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Archive for the ‘Art’ Category

SOUNDTRACK: RHEOSTATICS-The Siboney Club, Toronto, ON (November 17, 1988).

I thought I had listened to every show on Rheostatics Live and then I saw today that Daron had posted this new (very old) show.  This show is from before they released their second album Melville.  Most of these songs would appear on Melville, but a couple wouldn’t be released until their third album Whale Music.

This is a live cassette recording of Rheostatics at The Siboney club in Toronto November 17 1988 provided by Tom Parry. It is the earliest live versions I’ve heard so far of Christopher, RBC, The Royal Albert, Greensprouts, Horses, Chanson, What’s Going On, Queer and a one off song which I’m not even sure what it is called. Something about Space? The sound quality is rough but it is an interesting document due to the early nature of these songs – Queer in particular.

This show starts off with a TV show (I guess) about the history of hockey with a story that Bobby Hull has signed a contract with the new World Hockey Association and then a clip of Canada v Russia.  I can’t tell if the reaction to the Canadian goal is from the TV or the people in the room.  It goes for about three minutes and then the ripping guitars come in to start “Christopher.”  The first part of the guitar solo is very different from the sound that Martin would eventually get–although the second half of it is pretty raging.

“RBC” is quick and to the point.  Someone (Dave?) starts the intro to “Dope Fiends” but Tim slaps some bass as Dave says they’re going to play “The Royal Albert (Joey 2)” which I didn’t think was written for a few years.

“Dope Fiends” feels faster than usual.  In fact the whole show feels kind of fast.  Is the tape sped up or did they just play faster back then?

Martin starts playing the Green Sprouts Theme Dong with a crazy hopped up vibrato which actually sounds like munchkins.

Dave: Welcome folks!  Hot dogs only $1.75 Dijon mustard is an extra 30 cents.  It’s hand carved by Dave’s Irish grandmother.

I don’t love the song “Ditch Pigs” (from Greatest Hits) but I always like when they play it because by now it’s such a novelty.   There’s a jamming end section in which someone (Bidini?) is singing about the good food “I want an egg salads sandwich and a box of popcorn”.

DB: It’s poetry time from Clark.  Will it be a winsome poem or a lonesome poem.
Clark: It’s not necessarily a poem.  This is more of a lyric than a poem.  I wrote for a friend and it about if you’ve ever worked for somebody who is kinda dumb and they’re mean to you because they feel threatened by you when you just want to be their friend.

It begins: Don’t call me pal or buddy when your not really my friend…

“Horses” is remarkably slow with a thumping bass.  The chorus is almost painfully slow.  But the ending is really intense.  Martin does some great soloing as Dave screams the end, but there’s very little in the way of horse sounds.

“Chanson Les Ruelles” is loose and fun–Tim’s “French” is quite good.   Dave rambles about some kind of voodoo that he put on the Baltimore Orioles pitcher.  And it worked!

Then out comes Tim with the accordion for “What’s Going On Around Here.”  It all sounds quite good even though the tape is sounding worse.

The last three songs sounds pretty bad (in quality).  The song that Daron says he doesn’t know sounds like Dave calls it “Space Arm.”  It’s a stomping heavy song with some ripping guitars.  Wonder whatever happened to it.

“Queer” sounds very different in so many ways.  It has a really long introduction and a decidedly honky-tonk/country feel to the verses.  The verses end with a kind of old-timey rock n roll bah-bah-bah-bah.  And there’s no ending part.  I’m so glad they fixed it up.

The final song is cut off.  It’s a slow song that I recognize but can’t place called “Seems Like.”  I see that it was only ever released on a Green Sprouts music compilation.

This is a great find–one of their earliest shows where you can hear what their new sound is going to be like.

[READ: May 8, 2019] So Much Longing in So Little Space

Karl Ove Knausgaard just never stops writing.  And he never stops exploring the world around him–through words or, in this case, art.

This book is divided into three parts, although unlike his massive tomes, this one is only 233 pages (with pictures).  Before the parts, he offers a little introduction about how he sees art and how he has always been moved by an (admittedly) simple painting by Edvard Munch called Cabbage Field.

