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Archive for the ‘Rabbits’ Category

SOUNDTRACK: ZAYTOVEN-Tiny Desk Concert #828 (February 28, 2019).

I saw Zaytoven on the Gucci Mane Tiny Desk Concert and thought he was a good performer.  I didn’t expect that he woul det his own show.  So I wasn’t expecting all that much, but man, this is awesome.  And then I read why this show is the way it is:

Last month, Zaytoven arrived at Bob Boilen’s desk with a full band in tow with the intent of backing up his Atlanta friend and collaborator Future, who had dropped his latest album, The Wzrd, earlier that day. The plan was to translate the bass-heavy trap sound Zaytoven helped originate to real instruments with Neil Garrard on guitar, Bernard “TreWay” Lambert on drums, DJ Spinz and Elena on flute (for what would’ve been a live version of “Mask Off”).

So instead, we get this beautiful instrumental collection.  There’s three tracks that are kind of jazzy, but not exactly.  They’re pretty melodies with some great solo work from the electric guitar and lots and lots of flute.   The drums from Bernard “TreWay” Lambert are a mix of traditional and electric (with great sounds) and some nifty scratching from DJ Spinz.

Track one “Lay Up” has a ripping distortion-filled guitar solo from Neil Garrard.  But man, the real killer is the flute work.  It’s so effortlessly beautiful the way it floats around the song.  Elena Pinderhughes is just dynamite on this song and every one.

Introducing “Peacoat,” he says it feels it like jazz.  He also says he still plays the organ in church on Sundays and that he wants all of his songs to have soul.

“I wasn’t even allowed to listen to this type of music, let alone to be producing it,” he told me a little over a year ago in the church outside Atlanta where he plays organ every Sunday morning. He was remembering how conflicted he’d once felt as a young producer who’d grown up in the church to be playing his trade for street artists like future trap god Gucci Mane (who Zaytoven would later back on keys during his first visit to the Tiny Desk). “To be the godfather of the sound, it was almost embarrassing for me, like, ‘Hold on, bruh. This ain’t really how I was brought up. This ain’t really what I do.’ I’m a guy that’s in the church and I try to lead people more so that way.”

There’s some pretty piano and keyboards form Zaytoven on this song, and I like the subtle scratching throughout.

The final song “Mo Reala” is also great.  He says it’s got a church vibe.  It was his first single from the album with Future saying real things.  He’d ben producing since 2004, but Future helped him refine his piano work and his beats.  In addition to the great song itself, the flute and guitar solos are fantastic.  And again, I love the drums and scratching too.

I listened to the track with Future’s vocals on it and I didn’t like it half as much.

Zaytoven, if you read this, you should absolutely get this band together and record these songs just like this as instrumentals.  They are dynamite!  And no one is releasing music like this right now.  Get on it, man!

[READ: February 26, 2019] Cucumber Quest 4

Reading book 4 means that I am now caught up with the books that are currently out.  And that is terrible, because the series suddenly got really intense and really emotional.  And who knows how long I’ll have to wait until the next book!

When I first started this series, which is kind of a spoof on hero quests, I enjoyed it.  It made me laugh and had lots of funny and absurd twists.  I never expected to get so invested in the story of the Nightmare Knight and his explanation for why he is such a bad guy.

But back to our heroes.

When they arrive in the Flower Kingdom, they are given the terrible news that the Kingdom does not have a Princess (our heroes need Princesses to sign a sword as art of their quest). What will they do? (more…)

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SOUNDTRACK: KING GIZZARD AND THE LIZARD WIZARD-Nonagon Infinity (2016).

A nonagon is a 9-sided shape.  Infinity is endless.  This album has nine songs that flow seamlessly into the next one.  Including the final song, which flows seamlessly into the first.  It’s a nine-track album designed to loop forever.  Riffs and choruses are repeated throughout (including the frenetic guitar solo riff that starts the album and is sprinkled throughout).  But even though the songs are connected and there are repeated parts no two songs sound alike–it’s not a 41 minute song by any means.

It is a pretty intense and relentless rocking good time, though, with all kinds of catchy melodies and bizarre lyrics.

