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Archive for the ‘Deer’ Category

SOUNDTRACK: KING GIZZARD AND THE LIZARD WIZARD-Paper Mâché Dream Balloon (2015).

After the imposed restrictions of Quarters (four songs each 10:10 long), Paper Mâché Dream Balloon goes for a change.  Actually, it goes for a lot of changes.

For this is an acoustic folk album.  It retains all of the psychedelia of their recent records but it removes the heaviness and harshness of those albums and focuses on the mellow.  The twelve songs are also quite short.  Only three songs are over three minutes.  There’s flutes and sitar (which actually isn’t that unusual for KGATLW).  And most of the lyrics are understandable (if not comprehensible).

“Sense” opens with strummed acoustic guitars and a melody from a saxophone or clarinet or both.  “Bones” has a lovely simple guitar riff (so catchy) and more flutes than you can shake a stick with holes at.  It’s immediately catchy and delightful.  “Dirt” ups the power some with slightly louder drums, but it is still fueled by flutes and gentle vocals.  “Paper Mâché Dream Balloon” maintains the high quality, pretty songwriting with a lovely flute melody and a much more uptempo (but somehow even poppier) chorus.

“Trapdoor” changes thinks pretty dramatically for this album.  There’s still a lead flute, but the melody has become kind of intense and minor key and the chanted “Trapdoor” chorus is reminiscent of earlier KGATLW freakout choruses.  But while the song stays restrained, it is still the loudest thing to be found here.  “Cold Cadaver” returns to that flute-y happiness (despite the title) and even features a cheerful “whooo” or two.  I love how the song stops and a very martial drum beat starts but the song never goes off the rails, it just follows along like before.

“The Bitter Boogie” is the longest song in the disc.  Although it initially seems as short as the others because it almost stops half way through.  But it slows down and then begins a new, pretty guitar melody and then a new vocalist comes in and continues the song.

“NGRI (Bloodstain) opens with a fast piano note (very rock-n-roll sounding) and some wailing harmonica.  But it’s all very friendly (until you start listening to the lyrics–no idea what NGRI stands for though (not guilty for reasons of insanity?) but the chanted “bloodstain” is a bit disconcerting.  There’s some wild drumming and a little sitar at the end, but it seems to serve more as a segue to the next song.  “Time = Fate” is a delightfully poppy ditty that seems to be related to “Time = $$$” although musically it doesn’t have any connection (aside from being a delightfully poppy ditty).

“Most of What I Like” is a sweet ballad (although the drums feel particularly distorted (and split between the two headphones) which leads to the final song. “Paper Mâché” is an instrumental which ends the album with a delightful flute melody and acoustic guitars.  It runs for about 2 minutes and is then followed by an incredibly speeded up something (the whole album backwards?) going faster and faster until it explodes.

It’s frankly amazing how many musical ideas this band has.  And the fact that they can pull of so many styles so well is a testament to their songwriting.

[READ: January 19, 2016] “Fox”

This is a story where animals are personified, but in which they also live in the “real” world, apparently.

The foxes are the adjudicators of the world.  The aunts run the den.  They sit upright, tails curled around their feet.  They are pretty animals and they enjoy being pretty.

Aunt Rob spoke the most.  She explained that all animals differ in their violent tendencies:  “The lions are racist, nervy.  They think everything south of Paris is Arab,  everything east of Poland is Chinese.” (more…)

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sweater SOUNDTRACK: ÁSGEIR-Tiny Desk Concert #397 (October 18, 2014).

asgeirÁsgeir Trausti Einarsson is an Icelandic singer songwriter.  He has a beautiful soft soaring voice.  He released his debut album Dýrð í dauðaþögn in Icelandic (it became the biggest-selling debit in Icelandic music history).  A year later he reissued it in English (with translation help from John Grant who was living in Iceland) as In the Silence and finally (the version I have, as a 3 disc set with the Icelandic and English discs as well as a selection of bonus songs.

“On That Day” is a pretty, guitar based song (Ásgeir plays the main melody line and has guitar accompaniment (and backing vocals) from his childhood friend Julius Róbertsson.

For the final two songs, Ásgeir switches to piano.  “Torrent” has gorgeous vocal harmonies. It’s interesting how much more deliberate this song feels–not quite staccato, but the piano chords don’t really ring out, letting each note stand on its own.

For this Tiny Desk, he stripped down the songs, getting to their core.  They’re not flashy, they’re just lovely.

The final song he plays, “Higher” is the first song on the record (interestingly “On that Day” is the final song on the record).  It has a very slow, delicate piano melody and is also soothing and beautiful.

And in a cool synchronicity at the end of the show Bob tells Ásgeir  that he’s playing at the same piano that John Grant played on a few months earlier.

[READ: July 2, 2016] Sweaterweather

Back in 2003, Sara Varon published her first book called Sweaterweather.  This collection includes all of the original 8 stories as well as a few more.  Each story gets a brief introduction from Varon which makes me like her even more (she’s quite funny).

Most of the stories are short(2-3 p[ages) and most don’t seem to have a title.  The contents page is actually thumbnails from each story.

When I first saw Varon’s style, I wasn’t sure what to make of it.  It is so innocent and childlike.  And I have really grown to love it–especially when these sweet animals characters (they’re pretty much all animals) tackle some intense feelings. (more…)

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