There is a longing in this painting of the cabbage field, a longing to disappear and become one with the world.  And that longing…fulfilled the painting for him.  That is why the painting is so good, what disappears re-emerges in what comes into being as he finished the painting, it is still represented in the picture, which fills us again and again with its emptiness.

In Part One he gives a brief biography of Munch.  Everyone knows The Scream of course, but that represented only one brief phase of Munch’s life-long career as a painter.  Indeed, he started painting when he was a teenager, making small pictures of potted plants and interiors and he continued painting until he was eighty years old.

The years are divided somewhat into phases.  First was the apprentice years during which he painted his first masterpiece, The Sick Child, when he was twenty-two.  In the second phase he was searching and trying many styles–from realistic harbor scenes to Impressionist street scenes.   Then comes the period for which he is most famous (The Scream and more).  The final phase was less abstract and more painterly. (more…)

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SOUNDTRACK: THOU-Tiny Desk Concert #847 (May 6, 2019).

I saw Thou play a show last year and they were loud, abrasive and intimidating.  So much so that when I saw this collective of people behind the Tiny Desk, I had to double check to make sure it was the same band.

I mean, the band I saw had a male singer who growled/screamed all of the lyrics.  This band had three women singing and was entirely quiet.

I had a ticket to a show recently featuring Screaming Females (who headlined for Thou last time, too) and what was listed as a rare acoustic show from Thou.  I assume it must have sounded something like this.

And this is pretty awesome.

But what is going on?

The first-ever metal band at the Tiny Desk is a little bit of a head fake. Make no mistake, Thou makes some of the heaviest, most tortuous music around; but the band also constantly experiments with beautifully ornate arrangements that balance its most extreme measures. In a set culled from the acoustic-driven Inconsolable — one of six full-lengths, EPs and splits the band released last year (no, really) — Thou shows us just how crushing quiet can be.

Guitarist KC Stafford plays guitar and sings lead.  The song is brooding and powerful in its slow quietness.

“This is the softest I’ve ever played,” guitarist KC Stafford told me during sound check.  Yes, their downtuned guitars are turned down low at the NPR Music office, but the weight is still ever-present. Stafford takes the lead on “The Hammer” as co-vocalists Emily McWilliams (blonde) and Melissa Guion (dark hair) sing, “Bring down the hammer / A bludgeon to my shrines / Bring down the hammer / To the corpse of my worship.”

McWilliams’ more high -pitched voice is an excellent companion to Stafford’s deeper delivery.

Guion also makes ambient-pop music under the name MJ Guider and MJ Guider was the opening act for the quiet show.

Stafford played bass when I saw them.  The bassist at this show, Mitch Wells, doesn’t look familiar from that night although he and rhythm guitarist Andy Gibbs are founding members (along with lead guitarist Matthew Thudium).  Perhaps Mitch was not around for that tour?  But he certainly brings some mirth to the proceedings.  He;s wearing a crazy bright shirt (not typical for a doom metal band) and he says that playing the Tiny Desk was a big old bucket list.

Even though the band’s line up has stayed pretty consistent since they began in 2005, they have had three drummers.  Tyler Coburn (who might be the reincarnation of Andy Kaufman) joined in 2018 which means I probably didn’t see him at my show.

The cryptic lyrics and melodies are largely written by Bryan Funck, who normally screams his existential despair for Thou. But for these songs and this Tiny Desk, he lurked in the audience.

So that’s where he was.  Turns out that for the Inconsolable EP, he didn’t sing anything, allowing guest vocalists to sing everything.

For the second song “Come Home, You Are Missed” McWilliams sings lead.  She sang on the EP as well.  Guion accompanies her very nicely.  For this song Stafford’s guitar seems tuned down so far you can hear the string vibrating and rumbling as she plays open chords.

The final lines, “Privacy is priceless to me” are repeated three times.

Thou’s decade-plus discography is an exercise in exploration and refinement, finding new textures in heft, which is why this set offers such a slow-burning thrill to its oeuvre.

I am now regretting even more not going to that show.  I can’t get over what a different experience it would have been.

The closing cut, “The Unspeakable Oath,” lead by guitarist Matthew Thudium, is a twinkling grunge song that overlaps guitar melodies with the grace and grandiosity of a whale.

I don’t believe that Thudium ever sang when I saw them, but his voice is fantastic.  He doesn’t even sing on the EP.  His voice seems wasted in a screaming band.