This album launches with “Robot Stop,” a maniacal riff and a super fast beat .  It’s non-stop intensity of distortion, drums and vocals.  There’s distorted whoops and hollers.  There’s a distorted harmonica solo and more and more guitars.  It also introduces the repeated chorus:

Nonagon infinity opens the door
Wait for the answer to open the door
Nonagon infinity opens the door

It’s not always clear if the lyrics have meaning [Any wasp that I see / It’s a fig wasp / Pearly guillotine] but I love singing along with those that I can understand.  Or just chanting “Big Fig Wasp” when it comes around.

“Gamma Knife” encourages us to “come on through the door, see, it’s your unborn self.”   All the while, the guitars are rocking and the vocals are whooping.  Things do finally settle down near the end of the song, where everything drops out but the two guitars playing the riff.  It’s interrupted by some pretty wild drum soloing (from both drummers) before seguing into the moderately slow introduction of “People -Vultures.”  It’s slow for the first three lines before the line “What else have I got left to spew down?” prompts a breakneck resumption of the album’s pacing.

“Mr Beat” seriously slows things down for one of the catchiest songs on the record.  It’s a cool groovy chugging song with organs amid the guitars.   It has an instantly memorable melody and is easy to sing along to “Once I missed a beat – only missed a beat.”  Even the verse has a sweet sing-song melody.

Things do come to almost a complete stop as Mr Beat slows down, but before you can take a breath, “Evil Death Roll” takes off.  It is 7 minutes long, full of staccato chants during the chorus.   But midway through the song a new riff enters–a happy, almost boppy riff that reconciles itself into a version of the original main riff.  And after a few minutes of electronic manipulation, a new bridge comes around.  It’s musically unique to the album, but while that music is playing the nonagon infinity refrain returns.  And then the song returns to the main “Evil Death Roll” chorus before jumping into the staccato “Invisible Face” which shifts midsong into a gentle jazzy jam.

The ending riff segues seamlessly into the wah wah of “Wah Wah” which starts with a harmonica solo and then switches to a downbeat verse with a screaming noisy bridge of “Wah Wah Wah Wah.”   It ends with some distortion and a drum beat that sounds like a train, hence the album closer “Road Train.”

Road Train hearkens back to their more Western songs, but with all of the metal and garage trappings that are consistent on the album.  So the song about a train is rather dark:

The spawn of Satan’s back
It’s made of steel and black
It comes to bring you pain
It comes again and again
Road Train!

The song is 4 minutes but after a bout 3 minutes, it starts a new chanting of Nonagon Infinity–a new way of doing it that speeds up until the last ten seconds which return to the opening of the album.

There is so much originality in this album and so many ideas that it’s kind of a blur.  But repeated listens show just how much excellence is on display here.

[READ: February 25, 2019] Cottons Book 1

Wow, I loved this book (part 1 of a trilogy).  The story was fascinating (if a little murky in some places), but the artwork was simply tremendous.

Arnhold’s drawing style is so realistic, and the rabbits are so lovingly drawn, it’s really beautiful.  (In her bio she says she loves drawing rabbits, and volunteers at the Georgia House Rabbit Society).

This is the story of Bridgebelle and the rabbits in her warren.  They live in the Vale of Industry within the World of Lavender.  But their’s is not a happy life.  Bridgebelle is an artist and no one appreciates artists in this time of Industry.  But even worse, this is a time of fear for all of the World of Lavender.  Fear of predators, or fire and of the end of their existence.

As the story opens we see Bridgebelle and her co-worker/secret crush Glee fleeing from foxes.  The two of them hide in a stump when suddenly they see that Glee’s sister Soozie is snatched up and killed by Marrow, a ruthless fox.   It is devastating.  (The drawing is very sad, but not bloody or disgusting).

Worse yet, the murderous fox just did it to get the rabbits’ attention.  He wants control of their factory. (more…)

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SOUNDTRACK: NATALIE PRASS-Tiny Desk Concert #827 (February 25, 2019).

I know Natalie Prass because “Short Court Style” was absolutely ubiquitous.  WXPN overplayed this song to death this summer.  At first I didn’t think much of it and then it clicked and I loved it.  The bassline is fantastic and the vocals are just amazing.  I was genuinely surprised to find out that Natalie Prass was white, because she sounded so soulful.

I genuinely had no idea who she was, so I was surprised that the accolades were so effusive and people spoke of her as if she were a legend.  Well, this is only her second album, but it really struck a nerve.

