Cappe).

The Static Box is a FREE 9-volume downloadable collection of all manner of Rheostatics audio: early recordings, interviews, live recordings, studio recordings, demos, everything.  I downloaded the whole shebang and it fit onto 11 CDs.

The site also has a ton of videos (including a downloadable concert from Massey Hall.

I haven’t listened to the whole thing yet (I think it clocks in around 14 hours).  But what I’ve heard is great.  The sound quality is very good (even from the older cassette demos), and the comprehensiveness of the undertaking is amazing.  If you’re a longtime fan or even just a causal listener, the amount of stuff here will be more than enough to keep you busy.

As I go through the discs I’ll post some comments about them all.

[READ: December 22, 2009] Maintenance Volume 2

Volume 2 of the series is not very different from Volume 1, and that’s a good thing.  TerroMax, Inc is still the world biggest evil think tank!  The jokes are still pop culturey (and often quite gross).  The art is very fun and conveys the action perfectly.  And, there’s still a lot of mad scientists on the loose!

This volume collects issues 4-6.  Issues 4 & 5 are a two-part story called, indeed, “Fantastic Sewage.”  The premise is that one of the mad scientists has created killer nanobots which have disobeyed him.  So he flushed them.  Where they thrived!  And our heroes are shrunken down and flushed into the sewers to find/fight them.  Yup, “ew.”  But a very funny “ew.”  You’ll never look at poop the same way again (if you ever bothered to look at it before, of course).

The second story is a self-contained one in which the TerroMax, Inc heater is on the fritz.  But Doug and Manny can’t fix it because they must attend the first annual meeting about Employee Morale (which of course is pretty low).  The delightful thing about this is that the entire cast is represented in the scene and the crazy (but deadly) creature that escapes interacts with a lot of them.  The plot is thin, but it’s great to see so many of the supporting cast.

There’s also a bonus strip. It’s only a page, but it’s even more Doug and Manny!

I’m really enjoying this series an am looking forward to Volume 3.

SOUNDTRACK: RHEOSTATICS-The Nightline Sessions (1998).

This is a fascinating document for any Rheostatics fan.  I wound up buying it at the same time as Double Live, even though I couldn’t tell exactly what it was because it was really cheap.

And what it is is a night of the Rheostatics playing on the final night of the CBC Radio show Nightlines.  The notes state that the host of the show had been a huge fan for years and had tried to get the band on a few times.  He ultimately decided that they would be the prefect guest for the final show of the series.

It opens fairly seriously with some very simply orchestrated (guitars, bass, drums) versions of Rheos songs: “The Junction Foil Ball” would be recorded officially on Night of the Shooting Stars.  And “Stolen Car” only otherwise available on Double Live, absolutely kicks in this version.

The bulk of the disc is the Rheos fooling around in the studio. There’s some improv, there’s some tape manipulation, there’s a lengthy rap (“Trans Jam”), there’s Bidini being silly on the mike (“This is Nightlines”) and even a quaint little ditty, “Henry’s Musical Beard.”

I’m not sure if an album has ever been released that was so specifically just for fans of a band.  And not even casual fans, but die-hards who would enjoy hearing the band goofing off.  The “proper” tracks are definitely enjoyable, but there’s a lot of nonsense here (okay, yes, some of it is quite funny).

[READ: December 24, 2009] Love the Way You Love: Side A

I’ve always liked Jamie Rich’s stories.  He’s written some full-on fiction in addition to his comics.  And they’re both solid, romantic works.  Ellerby’s drawing style is rather cartoony (big eyes and often outlandish hair, but it works in context).  This is especially so since this story is about teens/post-teens and rock bands.

This book collects the first three (of six) volumes of this series.

The plot is fairly straightforward: Tristan is lead singer of the band Like a Dog.  The band is on the verge of breaking big and the labels guys are on the prowl. One particular label guy is drooling to get his hands on Like a Dog.

At about the same time, Tristan saw the woman of his dreams at the airport. She then showed up at that evening’s Like a Dog gig.  Tristan is blissed until he learns that Isobel, for that is her name, is engaged to the same awful label guy.  Boo. 

The label guy is high pressure.  Tristan is not interested, mostly because the guy is a dick.  But also because he’s looking for a better deal with full artistic freedom.  The rest of the band, although they love Tristan’s songwriting skills, are interested in getting a deal from the label guy, so they encourage him to come back around and speak more to Tristan.

Despite being engaged, Isobel is quite unhappy with the label guy, and she has no qualms with sneaking off with Tristan for a snog.  And the label guy really is a jerk, even her friends think she should break off with him.  They even try to arrange for a secret meeting between Tristan and Isobel (which gets compromised by the label guy).

So, will she see the light and leave him for Tristan (who has already written a song for her)?  I imagine we’ll find out in Side B.

Rich makes his characters full, with a wide emotional range.  The secondary characters are also quite good, especially Lance, Tristan’s younger brother, who wears a cool hat and has some of the best lines in the book.