I really like this song a lot.  I like the way the verses quietly build up and then release with a simple but effective guitar riff as a segue to the next part.  The final part of the song also features some interesting/creepy “ahhhs” from McWilliams and Guion which conclude the song very tidily.

[READ: May 6, 2019] “The Escape”

Eddie Prior is the protagonist of this story and he makes a grand entrance.

As the story opens, Eddie has entered the Pavilion and is heading down the grand staircase when he slips (leather dancing shoes on parquet floor).  But he keeps smiling and manages to tap out the beat with each step, rescuing himself as he comes to a stop between two striking women.  Both women are named Millie and both are embarrassed by his attention.

The blonde Millie is dismissive.  The brunette Millie is embarrassed, but finds him handsome.  Later she agrees to dance with him and a year later agrees to marry him.

As with another recent New Yorker story, this one jumps ahead quickly.  There are children, a war, and bitter words but through it all they are Catholic, so they just get on with it. (more…)

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SOUNDTRACK: KARINE POLWART TRIO-Tiny Desk Concert #840 (April 10, 2019).

I had never heard of Karine Polwart and her beautiful and thoughtful music.   And I suppose that’s not surprising.

Scottish singer, songwriter and essayist Karine Polwart seldom comes stateside. She prefers to limit air travel in order to minimize her carbon footprint. She took exception, however, to fly from Edinburgh to New York City to participate in the Carnegie Hall Migrations festival, a celebration of the history of the movement of people all around the world. Polwart and her brother, guitarist Steven Polwart and multi-instrumentalist, Inge Thomson, then escaped New York for a day to play the Tiny Desk here in Washington, D.C.

They play three beautiful songs.  Steven seems to play the main guitar melody while Karine adds lovely accents.

The first song is “Ophelia.”

Polwart writes songs about hope, music that harnesses spiritual power and lyrics that address important social justice themes. Stories of human emotion and the human experience are also commonplace as in the first tune, “Ophelia.”

“There’s a wind in from the desert
Red dust blows across the sun
It bleeds into the evening
We watch it from the garden
Your hair glints in the strange yellow light
We let go of all our fighting
Ophelia”

There’ some very cool sound effects–wind and warped sounds echoing–surrounding this song and I can’t quite tell where they are coming from (presumably from Thomson).  It’s a cool if unsettling backdrop for this pretty song on acoustic guitar with lovely vocals (wondrous backing vocals from Thomson, who also plays a gorgeous accordion solo.

Indeed, the music is wonderful and the blurb describes it perfectly

Lyricism and messages of hope and beauty heard throughout punctuate a stunning accompaniment of inventive instrumentation. The steady, resonant guitar riffs played by Steven Polwart ground the delicate vocal harmonies. Inge Thomson’s accordion lines, combined with an array of percussion instruments and synth-generated effects, add a complimentary layer of sound without overpowering the music. Karine Polwart’s bellowing and drone-like Shruti box provides a sweet serenity.

She speaks with her wonderful accent between songs, introducing the band and then introducing the second song, “I Burn But I Am Not Consumed.”   It features a mesmerizing spoken word denunciation of trump, from his hated golf course back in Scotland to everything he does now.

Your mother was a wee girl once,
who played upon my rocky shore.
And you, you are broken boy,
and you want more and more and more.
You build a tower. You build a wall,
You live in fear that they might fall.
You who see nothing but your face
in the sheen of The Hudson River.

The music is wonderful too.

Read the whole thing here and watch a performance on the eve of the inauguration with an orchestra for the BBC.

How does one follow that up?  With a song called “King of Birds” which praises the power of small things.–in their guile and their nimbleness.

In it Polwart recounts the legend of a wren who piggybacks a lift on an eagle’s wing. Just as the large bird is unable to fly any higher in the sky, the tiny wren catches a breath of air, soars higher than the eagle and is crowned the king of all birds.

Tinkling bells and gentle guitar introduce this verse

“At Ludgate Hill
where the towers of smoke and mirrors bruise the sky
the pilgrims huddle in
as the tiny King of Birds begins to cry
the people start to sing
to light glory in the dark
to ring the bell
and to breathe hope in every heart”

And as the song reaches its loudest Thomson is playing a cymbal and the accordion while she is singing.  Wow.