Full disclosure: We here at NPR Music have decreed Natalie Prass something of a patron saint for roséwave — our groove-laden, pink drink-soaked soundtrack for the summer. So, when the Richmond, Va. artist arrived at the Tiny Desk, it was a cause for celebration, especially amid the January blues that seemed to permeate the NPR Music office. Decked out in matching, cobalt blue outfits (with a matching keyboard stand to boot), Prass and her backing band, comprised of Eric Slick: drums; Alan Parker: guitar; Jacob Ungerleider: keys; and Brandon Lane: bass, seemed to bring a warm breeze in with them.

“Oh My” opens with a thumping bass.  When the picture appears, everyone is wearing electric blue.  The song is very funky and Natalie does a great job with her little interjections of “No,” “hey,” “oh ho ho ho” and the titular “Oh My.”  There’s a funky bass solo midsong.  And throughout, Natalie is just so cool.

I didn’t really get a sense of the lyrics so I was surprised to read this:

There’s a sly political bent to Prass’ 2018 album, The Future and the Past. Ahead of its release, she said she actually had a different album nearly finished, but scrapped a huge chunk of it after [trump’s] election, which in turn led her to make this album instead. She highlights this mission statement on the album opener — and first song she performed at the desk — “Oh My.” It’s a track that speaks pointedly about the abject feeling of horror and exhaustion that seeps in when you tune into the news cycle, with bleak lyrics set against bright, dance-y music.

For “Short Court Style” (I always assumed it was called “Round and Round”), she brings out her backing singers, Angelica Garcia and Kenneka Cook: vocals.  Everything sounds fantastic here live.  She seems so free and easy singing this song, it’s a delight to watch her.  And those funky bass lines are great.

Before closing with “Hot for the Mountain,” Prass tells the NPR office that “the song’s a little off the beaten path, but, I don’t know, it’s my favorite.” “We’ll take you on / We can take you on,” Prass, Garcia and Cook sing in unison, a refrain that resounds emphatically. Her vision was clear: If you want to overcome the times, find strength in numbers.

I don’t see what’s so odd about it.  It doesn’t have a big hook like the other two songs, but there is a sing along chorus.

[READ: January 31, 2019] Cucumber Quest 3

Book three opens as our heroes arrive at Trebleopolis which is celebrating its birthday (clowns are everywhere).  And no one celebrates louder than Queen Cymbal.  She reveals that Princess Piano is going to perform a concert.  All our heroes want is the Princess’ signature on their sword (she has signed weirder things), but they are told they have to wait until after the show.  (It’s 110 minutes long…that’s like MORE than an hour).

But as the curtain opens, it’s not Princess Piano, but Noisemaker who comes out.  Noisemaster is a hiphop DJ who is not only annoying but quite evil.  For he is one of Nightmare Knight’s Disaster Masters and our heroes’ next conquest.  Nightmare Knight makes an early appearance and is not playin’ with Noisemaster’s shtick: “I cannot believe you are still acting like this…  I am being exceedingly ‘real’ Noisematser.”   He ends, I will allow you this chance to prove yourself  Do not waste it.

Noisemaster’s plan is to destroy the whole city if the noise machine hits 100%.  And with Piano’s loud voice that should be no problem.

We learn that the Melody Kingdom was divided by two kings King Treble and King Bass. They fought and had to be separated by a wall which the Oracle created.   The two sides have not seen each other in decades.  The wall, named Mezzo is very chill and tells them exactly the kind of convoluted quest they need to go on to get the key to open the doors in the wall.  Of course Almond and Carrot are right on that quest and they take off. (more…)

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SOUNDTRACK: RODRIGO Y GABRIELA-“Echoes” (2019).

Rodrigo y Gabriela are amazing guitarists.  Rod plays amazing solos wile Gab plays an astonishing rhythmic counterpoint (both on acoustic).  Although they do play classical and Spanish styles (and so much more) they often mix heavy metal elements into their songs.  I have seen them twice live and they blew me away each time.

They are back with their first album in five years.  And they have just released a cover of Pink Floyd’s “Echoes” an 18 minute song that I just love.

And their version is utterly fascinating.  How do two guitarists plan to cover Pink Floyd?  Well, the beginning of the song is a great, recognizable riff, so they play that and Rod plays the vocal line when that comes around.