It’s not the most original story in the world, but it’s very good for what it is: a teenaged romance with a  great soundtrack.

I wonder if Rich ever writes music for the lyrics he pens?

SOUNDTRACK: KISS-Dressed to Kill (1975).

I feel like I used to  give this disc short shrift because (horrors) its cover is in black and white.  But, unlike the first two discs which were heavy (poppy, but heavy), Dressed to Kill is very anthemic and, well, a little wimpy.  Despite these caveats, I still know every word to the disc, and I do rather enjoy it.

In fact, the first four songs on the disc are not featured on Alive!.  It starts out really poppy with “Room Service” which has a pretty wild guitar solo.  The next track, “Two Timer” is a Gene-sung slow track which even has Gene getting into a spoken word bit: “That’s the truth baby, you’re a two timer.”  “Ladies in Waiting” is one of those fun Kiss songs that starts out a little off-sounding but ends up being a really poppy singalong.  “Getaway” continues a trend of songs that Ace wrote but which Peter sings.  (Evidently Ace didn’t feel confident in his vocals yet).  The side ends with the cool “Rock Bottom,” a slow, pretty guitar intro opens into a rocking song.

This is the rare Kiss disc where Side Two has more hits than Side One.  “C’mon and Love Me” (an unusual request, frankly) is a fun rocker with a lot of baby baby’s.  “Anything for My Baby” is a really upbeat song which amuses me for all of the things that he swears he would do for her: steal, wheel and deal, crawl or kneel, etc.  Next is “She,” one of the all-time great Kiss songs.  It’s heavy, it’s menacing, it has an awesome guitar riff and a great guitar solo.  The fact that they tucked it away in the middle of side two is really weird.  “Love Her All I Can” is a fast rocker that’s followed by Kiss’ most popular song of all time, “Rock And Roll All Nite.”  At this point in my Kiss listening career I’m a little tired of this song.  It’s a very catchy anthem, no doubt, but it’s really not a very good song as far as Kiss songs go.

The recordings for the Kiss Alive! disc were taken on the Dressed to Kill tour and yet the live album has the fewest songs taken from this album.  It’s kind of funny that their most popular song comes at the end of this disc.

[READ: December 22, 2009] Wet Moon

This is a fantastic goth-inspired graphic novel with the absolutely worst title ever.  Wet Moon is the name of the town the book is set in, but it is never mentioned beyond the welcome sign, and I just can’t imagine what inspired the name.

Okay, actually, I just looked up wet moon on Wikipedia, and found out that it is an astronomical term for when the “horns” of a crescent moon point up, away from the earth (like devil horns).  And so I completely take back my complaint, as I now think the term is pretty cool and very appropriate.

And that is the only thing that I find disagreeable about this book.  (Well, actually I don’t like the lettering either, but more on that on a moment).

The town of Wet Moon is a college town where goths live and thrive (and no doubt many fans of the book wish the could live there).  Our heroine is Cleo, a young, slightly overweight goth with a pierced nose and bottom lip.  She has just moved out of her parents house and is living on campus.  (There is an implication that her house is a dorm, but if so, it is the single most beautiful dorm ever, anywhere, so I’ll pretend it’s an apartment–I mean, there’s a walk-out balcony for cripes sake).

Anyhow, Cleo’s friends include Trilby, a rambunctious skinny punk (you can’t be blonde and goth, right?).  She is foul-mouthed and a ball-buster.   Audrey is a beautiful black woman who is the least punk of all the girls, but who is good friends with everyone.  Mara another black girl is a scary punk with spikes in her nose and under her bottom lip.

Cleo’s new roommates are Natalie (we don’t know much about her yet) and Malady (a black woman with blonde dreadlocks and a lip ring).  Their first introduction comes when Malady finds Cleo bent over the toilet throwing up.

And that introduction kind of sums up the way Cleo feels these days.

The story is largely plot-free in this first book.  We meet Cleo’s friends and hear them bicker with each other.  They go to a goth club where the underage Trilby gets drunk.  And Cleo goes to her first class, which she flees from as soon as she sees….

Well, actually I don’t know who the person is.  I’m not even entirely sure if the person is a man or woman (s/he’s very tall with long hair and an intense demeanor).  Cleo has seen this person a couple of times and s/he has made her nauseous each time (there is clearly a past between them, although it is not explained).

There’s also a scene in a Denny’s which I found rather amusing.  The kids are smoking and cursing while Trilby tells them that she is supposed to be meeting a guy for a possible date.  The reactions of the friends was totally believable.

Cleo also discovers the phrase “Cleo Eats It” all over town.  Since she’s the only Cleo any of them know, she assumes someone has it in for her.  (Although I secretly hope it’s a new band in town).  Cleo does have an enemy around town, however.  She’s a former friend and she is certainly spreading bad tidings about her.