This concluding blurb is spot on

This performance will quite likely inspire you to learn more about Polwart. The NPR program, Thistle and Shamrock often features her music. This recent episode features cuts from Polwart’s latest album, plus her ideas on movement and migration.

[READ: April 14, 2019] “Medusa”

This is a brutal story about a woman who has been raped.  But the brutality isn’t in the way it happened–in fact, when I first read it I wasn’t entirely sure it had actually happened.  It’s in her reaction to the event and how it changes her life.

It was raining and the narrator left her back door open as she went outside to take out the garbage bags. How could this man have gotten in in that short time?  When she first saw him she thought he was a lost student from across the way.  But it soon dawned on her that that was not his reason for being there.

She introduced herself, trying to humanize herself to this man.  He said his name although she could tell he was just “trying it on for size.”  She got a good look at him–his hair, his tattoos, a good smell of him.  She tried to run but fell in her front hall–leaving her in the perfect position for what he wanted. (more…)

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SOUNDTRACKRHEOSTATICS-Molson Centre Montreal, QC (December 9, 1996).

This is the 21st night of the 24 date Canadian Tour opening for The Tragically Hip on their Trouble At The Henhouse Tour. According to this host of the RheostaticsLive site: This in my opinion is the best show of the tour.

This show opens with the recording of the French language hockey game.  This time you can clearly hear him shouting Esposito!  After the recording fades,

It opens in a very amusing way.  I imagine that Dave and Martin are lying on the stage, because Dave asks, “Martin can you sleep?  I should have been asleep hours ago.”
Martin: “No, I can’t sleep.  I was up all night listening to the Local Rabbits.  Those riffs will keep anybody awake.”
[Tim starts playing the bass].
Dave “I had this weird dream we were playing in a giant rock stadium, opening for Ringo’s All Stars.  It felt really weird.  And everyone was speaking a different language.”
Martin: “Ringo’s really giving it this tour.”
Dave: “I’m just gonna get out of bed and see what Tim and Don are doing.”

They launch into “Fat.”  I really like the nice little bass tag Tim adds to the end while Martin sings “Bye Bye.”

“Aliens” is a nice surprise–I feel they just don’t play it all that much.  The feedbacking guitar segues nicely into a rocking “All the Same Eyes.”

It’s followed by a fun and bouncy “Michael Jackson.”  At the end, Martin says, “It feels good to be alive.”  Tim deadpans, “sometimes.”

Thanks to CSRG & CHUM FM and C5 for coming down and talking to us today.  This is a song [“Bad Time to Be Poor”] that’s getting played on the radio in all the finer dentist offices in the land.

Some cool sounds from Martin open up “California Dreamline.”  The ending part totally rocks until the denouement where it sounds like someone rocks so hard they may have de-tuned their guitar.

They wish Happy birthday to Gary Stokes, the finest soundman in the land.  Which leads to a lovely “Claire” that segues into a quiet intro for “Horses.”  It builds slowly and powerfully.   Lots of repeated lyrics in the middle–threaten to chop, chop.  These signs will wilt–they’re just paper ink and paper.

While martin ends with some wailing horse noises, Dave sings the first two lines of “Another Brick in the Wall” to end the show.

[READ: April 9, 2019] “Both Sides Now”

This is an excerpt from Gainza’s novel Optic Nerve which was translated by Thomas Bunstead.

It’s a little hard to guess what the whole novel is about since the excerpt worked so well by itself.

The narrator notes that one day you develop a fear of flying.

Before you turned twenty-five, flying seemed natural, but now it seems insane.  Nevertheless, you are supposed to fly to an art convention in Geneva. (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: RHEOSTATICS-The Horseshoe Tavern Toronto (February 14, 2001).

After I thought I had finished hearing all of the live Rheostatics I ever would, Rheostaticslive posted four nights from 2001 (Don Kerr on drums).  This was night 1 of 4 of the Horseshoe Tavern’s 53rd Birthday bash.  I often wish I had been daring enough to drive to Toronto back in 2001 to see four nights of a band that I still hope to see rock out this year.

Clark (the band) opened the show.