The middle of the original gets really trippy and kind of dark, with all kinds of synth sounds.  So what do Rod y Gab do?  They embrace what they do best–with Gab playing an incredible rhythm, Rod takes an opportunity to shuffle around in a solo (there’s certainly some looping overdubbing here).  The middle quiets down to them just scraping strings and pounding the guitar and splaying single echoing notes.  It’s not as dark as the original, but it’s still a weird and somewhat unsettling passage.

The song comes out of the middle darkness with  a rollicking solo and a huge buildup from both guitars.

It resumes the song and finishes much like the original in about 18 minutes.  It’s spectacular.

Learn more about it and watch the video here.

[READ: January 25, 2019] Cucumber Quest 2

It has been a while since I read Cucumber Quest 1, so details were a little fuzzy, but the humor of the book is still awesome (especially the way it undercuts hero tropes.

Cucumber wakes up on an island and as he is calling for his friends, he steps on a cell phone.  As he goes to use it, someone shouts NOOO!

It is a young female bunny creature arguing with a crab.  The crab (and all of the crabs) are crabby.  They doubt that she is Princess Nautilus even if she claims she is.  Cucumber takes out his magic wand and it actually works!   He saves her.  Woah.

She says he can call her Nautilus.  He suggests “How about Nautie for sh–” and then realizes what he said. (more…)

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SOUNDTRACKRHEOSTATICS-The Horseshoe Tavern, Toronto (December 10, 2016).

This show is the second of two shows at The Horseshoe Tavern featuring the return of Dave Clark on drums, Hugh Marsh on Violin and Kevin Hearn on Vocals and Keyboards.

After about an hour, there is a ten minute intermission, but this show is about twenty minutes longer overall than the previous night’s.  And the sound quality is 100 times better–nice and full.

The band plays the same five new songs this evening but not all together.  Surprisingly, (a little although I get why it is this way), the set list is pretty similar to the previous night.  The only songs played the first night that were not played the second night were “It’s Easy to Be with You,” “People’s Republic of Dave” and “Self Serve Gas Station.”  The only songs played the second night but not the first were “Palomar” “Halloween Eyes” (!), “Horses” and “Christopher.”

On the download, the intro to “Stolen Car” is actually about 5 minutes of drum machine before the band comes out.  Then Dave Clark plays a bit of an introductory drum solo while I gather the rest of the guys ambled out.  After about 2 minutes of drums, Martin plays the guitar opening to “Stolen Car” and he sounds fantastic singing it.  It’s a really lovely version and Martin hits those high notes with no problem.  When it’s over you hear someone say “never open with a show stopper.”

Bidini says, “More songs about breaking the law.  Although ironically we will not be performing “Breaking the Law” (booo) I guess… never say never, eh?”

Tim sounds great on “King Of The Past” and Kevin does the whole Mister Rogers introduction for “Fan Letter To Michael Jackson” which again sounds different (but only a little) with all of the extra keyboard stuff.  The band is always tight on this song.

Dave apologizes for the TFC, Toronto Football Club, loss.  Was anybody there?  Nobody.  Good. We don’t want any angry football fans here.

Have you said hello to Dave Clark yet?  Dave is playing with a stolen timbale tonight, although he made good.  Way back in the 1980s, Dave stole that drum from Mr McKay’s music class at Martingrove Collegiate.  However, one wintry morning a couple of years ago he enumerated the value of the drum and paid them $500 for it.  “Then I walked home to my old house.  You could have rolled a bowling ball down the roads and not hit a thing.”

I love “P.I.N.” more with each listen.  The four-string guitar sounds great and the band is always having fun.  Whether it’s Kevin’s keyboards floating around or Tim’s interjections midsong, it’s always fun.

Clark is gonna play some brushes for “Mountains And The Sea” which sounds much better at this recording than the previous one.  Mid-song, Dave whispers (that’s Hugh Marsh on the violin).

Then Bidini introduces Martin’s fancy guitar …two necks… two guitars?  Siamese guitar?  Then he notes “a very interesting discussion going on back there.  Are you all discussing my post lounge debut?.”

Martin: Dave’s very exited about the mike… going hand held.
DB: I seized the mike.
Tim: Let’s limit that to one song.
Martin: Seized the mic?  It’s right in front of you.
Kevin: Carpe Mikem [much laughter]
DB: That’s my stage name.