The really fascinating story line concerns Fern.  Fern is a completely hairless (the only nudity we see concerns her) woman with crazy piercings (she has rings in her back (ow!)) and what I believe is an amputated arm.  It’s unclear who she is or what her story is, but as the book ends she expresses and interest in Cleo.  Hmmm.

I can’t tell you how much I enjoyed this story.  I had my own tiny goth phase (although again, being blond is quite a hindrance) and am still friends with people who are, so I appreciate the scene.  All of the characters are compelling and interesting.  Not all are likable, and I think that’s what keeps the story believable.

But beyond that, the artwork is simply amazing.  Cleo is rendered so wonderfully, with such love and detail.  There’s even a sequence where Cleo is examining herself in the mirror and it’s a grand opportunity for Campbell to show off his incredible detail work with faces.  Cleo makes all kinds of funny faces that people make in the mirror, and the renderings are spot on.

And, of course, its nice to see normal looking people in a book.  These women are wonderfully shaped, they are believable.  Even skinny Trilby is believable-skinny not supermodel-skinny.

Emotionally, the story feels real too.  The cast is mostly women, although there are a few men in there too.  And the interactions between women and men are believable (although it is clear that Campbell writes women better than men, as the male characters are mostly peripheral). In many ways it reminded me of a punk version of Alison Bechdel’s Dykes to Watch Out For (and who would have thought when DTWOF came out that there would be anything more subversive than that?).  It is multicultural, accepting of different sexualities and is a fully formed, self-contained universe that gently pokes its head into the real world.  It’s fantastic.

The only gripe I had was with the lettering.  It feels very sloppy to me.  I suppose it kind of works in the context of these characters, but it doesn’t feel intentionally sloppy, it feels a little hurried (like words don’t fit properly).  I’m not sure what to make of it, but honestly it doesn’t bother me that much. It’s just at little surprising since he takes so much care with the rest of his page.

There are a total of five books in this series, and I can’t wait to read the rest.

Ross Campbell has written a few different graphic novels, but this is my first exposure to him.  I’m definitely going to be looking into some of his others, too (The Abandoned & Water Baby seem like good contenders).

SOUNDTRACK: KISS-Hotter Than Hell (1974).

Kiss’s second album came out just 7 months after their debut (which explains why it is less than half an hour long).

In my mind the album sounds different because it is somehow Japanese (I mean the cover is something of an indicator).  But it’s not Asian in any way.  Although, the album definitely sounds different than the debut and it’s clearly a recording style choice.

But this is one of the beloved early Kiss albums and I love every track, even the really crazy ones (“Goin’ Blind” is about a 93 year-old man lusting after a 16 year-old girl(!)).

The album starts with the crazily poppy “Got to Choose” complete with whoo hoo hoos in the chorus.  It’s followed by the blistering “Parasite” a fantastic fast riff with some cool vocal tricks at the end of each verse.  “Goin’ Blind” also features some cool slow riffs that are quite distinctive.  The title track & “Let Me Go, Rock n’ Roll” are pretty well known, and “Let Me Go” was played for many years live.

The second side is a bit more odd and seems to showcase Peter a lot more.  “All the Way” is a poppy Gene track and I’m not entirely sure what it’s all about (surprisingly not that “all the way” since “one of these days you’ll push me all the way”).  “Watchin’ You” is a great, dark song which has a really cool cowbell-fueled midsection, and gives Peter a great workout on drums.  “Mainline” is Peter’s poppy vocal track (like really poppy), while “Comin’ Home” is a Paul-sung song about (sort of like “100,000 Years”) returning home to his beloved.  “Strange Ways” is Peter’s other contribution.  This one is dark and really quite cool, with an awesomely wild, freaky guitar solo from Ace.

It’s something of an overlooked record, which is a shame as there’s some good stuff on it.

[READ: December 21, 2009] The Color of Earth

This is my first manhwa comic and I adore it.  Manhwa is (if I may be offensively simplistic) basically Korean manga (at least it is often marketed that way).  However, there are many many differences in style and tone.  And, if this manhwa is in any way representative of them all, (and of course it isn’t, but we can simplify) they are gorgeous!

Sarah received this trilogy of books by Kim Dong Hwa (The Color of Earth, The Color of Water, The Color of Heaven) and after reading this first one, I’m really excited about the rest.

The story is very simple: it follows the growth and development of Ehwa from age 7 to age 15 as she matures in a Korean village several generations ago.  The setting is extremely rural, and there are almost no amenities to be seen.  Ehwa’s father died when she was very young, so she lives with her mother in their tiny house.

Her mother owns an inn, and she must tolerate the crude comments and innuendos of her drunken customers.  Unfortunately for Ehwa, she learns a lot about the world from what she hears there.  She also gets an education from the village boys, who are foolish and impetus as little boys are (asking her why she doesn’t have a penis, and, later, to show them her persimmon seed).