This show is mostly new material–they played everything from the forthcoming Night of the Shooting Stars except “The Reward” and “Remain Calm” (all new songs are in bold).  The setlists would get pretty divergent by the fourth night.

This recording is great because you can hear the audience too.

As they get ready for “P.I.N.” there’s technical difficulties with Martin’s guitar: “It’s the setting up that’s the most exciting part of the show.”  The song sounds good, although the acoustic guitar is a little flat.

Even though this is primarily a new songs show, they follow up with the goofy “The Pooby Song.”  It’s a fun song with country sounding guitar and then some lunatic soloing from Martin.

Then comes a whole slew of new songs.  “Mumbletypeg” is such a happy fun song, a real pop gem with great backing vocals from Tim and wonderful falsetto from Martin.  It’s followed by “In It Now,” a poppy fun Tim song with a fantastic riff.

Before moving on to “CCYPA” Dave says “pace yourself.”  Martin says, “I don’t need to.”  Don chimes in, “What re you, Sting?”  To much laughter.  The Don notes that “Martin took off his Canadian tartan jacket.”  Dave: “They’ll arrest you in Ontario for doing that.”  “CCYPA” sounds great although Martin seems a little shaky on the words–or maybe it’s just his delivery.  Don is totally smashing the drums.

Opening “Superdifficult” Martin has fun with the voice processor for this song.   I love this song.  It’s so catchy I can’t believe it’s so short since it feels like there’s a lot of parts to it.  I also love “Junction Foil Ball” which is such a weird Martin song.  It sounds great here.   “Song Of The Garden” was on Harmeldoia but it was so good they wanted it on NOTSS as well.  This new recording should have been a huge hit, it’s so catchy.  It’s also got some really wild guitar work at the end–electronic/robotic sounding.

They take a break for some banter.  The Golden Seals.  Mike Bonnell and Dave Merritt from that band helped to write “Garden” and Don says that their then new album Storybook Endings is the best record of the year [a bold statement in February].  They discuss the worst album.  DB: The new Love Inc. album is really bad.  The first one was good.  Then they talk about a cassette tape that Ben Gunning from Local Rabbits made for their road trip.  It was so bad, they threw it out the window in Moncton.  Ironic that it was given to us by a member of a band who has made one of the best records of the year, The Local Rabbits.  Dave also says the Nelly Furtado record is quite deserving of its accolades.

One more new song, “The Fire” is a complex song with multiple parts,  It’s got a lovely melody and a gentle opening sing by Martin.  After a minute and a half, there’s some heavier guitar and lead vocals from Dave.  Then Martin takes over again.  When the two of them sing together at the end, it’s really fantastic.

Then it’s back to two songs from Harmelodia, the incredibly poppy “I Fab Thee” and the sweet “It’s Easy To Be With You” (although Martin tries to make some crazy noises during the solo–with some success).

They acknowledge Valentine’s Day–“It’s win a date with Martin, night.  Guess what color underwear he’s wearing!”  Then they play Martin’s “Valentine Song” called “The Idiot.”

They joke that they won’t play as long tonight: “Fewer songs that aren’t as good, played worse.  That’s our new direction for the 2001s.”

A pretty “Loving Arms” is followed by the story of the French woman who thought Don Kerr’s name was “don’t kerr” (Don’t care).  She also thought that David Bowie stole Don’s look (seriously).  Dave: “Bowie just came off his neck beard 2000 tour.”

The new song “We Went West” is sweet as always and it’s followed by the roaring (and sloppy) “Satan Is The Whistler.”   Martin has some fun with that robotic voice at the end.

Our “nightly dose of new wave” comes with “Four Little Songs,” which they jam out for quite a lengthy middle section.

People have been calling out for all kinds of songs, so Dave says that the next song, “Stolen Car,” combines the majesty of “Horses” with the lyricism of “Aliens,” the suspense of “Fish Tailin'” … what was the other one you wanted to hear?  The pathos of “Record Body Count.”  The solipsism of “Introducing Happiness” ….and (Martin chimes in: “it ameliorates all of them.”  It sounds great and the ending is just dynamite.

After the encore break they come back with a really poppy new Dave song, “Here To There To You.”    Then they actually do play “Fish Tailin’.”

The tape ends with a cool, moody “Saskatchewan” and then a cut-off “Feed Yourself.”  The tape is cut off before they get to the wild middle section, but what is played is pretty great.