Tim: I think they’re discussing music stands on stage … Lack of commitment?
Martin: Bands that have music stands I want to kill them all… they’re racist….  I don’t know.

They finally start “Northern Wish,” but after a beat Clark says, “Let’s start that again.  I’ll tell you why.  Because I saw a squirrel go by.”  It sounds great and is followed by Tim’s “Palomar” which is dedicated to the dog that’s accompanying someone in here.

They play “saskatchewan” which opens with a long meandering opening, that’s quite lovely.

They take the ten minute break which on the download is primarily synthy jazz, although it doesn’t really seem to be from the club.  When the ycome back Dave says “Our break was good.  We beat up some yuppies in the alley.  Do yuppies till exist?  We are probably yuppies.

DB: Can you see Tim is he lit enough?  No!
Tim: My sister came last night and complained about the light show.  I was in the dark.  I said that’s the way I like it.
Martin:  That’s bass-ial discrimination, Tim’s lightning.

Tim’s “Music Is The Message” also sounds much better in this fuller situation, although it is still primarily piano and Martin’s quiet soloing. When it’s over, someone shouts “Happy Birthday Tim.”

Kevin explains that “Chemical Valley” is from a recording he made with Martin and Hugh last winter, (with Gavin Brown on drums).   Dave says that he and Tim were on a cruise.  There’s lots of Hugh Marsh’s soaring violins.

Kevin says that Martin’s going to sing his song called “The Albatross.”  Martin “The Unlucky Albatross.”

Dave tells a story of Martin working at the Royal Ontario Museum as a young fellow.  Martin says he defleshed an ostrich and a rhinoceros while getting bones for comparative paleontology.  He brought the meat home to eat.
DB: The Tielli’s were famous for their rhinoceros soup.
Martin: The rhino was worse, it was rank, But we got to have a piece of real rhino.
DB: Is it true your dad made grappa with the rhinoceros bones?
Martin: Horn, David, grappa cornuto.
DB: It’s the bands secret.

Kevin: Anyway, Martin’s going to sing his new song.  It’s called, “The Albatross”
Tim: Mr Reality over there.
DB: Fucking talk show host.
Kevin: Happy birthday, Tim and here’s Martin with his new song “The Albatross.”

This version is really good and much more fun, but it still feels more like a solo Martin song than a Rheos song.  But “California Dreamline’ sounds terrific.

Its followed by a 10 minute “Dope Fiends and Boozehounds.” (Three Martin songs in a row).  There’s a beautiful flute-like melody playing throughout the song (Kevin, I assume) and another cool drum solo from Dave Clark.  At he end of the song when it gets to the “dark side of the moon” and the howling starts the sounds get kind of dark and spooky and weird and someone plays the riff for Pink Floyd’s “Money” while some howling goes on.

More banter: “This is the end of our Canadian tour.”  “Did you know it was Tim’s birthday?  He’s 71.”
Tim: That last song really went to the dark side didn’t it?  For a moment, I was on the dark side.”

“Claire” sounds great with Martin playing a wonderful solo and then mid-song it just stops dead.  Tim was saying to bring it down and Martin was saying to bring it up.  Tim says he wanted to hear more of Martin’s guitar.  “It’s your birthday, you can hear all the Martin you want.  I want a guitar solo for my birthday, Martin.  I want some violin on this guitar solo.  Wah wah wah, it’s all about me.  And a little drum solo at the end.

There are cool keyboard twinkles that lend atmosphere to the opening of “Shaved Head.” The song sounds amazing although just before the ending, there’s a pause with much laughing (but Martin doesn’t lose it).  I wonder what happened.

After the encore, Chris Brown comes on to play keys for “Queer.”  After the song, Kevin sings “Waiting For My Man” with the refrain of “Hey Chris Brown what are you doing uptown?  Chris Brown / Uptown.  They start jamming a bit and Dave says, “C’mon, Tim, it’s your birthday, so Tim sings a few lines of “Halloween Eyes.”