She also watches as her mother falls for a traveler.  He comes through the village from time to time and is welcomed by her mother.  Eventually, Ehwa learns to leave the house to give them some privacy.  And through all this, Ehwa is never judgmental or disdainful of her mother.  She appreciates her mother’s needs and is as helpful a daughter as she can be.

And that is one of the most delightful things about this story.  Here we have a mother and daughter, living together, growing up together and learning from each other.  There is incredible tenderness, and, although often metaphorical, a wonderful frankness about maturation and sexuality.

Over the course of the story Ehwa learns falsehoods about sexuality.  She then falls for several unattainable boys.  By the end of the book, she gets her first period, and becomes a more self-assured woman.

The artwork is absolutely beautiful. The lines are delicate and subtle. The backgrounds are intricate and realistic.  Scenes of gardens are practically alive on the page (and all in black and white too).  I could go on an on.  And when there are no backgrounds, the people are amazingly expressive.  You can see subtle changes of expression on their faces, you can even tell people’s emotions from behind.

I was totally blown away by the beauty of this book.

Although I have to say in the beginning, I was a little put off by the two men in the inn.  They are almost caricatured goofy Korean drawings.  But (from my limited exposure to Asian works) it seems like people who are inherently mockable are drawn (or made up in movies) to be outrageously loony looking. And, since he clearly CAN draw men, it is a stylistic choice.

And the story is delightfully engaging.  As I noted, there’s not much to it, but Ehwa is such a sweet child, full of innocence and curiosity that you can’t help but want to read more about her.  And I am delighted that we have volumes 2 and 3 in the series as well, because I can’t wait to see what happens to her as she gets older.

This book is another fantastic book from First Second Press.  They are rapidly becoming my favorite publisher of graphic novels.

SOUNDTRACK: CAPTAIN BEEFHEART AND HIS MAGIC BAND-Trout Mask Replica (1968).

–Fast and Bulbous.
–Bulbous yes, but also tapered.

This is an infamous disc in the history of music.  Which surprises me, as I can’t imagine many people have ever listened to it in its entirety.  I learned about it though my Frank Zappa fascination (he produced the record).

This disc also holds some kind of fascination for fiction writers.  I recall an episode of Beverly Hills 90210 (yes, of course I watched it) in which a new character was introduced.  He was a cool hip indie guy and I thought he was finally a cool character on a show I was getting rather sick of.  But because he was different, he was of course mocked.

He is first mocked for keeping his records in alphabetical order (and come on, anyone with more than 50 discs has to, it’s not a sign of weirdness, just common sense).  And second he was mocked for owning this album (picture a 90210er say Captain Beefheart?).  Of course, later on, he goes on to commit murder or arson or some other thing, thereby proving that alternative music is only for psychopaths, but heck, when has TV ever lied to us?

And now, this disc is a favorite of the hero of this book (which is what prompted me to bust out the disc and give it a listen).

And so wow, what a weird album.  Even 41 years later this record is still waaay out there.   The disc opens with “Frownland.”  And how to describe it?  The left speaker is playing sort of free jazz guitar chords.  The right speaker is playing a wild atonal guitar solo with a thumping bass.  In both speakers you get all over the place (but rather quiet) drums and the good Captain himself singing in a voice that could have inspired Tom Waits.  And the Captain’s song would be a very catchy melody if it had anything to do with what everyone else was playing (which it doesn’t).  And the whole things lasts for under 2 minutes.  There’s 28 songs not unlike this one, for a total of about 75 minutes.

Some other treats: a wild skronking horn solo on one song.  There’s also a song about the Holocaust.  And there’s even several music-free spoken word “poetry” readings.  And of course, the aforementioned bulbous quote.

Amidst this chaos are three songs that are more or less songs in the conventional sense, “Moonlight on Vermont,” “Veteran’s Day Poppy” and “Sugar ‘n Spikes,” meaning they have verses and choruses and whatnot.  But even those are still pretty far out and won’t be (and haven’t been) on the radio anytime soon.

Word is that this is a hugely influential disc and it lands on all kinds of Best Album Of All Time lists.  I can see that it has influenced a few people over the years (Devandra Banhart comes to mind), but still.  This is the kind of music you put on at a party when you want everyone to go home.

[READ: November 6, 2009] I am a Genius of Unspeakable Evil and I Want to be Your Class President

I heard about this book when Jon Stewart gave it a big plug on The Daily Show (the author is one of the writers for the show).  After many of the “heavy” titles that I’d been reading, it was a delight to read something that was purely comic.

And it was very funny indeed.

The book reminded me in many ways of Artemis Fowl (if Aretmis hadn’t turned over a new leaf–and without the fairies, of course).  In fact, I’m not entirely sure what the age group for the book is.  The main character is in seventh grade (and the language is very mild, certainly suitable for kids).  But when I found it in the book store, it was in the adult section.  So, I’m not entirely sure where to place it.