[READ: February 13, 2019] “Finissage”

This is a weird post-apocalyptic “story.”  I honestly don’t even know if it’s a story.

The part of the story that I “got” and that I liked was:

The betrayed Earth demanded to be returned to Indigenous stewardship.  It took the crisis of mass extinction to make it so.

[and]

Males hadn’t been born for decades… but this was okay as it meant the patriarchy was finally over.  No more school shootings!  No more dick pics….

That’s awesome.  But the rest of the story, which is only one page, is less so. (more…)

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SOUNDTRACK: CAT POWER-Tiny Desk Concert #821 (February 4, 2019).

I remember when Cat Power was a buzz artist who had signed to Matador.  I bought her album in 1996, but I guess it didn’t leave that much of an impression on me.

Since then, she has been a buzz artist for performing and then for not performing and then for performing again.  All the new music of hers that I have heard seems to get slower and softer.

The biggest surprise about the Tiny Desk Concert was how full of smiles she was and yet the blurb makes her sound uncomfortable:

Most artists who play the Tiny Desk are at least a little nervous. Performing in broad daylight in a working office full of staring faces is outside the comfort zones of most people. But Chan Marshall, the unforgettable voice behind Cat Power, seemed especially uneasy when she settled in for her set. Rather than taking center stage, close to the audience, she stepped back and to the side to be closer to her pianist and friend, Erik Paparazzi, for much of the performance. She intermittently steadied herself by resting a hand under her chin while clutching a cup of tea, and she ran through three songs without a break, making her set sound more like a Cat Power medley than a series of distinct songs.

So I don’t know any of the songs she played here and when I first listened I actually assumed she’d only played two songs because the first two blended together.

Regardless, the music was arresting and beautifully orchestrated, with simple piano lines and brushed drums backing a voice that could only be hers.

Opening with “Wanderer,” the title track to Cat Power’s latest album, Marshall sang of restless love and yearning with a nod toward motherhood and her 3-year-old son: “Twist of fate would have me sing at your wedding / With a baby on my mind, now your soul is in between.”

It has a quiet, simple piano melody (from Erik Paparazzi) and a gentle guitar (from Adeline Jasso) that imperceptibly pushes it forward.  After a minute, the brushed drums (from Alianna Kalaba) come in to add a little snap to the song.

“Woman,” another track from Wanderer starts immediately.  She had recorded this song with Lana Del Rey and I recall liking it. This version sounds so much like the previous song that I don’t even recognize the original in it.  The differences between the two songs are that the piano notes have changed a little (but since they repeat all the way through, it’s not hugely noticeable) and the guitar now uses a slide.  Otherwise the beat is I believe unchanged.

She segues right into “The Moon,” from her 2006 album The Greatest.  The only distinction here is that the guitar and drums stop briefly while the newly repeating piano picks up a slightly different melody.  This song sounds so much like the previous one because she sings the word “Moon” so much like the word “Woman” (often given Moon more than one syllable) I couldn’t tell that she was saying something different.

I suppose if I were in the right mood I would have found this mesmerizing and enchanting.  But mostly I just found it rather dull.

[READ: February 5, 2019] Speak

I hadn’t read this novel and, in fact, I wasn’t exactly sure what it was about (although I knew it was intense).  The only reason I picked it up was because I thought it was a First Second publication and I plan to read all of their books.  This was listed in their 2018 publication list, but it ultimately wasn’t published by them, it turns out.

S. knew the book from her work with teens and said she didn’t want to read the graphic novel version.  So I expected a harrowing, potentially unreadable story.

But Anderson has created an excellent and compelling story built around a harrowing incident.  She also doesn’t detail the harrowing incident until later in the story, so by the time we hear about it we are even more sympathetic to Melinda.

I will say that as the story opened (because I didn’t know the timeline), I thought that the kids were being unrealistically mean to her.  I thought she was a new student at the school (it’s her first year in high school) and I couldn’t imagine why people really had it in for her.  It seemed hard to believe.  Especially as we realize pretty quickly that the incident has already happened.

Then it gradually comes out that kids are mad at her for something she did.  It is connected to the incident, but clearly isn’t about the incident because she hasn’t told anyone about it. (more…)

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