After a pause they start playing “Horses,” but Martin says, “Clarkie, just think about the Royal Albert in 1987 and the guy named Tex with the fart gas can and the cowboy hat.
Clark:  He didn’t even work there, he just took it on himself.  He was like a vigilante fart gas man.
Martin: What do you mean he didn’t work there?
DB: You were very disturbed by Tex and his fart gas canister.
Martin: I’m disturbed that fart gas in a can even exists, Dave.
Kevin: Yeah, Dave.
Martin: That’s just weird in itself.  Stop your song that they wanna hear.
Kevin: Yes, let’stalk about this.
after some discussion
Clark: I’ve got a giant can of Beano in the back.
Martin: What’s Beano for?
Clark: It’s for starting songs, lets do one.

“Horses” rocks.  Midway through the song he starts singing “Smoke on the Water” but no one really seems to play along with him.
DB: I’m still in that Dope Fiends Black Hole.
Martin: That Pink Floyd black hole?
Kevin: There’s a cream for that.

Clark sing “Super Controller” which sounds much bigger and more fun with those “ba ba bas.”

There’s another encore break and they come back for “Legal Age Life” which was performed acoustic in the crowd and is thus silent till the ending part.  The recording doesn’t really follow them and you can hear people talking at one point someone even says, “that is them, I thought it was a bunch of other people.”  Then you can hear the end of the song.

Finally, they’re back up on stage and Martin says, “somebody get me a shot, the bar’s closing.”  This leads to an awesome version of “Christopher” to end the night.

It’s a fantastic show and confirms that they are back and better than they have been in years.  Next time I see that they are playing I need to haul myself up to Toronto to watch them.

[READ: January 28, 2018] “One, Two, Three and Four Rabbits”

This was a story published posthumously and was translated by Ezra E. Fitz.

I pretty much never knew what the heck was going on.

It starts with

I. The Future…

From where is the future related?

That’s all of Part I.

Then

II.  The Past (more…)

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SOUNDTRACK: OPEN MIKE EAGLE-Tiny Desk Concert #687 (January 3, 2018).

I had seen Iron Mike Eagle’s album on a lot of Year End Best of lists, but I hadn’t heard of him before.  Well, I absolutely loved his Tiny Desk Concert and I’m ready to get his album as well.

I love that the “(How Could Anybody) Feel at Home” starts with a live trumpet and the rest of the band is there playing live, too–two synths, a live bass and Mike on some kind of techie gadget.  But the great thing about this Concert is Mike’s delivery.

He sings/raps and he’s got an uplifting style of rapping combined with the spare but cool/weird music that fit with the lyrics.

And it’s really the lyrics that won me over.

Everybody’s secrets inspire all of my scenes
I write in all of my fantasies and I die in all of my dreams
My superpowers I maintain
I take control of my scene

and the hook:

I done told
Some goofy shit that sounded like a poem
I spun around in circles on the globe
So who the hell could ever feel at home

I could tell that  the lyrics were pretty interesting, but I was surprised to read:

Open Mike Eagle may have released one of the most political albums of 2017, but Brick Body Kids Still Daydream is also among the most personal. It comes across best in his live performances. For only the second time during his recent tour cycle, the LA-based artist played a set aided by the live instrumentation of musicians Jordan Katz (trumpet, keys, sampler), Josh Lopez (keys, sampler) and Brandon Owens (bass) for his Tiny Desk debut.

He performed two songs from the stellar Brick.  The title comes from:

It’s been a decade since the last brick fell from the Robert Taylor Homes, the old Chicago Housing Authority project personified on the record. Yet, when it comes to excavating the politics of place, and all the racial implications inherent in cultural erasure, there is no project released in recent years that comes close.

“Daydreaming in the Projects” is, like the other songs, political but warm:

(This goes out to)
Ghetto children, making codewords
In the projects around the world
Ghetto children, fighting dragons
In the projects around the world

and then this seemingly nonsensical rhyme that speaks volumes

Everything is better when you don’t know nothing
I’m grown so I’m always disgusted
All these discussions online is mayonnaise versus mustard
Mayonnaise people think French can’t be trusted
Mustard people think eggs is all busted
But fuck it
We in it for the pattern interruptions

I love that it is accompanied by a simple but pretty trumpet melody while Jordan is also playing keys.

The set ender “Very Much Money,” from his 2014 album Dark Comedy, is tremendous.