Anyhow, the premise here is that Oliver Watson is an evil genius.  Evil here doesn’t mean psychotic or sociopathic, he doesn’t want to kill people.  He just wants things to go the way he wants.  All the time.  And he is usually quite successful.  He is, after all, one of the top 5 wealthiest people in the world.  And he’s only in 7th Grade.

But as any genius knows, a 7th grader can’t be one of the richest men in the world, so he needs a front.  And he has hired Sheldrake to be the face of his wealth (at least until he is 18).

Oliver is pretty contemptuous of people in general, but of children in general.  He believes that all children are stupid (and he cites many examples of middle school behavior to back him up).  He also thinks most of his teachers are stupid (and in one case he tries to set two of them up so that they can make each other miserable (ha!)).

And so, his public face to the whole school (and even to his parents) is that of a complete moron.  He sleeps during class, he answers poorly and, most importantly he talks like a blithering idiot.  But if he thinks everyone is beneath contempt, then why does he wan to be class president?

Well, first, because he was nominated. The most evil girl in school Tati, nominated him, presumably as a joke (although she may suspect that he’s not as dumb as he seems).  But he refused the nomination.  So then, why?

Well, that has a lot to do with his family.  The most important part of his family is his dog Lollipop.  Lollipop is a specially trained pit bull (photo included in the book).  And wait till you here how well trained she is!  As for the rest of his family, his mother is fat and dumb and rather lovable (and he does love her…he allows that much affection in his life). His father is, well, let’s say his father is not very happy that his life was ruined by the birth of this idiot son of his.  In fact, his father has made no bones about his distaste for his son.  So, when Oliver learns that his father won class president and it was the most important day of his life, well Oliver sets out to show him that any idiot (namely himself) can do it.

And he is willing to do ANYTHING to win (including spend a lot of his vast fortune) and deliberately make a fool of himself in front of everyone.  So imagine his surprise when he suddenly gets a trio of girls in his class making posters for him (their moms will have to “win” a lottery one of these days).

But what happens when all of his plans go awry (as you know they will)?  And just how many enemies can a 7th grader make?

This book was very very funny.  The way that Oliver spoke and dismissed others was great.  The running cigarette joke is hilarious.  As are all of the wonderful literary jokes (he’s trying to set up the English teacher after all).  In fact, everything to do with Mr Moorhead is fantastic.  And the pacing is wonderful  It’s a super fast read, and I laughed on just about every page (except during the explosions).

I was also very amused by the whole Captain Beefheart thing.  (What a wonderfully weird thing to have as a kid’s favorite band…how on earth would he have ever heard of it?)

The only complaint about the book I had was with the plates (well, specifically because one was missing).  There are pictures scattered through out the book.  They are all referenced in the text (ie. See Plate 1 for  picture of Lollipop).  And many of them are funny.  The problem was that Plate Number 16 was not included in the book!  It’s nowhere to be found.  And it had the potential to be the funniest one of all, as it was meant to show a typical PBS pledge drive (his father works for the local affiliate).  Given the mock up of other scenes, I think the PBS one would have been great.

That said, one printing error does not in any way detract from the book.  It’s a great read.  It’s very funny. What else can I write?

As Oliver himself might say:

Chapter 1:

I am Done now

Chapter 2:

Stop reading

Chapter 3:

What are you, an idiot?  I said stop reading.

SOUNDTRACK: KATE BUSH-Lionheart (1978).

Something about the late 70s seemed to make artists very prolific (perhaps it was studio pressure to capitalize on an artist’s success, hmmm?) Here’s Kate Bush’s 2nd record in about 10 months.

And, yea, the cover shows off her budding theatricality (the tour that accompanied these albums (which is available on DVD) is crazy for the performance art).

There are some great tracks on the disc, although for the most part it feels like it was kind of rushed.  But despite that sense, there are some things that Bush introduced on this record that would remain with her throughout her career.  Her voice is layered a lot more (although it is still unbelievably high–the opening words of  “Symphony in Blue” are rather astonishing.)

She has also developed a wonderful ethereal sound.  Unlike new age artists whose ethereal style is without substance, Kate is definitely grounded (somewhere).  A song like “In Search of Peter Pan” with its twinkling pianos is absolutely suited to the fantasy she evokes (and when the chorus comes around, the real sense of foreboding in Peter Pan kicks in.  (So, yes, she may be out there, but she certainly knows what she’s doing).

And there’s the rather clever underpinnings of the seemingly trivial song “Wow.”  It’s another song where a sinister musical basis lurks underneath the seemingly silly chorus: “Wow wow wow wow wow, unbelievable” (which is actually pretty snarky in context).  But really it’s the cool vocals tricks (the deep almost subliminal “uh-huh” for instance) that introduces something new, and intriguing, and something she would explore more on later releases.

This is followed by the rocking (in Kate terms) “Don’t Push Your Foot on the Heartbrake.”  It has some pretty aggressive guitar in it which is matched with delay and echo.  It’s another element that foreshadows the kinds of sounds she would use extensively on future discs  (oh, and she really gets a good banshee wail later in the song).

And, of course, the final track “Hammer Horror” is fantastic, with a great sense of theatricality, befitting the song’s inspiration.

It’s Kate next album that blows me away every time, but I am still fond of these first two.

[November 5, 2009] North World

I really enjoyed the premise of this graphic novel.  The main character Conrad is a sword wielder straight out of Dungeons & Dragons (there’s even a panel which shows the same characteristics that you roll for in the game: Str–7, Agl–5, Stm–8 etc.).  He is a low level fighter (but he’s quite good and has defeated some huge animals) but he is seeking glory, fame and minstrels singing heroic songs about him.

And yet he dresses like a contemporary guy (button down shirt and jeans) and clearly lives in a twenty-first century world.

He is called by the guildmaster to go to Coeur de Lac and fight a demon summoner (his biggest adversary yet, and his best chance to prove himself). It turns out that Coeur de Lac is where he grew up and where he left 7 years ago with no intention of returning.  He had also just received an invitation to his ex girlfriend’s wedding.  And so, like a sort of Dungeons and Dragons-flavored Gross Pointe Blank, he returns home with a hit job to do, but mayhaps he’ll take in a wedding while he’s there.

The story was quite interesting.  There were some fun twists and turns and some intriguing character developments.  And the one time I was about to accuse the story of being maudlin and a little overly sentimental, Brown absolves himself by showing that Conrad had fallen under a spell rather than just being overly emotional.  Nicely played.

One problem I had with the book was that it was set up for a sequel (so the rather simple story line doesn’t end in the book.  That bugs me, but I’ll get over it.

The real problem I had was with the art work.  The art was very simple and it worked pretty well for much of the time.  Buildings, nature, backgrounds etc were quite good.  The cover art was really cool and compelling in that indie style that I like a lot.  But the faces of the characters within the story conveyed emotions that were not appropriated for what they were saying.  It seemed like simply poor drawing to make the characters seem angry when they weren’t (that was a common complaint).  And there were other times when the facial expression just didn’t seem right.  So it built up a false sense of emotion that I expected would pay off in someway, but which never did.  It felt like some kind of underlying/subliminal tension that wasn’t there.  It was just ineffectual artwork.  And that’s kind of a shame.

But that wasn’t enough to keep me from really enjoying the story.  And I’ll certainly be getting volume 2 soon.

SOUNDTRACK: DANKO JONES-Never Too Loud [US edition bonus tracks] (2009).

I reviewed this disc a few posts ago.   Since then the disc has finally been released in the States.  And, naturally, since I bought the import version there are three bonus tracks added on this one.  The three tracks are “My Problems (Are Your Problems Now);” “Sugar High”; “R.I.P. RFTC”

The tracks aren’t radically different from the rest of the disc.  However, the first track is notable for having a lot of backing vocals (yeah yeahs and other things).  It’s a bit weird.  As is the fact that the song sounds less bass heavy than most of their other songs–it’s still loud, but it seems a bit tinny.

The second track “Sugar High” sounds like Danko for a kids show.  In just about every other song I’ve ever heard that was about “sugar,” the sugar was a metaphor for sex.  And yet, this song’s chorus quite proudly proclaims, “ice cream cakes and candy cars, I’m the kind of guy who likes a sugar high” and “cotton candy and caramel I’m that type of guy.”  It’s almost too comical to be considered a real song, and yet it rocks really hard.  Some cartoon absolutely needs to use this song in its soundtrack.

The final song is about Rocket From the Crypt, obviously.  It’s also the first Danko song where I’ve had a hard time deciphering all of the lyrics.  But, suffice it to say that it’s a blistering fast track about the sad news that RFTC broke up.

Just three more interesting reasons to track down the CD now that it’s available in the States.

[READ: November 6, 2009] The Apocalipstix

The premise of this graphic novel is that a nuclear explosion has hit the U.S.  Our heroines are a kick-ass band comprised of three women (like Josie and the Pussy cats only really bad ass).  And despite the global destruction, they are still going to play their gigs.  Call it the “End of the World Tour.”

The main characters are: Mandy, a bad-ass black woman on guitar and vocals; Dot, a rather sweet (until she’s pushed) blonde bombshell on bass, and Megumi, a Japanese cowgirl (!) on drums who is mostly silent (she speaks Japanese) but who is very intense.

There are three short stories in this volume.  In the first, the girls fight in a Mad Max-inspired road battle against the thugs who stole their equipment (here’s where we see Dot’s wicked streak come out–when someone touches her bass).  The thugs lead them to the King of the region–how will he treat our heroines?

The second is a comic interlude in which the girls’ picnic is invaded by gigantic mutated ants.

The third is a battle of the bands.  In a Thunderdome-like setting, musicians from all over have come for the grand prize: gas!  The winner gets it all and, the losers have to walk.  Each of the ladies makes an acquaintance in the story (naturally with the men from the main competition in the contest–Hemageddon).  Until…  Well, the story sort of ends unresolved because of an upcoming sequel.