What a great verse:

My friends are superheros
None of us have very much money though
They can fly, run fast, read Portuguese
None of us have very much money though
They know judo and yoga, photography, politics
Some of them leap over buildings
Writers, magicians, comedians, astronauts
None of it mattered when niggas was hungry

All to a catchy, cool beat that is in the spirit of bands like De La Soul, but far more modern and powerful.  Great stuff.  And if “Very Much Money” is representative, I need to check out his old stuff too.  And maybe even the other three (!) bands he’s with: he is a member of the hip hop collective Project Blowed. He is also a member of Thirsty Fish and Swim Team.

 

[READ: October 20, 2017] If Found

Tabitha had this book and I thought it looked really cute so I grabbed it not really knowing what it was.

Basically, it is the blank notebook of Montreal artist Elise Gravel.  She says:

At night, when my daughters are asleep, I draw in my blank notebook.  I draw complete nonsense   Whatever comes to my mind.  When I draw in my black notebook, it feels good–it’s as if I let out all the ideas that are bouncing around in my head.  I never critique the drawings in my black notebook. I give myself the right to fail.  To mess up, to create ugly drawings.  I’m kind to myself. (more…)

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SOUNDTRACKTHIS IS THE KIT-Tiny Desk Concert #685 (December 13, 2017).

I know this band because I received a download code for their EP “Spoon Quake Bash.”   I found it really intriguing.  Kate Stables’ voice is unique and has an appealing affectation that I can;’t quite figure out but which I enjoy hearing  And the music on “Moonshine Freeze” is just tremendous–different textures coming from different guitars. I really can’t get enough of it.

The band’s only permanent member is singer Kate Stables.  For this show, she’s accompanied by Rosalind Leyden, Jamie Whitby-Coles, Noil Smith, Adam Schatz, Jonah Parzen-Johnson.  It’s amusing that for the first song, everyone but the bald man is wearing a toque.

In this Tiny Desk Concert the first song is “Bullet Proof.”  It’s just a four piece: bass (Rosalind), drums (Jamie), guitar (Noil) and Kate on lead banjo and vocals.  Her voice sounds like classic British folk singers–very clean and open-voweled.  Once the echoed guitar rises in, the song sound really full.  The song also tells a story, as the blurb points out.

And the stories … Kate … weaves are profound but sweet with a tone that quietly reels you in.

Although it is my least favorite song of the three, possibly because the other two are so much fuller.  For songs 2 and 3 Jonah and Adam join on sax.

“Moonshine Freeze” has so much going on.  A great bass line, echoing harmonics on the lead guitar and Kate’s gentle chugging rhythm guitar.  The drums are a cool shuffle.  It’s such an intriguing song, especially with Kate’s cool vocal delivery.   And then there’s the backing vocals singing in a round.  It’s fantastic.  The horns are a nice touch, too.

“Hotter Colder” sways with a wonderful rhythm guitar melody and some great lead guitar lines from the guitarist hiding in the back.  I love the intermittent oohs from the various singers.  The two saxes also sound great here too.  The song is capped off with awesome bursts of buzzy guitars at the end of the song.

[READ: November 5, 2017] Cucumber Quest 1

Cucumber Quest was (is?) a webcomic.  This book was originally published (via Kickstarter?) back in 2012.  It is now getting a more formal release from First Second (I don’t know if there are any changes in the book).

The book opens with a monster delivering a sphere to an evil queen: “This makes lucky 7, one more and the world will know the meaning of terror.”

The next page is the Prologue.  Cucumber is a bunny and he is about to go off to the school of his dreams–Puffington’s Academy for the Magically Gifted and/or Incredibly Wealthy).  He is nervous but his younger sister says you’re the biggest nerd I know, you’ll be fine.

But then they get a letter from Cuco’s dad (who was in he room when the queen revealed her plan).  He is concerned about world domination and he says hat only Cucumber can put an end to it.  But Cuco is going to school tomorrow!  Plus he’s a real coward. Meanwhile his sister Almond is pretty exited to go on this quest herself.

There’s some really funny jokes in this section

Mom: “Almond sweetheart, you know it’s too dangerous for you.”  Cuco: “But not for me?”  Mom: “Well, Almond IS your little sister.”

As the chapter ends, “Why does dad find a way to ruin everything?”

The Dream Oracle finds him, she is protector of this world and has important information about his quest.  The Oracle then confirms that little sisters aren’t legendary heroes. (more…)

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