The sequel promises a drive to California.

So the book was fun.  It was a nice twist on the Mad Max style story (perhaps Tank Girl is a better reference?)  There was some good humor, so funny conceits and some rocking scenes (not too much in the way of lyrics to comment on, though).

The art work was one the best things about the book.  The style was great: strong lines, really effective scenes of motion and very expressive individual characters.  And the characters are so well drawn (and of course, they’re super hot) that you actually care about what happens to them.

I’m really looking forward to the next volume.

SOUNDTRACK: POSSESSED-Seven Churches (1985).

Back in high school I was really into heavy metal.  And I got into something of a contest to find the heaviest, scariest metal bands around.  (To counter the guy in class who was into Stryper, naturally).  Well, I think I hit the jackpot with this album.

This is brutally fast speed metal.  Growling vocals, staccato super fast drums and a general sense of doom.

The song titles tell it all: “Burning in Hell,” “Holy Hell,” “Pentagram,” “Satan’s Curse” and “Death Metal.”  Allmusic.com states that this is the first death metal album.  So, how about that?

At this point, though, I think it is most notable for featuring Larry LaLonde on guitars.

LaLonde went on to be the guitarist for Primus for many many years.  So, he turned in his upside down cross and fake blood for purple hair and an alternative rock gig.

And I’ve got the pictures to prove it.

[READ: November 3, 2009] Black Metal

This graphic novel comes from the beloved Oni Press.  It’s the story of the brothers Stronghand, adopted siblings who live and breathe black metal.  They are notoriously evil and their past precedes them. They have been to five schools in four years and, as the story starts, we see them on their first day at Ronald Reagan Jr High.  (Which at first I thought was actually “Ronald Reagan Junior” High School, which would have been even more hilarious.)

By lunchtime, they have intimidated everyone with their black metal stares.  But, when someone questions their manhood, they strike back and are instantly expelled.

It’s then that we meet their adoptive family: a super sweet blonde woman and her natural child: a booger-eating sweetly babbling toddler.

While they were at school, one of the brothers saw a girl wearing a Frost Axe shirt.  Frost Axe is, of course, a seriously heavy black metal band from Norway.  They track down the album and it blows their mind.  Lyrically, it’s about the story of a magical sword forged by The Roth, which was used in an epic battle in Hell.

When they play the album backwards, they are given a chance to pull the sword from Hell’s stone.  The rest is history.

This only gets through to about half of the story.  The rest is battles, intrigues, secrets raveled and, of course, and epic meeting with Hell’s demons and with Frost Axe themselves.

The story was fun for its epic storytelling style and adherence to Norwegian black metal’s mythic stories.  It’s also got all kinds of funny (and often juvenile) humor.  But it is rated T for teen, so it’s never too too raunchy.

The art is wonderfully dark and sinister.  The brothers Stronghand have a weird Asian/Native/Central American appearance (yeah, that’s an unlikely mix, but it works) which helps them stand out from the rest of the WASPy kids.  The demons and hellpit stuff is also pretty cool with plenty of light areas to counterpoint the darkness.

Occasionally, I found it hard to tell the characters apart. Sam and Shawn look enough alike that it’s not always clear who is who (which may even be the point).  And when the Frost Axe girl enters the picture (with the same haircut and general appearance) let’s just say there are times in battle scenes where I have no idea who is doing what. But that’s not really a big deal.

Of course, when the story reaches its end, we get a very ominous To Be Continued….  I don’t mind sequels, but I don’t like when a story is so clearly set up for a sequel that it doesn’t finish itself.  Fortunately, this story doesn’t do that.  It wraps itself up very nicely and then preps us all for the next stage of the saga.  Which is alright by me. And which I’m looking forward to.

If you like your metal black, you’ll enjoy this book.

And my word count is now 666.

SOUNDTRACK: SONIC YOUTH-SYR 5: Sonic Youth Featuring Kim Gordon/DJ Olive/Ikue Mori (2000).

The fifth SYR disc is rather different from the others in that the only SY member is Kim.  This is a sort of side project for Kim, Ikue Mori and DJ Olive. They’ve played shows together as well.

This disc is also different because it features a number of short songs rather than a couple of long ones.  It also features a lot of different instrumentation: turntables, keyboards, that sort of thing.  Most of the tracks are instrumental (more or less) although a few have Kim’s vocals on it.  And Yuka Honda from Cibo Matto does vocals on one track.

Kim’s side projects (like Free Kitten) are usually pretty abrasive. She lets her freak flag fly with her vocals.  And that in a nutshell will determine whether you like this or not.  Kim is playing mostly guitar, so the other instruments tend to take over a bit.

It’s always interesting when SY mixes it up with another band or solo artist.  But it doesn’t really make it a SY record, proper.

Oh, and all of the writing on the disc is in Japanese.

[READ: August 25, 2009] Scott Pilgrim vs the Universe

There’s a new Scott Pilgrim website which lets us know that Volume 6 will be out in 2010.  I can’t wait that long!

This 5th volume seemed a bit different from the other four.  The lines were crisper, it seemed like Ramona looked a little bit different (her eyes were bigger or something) and overall, the volume was a lot darker (in tone).

Today is Scott’s 24th birthday (he’s now the same age as Ramona, yup he finally asked her).

But at a party Steven Stills tells Knives that Scott had cheated on Knives with Ramona and on Ramona with Knives (which wasn’t true exactly), which sets Knives off again.  She violently confronts Ramona and when she says why, Ramona gets pissed too.

At this same party, Ramona’s evil ex-boyfriends (the twins Kyle and Ken Katayanagi) show up.  Scott prepares to fight them, but they send their robot after him instead.  The fight continues downstairs while everyone pretty much goes to other rooms, kind of bored with the whole escapade.

We also see a bit of Ramona and Scott’s domestic life (Ramona runs errands all day and Scott does, well, nothing).

But hey, at least Scott has his band Sex Bob-omb, right?  Well, from the last volume, Sex Bob-omb has been recording a record.  Or, really, Stephen Stills has been recording the record and Scott and Kim come in to play once in a while.  They haven’t had a gig in months. So, when they finally do get one, they are even worse than before.  And when Ramona tells him that she doesn’t like his band, Scott really starts to hit bottom (it’s only mildly worse when his former roommate Wallace tells him that he doesn’t like the band either).

Scott winds up spending a few nights at Kim’s place, and their not-freindship turns into an actual friendship.  He even apologizes to her.

From here, things get a little crazy.  Kim is kidnapped by the twins, and Scott only finds out when she text messages him.  Scott confronts them and they fight.  I felt this volume was notable for the rather brief fight sequences…it seems like the relationship story line is taking precedence (go figure!).

Oh, and as we noticed in earlier volumes, Ramona tends to glow.  Scott thought only he noticed it, but Kim does too.  And when she takes a picture of it and shows her, Ramona doesn’t really react at all.  And this glowing seems significant because it impacts what happens to Ramona at the end of this volume (which I’m not going to reveal).

We also have direct contact from evil ex-boyfriend number 7: Gideon Graves.  Ramona (and Scott by proxy) has a cat named Gideon, it is unclear if they are the same entity.  But as this volume comes to a close, Scott receives a rather nasty phone call from Gideon, setting up the exciting conclusion (which is at least six months away).

This volume is more serious and less whimsical.  That makes sense as we are reaching the climax of everything.  The Scott/Ramona relationship is getting a little ugly, which almost makes one wonder why he is bothering to fight, but fight he does.  I think it’s because Ramona is upset and Scott just is.  In general, this volume felt a lot more confident in the writing and in the art.  And my expectations are high for a kick-ass finale!

SOUNDTRACK: SONIC YOUTH-SYR 2: Slaapkamers Met Slagroom (1997).

The second SYR release is like the other side of the coin from SYR1.  The premise is the same, the players are the same, but the result is rather different.

The first track is nearly as long as the previous disc (17 + minutes) and it seems to run through a variety of song styles (including noise experiments) before settling down into a noisy improv.  The third track features the first “vocals” on these discs–rather unsettling sounds that Kim spits out.  (Online lyrics pages say that there are actual words here so I’ll take their word for it; I just like to think of them as vocal stylings).

While SYR1 was a smoother listen, this one is more jagged.  Not quite the noisefest they are capable of but not exactly easy listening either.

For this disc all of the titles, liner notes etc. are in Dutch.  (SYR1 was in French).  Each volume in the series is in a different language.

[READ: August 9, 2009] Scott Pilgrim Vs The World

The second volume of the series, (and the one the film is named after) continues the exciting saga of Scott Pilgrim and his band Sex Bob-omb.

This second volume introduces us to The Clash at Demonhead, the band that Scott’s ex-girlfriend took to stardom, after they kicked Scott out of the band, of course.

But before we get to the Knives Chu’s new favorite band,we learn about the origins of her former favorite band: Sex Bob-omb.  We see how Scott and Kim first met and why she acts so strangely around him.

But more importantly, plotwise, we get to meet Ramona’s second evil ex-boyfriend, Lucas Lee.  He is a broody actor who also just happens to be in Toronto filming a new picture.  And fight they do.

But they’re not the only ones who do battle in this volume.  There’s a rip-roaring battle scene between Knives and Ramona that takes place in the beautiful Toronto Reference Library.

But the book is more than fighting and music: there’s a cooking lesson for making vegan shepherd’s pie.  Veganism will loom large in Vol 3!   And there’s even more fun asides (with captions and comments about various characters) in this volume.  I especially enjoyed the ones that give the characters’ states of mind.

While the first volume was certainly fun, it feels like he is having even more fun with volume two.  It’s a very fun series, and the books are very fast reads (for better or worse…often worse.)