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Archive for the ‘Philip Guston’ Category

SOUNDTRACK: NEW ORDER-“Ceremony” (live) (1981).

Recently, Peter Hook was in Philly to play some New Order music with his band The Light.  I wonder how much different that show sounded from this one.

New Order formed out of the ashes of Joy Division in 1980.

Their first single, “Ceremony,” was actually written with Joy Division prior to Curtis’ suicide. It popped up as a single in advance of New Order’s 1981 debut album, Movement, which is about to receive the deluxe-reissue treatment; to commemorate the occasion, the band is circulating a little-seen performance of “Ceremony,” recorded live at Manchester’s CoManCHE Student Union.

Imagine having been at that show in 1981?

The music sounds amazing here–the guitar sound is perfect, the bass and drums are spot on.  But the vocals are terrible.  Practically inaudible.  I realize that he’s mostly speak/singing at this time, but you really can’t really hear him at all on the first verse.  It’s a little better on the second verse, but it’s the instrumental break that’s the real high point.

You can read about the re-release here.

[READ: January 23, 2019] “Cream”

The first line of this story sounds like it could describe most of Murakami’s stories:

So I’m telling a friend of mine about a strange incident that took place back when I was eighteen.  I don’t recall exactly why I brought it up.  It just happened to come up as we were talking.

Murakami is all about the strange incident.

He gives some details about himself at the time–finished high school, not yet in college–when he received an invitation to a piano recital.  The invitation came from a girl who was a year behind him in school but who went to the same piano teacher. They once played a piece together but she was clearly much better.  He’d stopped playing and obviously she had gone on to give a recital .

The recital hall was at the top of a mountain in Kobe.  He took a train and then a bus and then had a short walk to get to the venue.  It was a weird, inconvenient place for a concert venue.  He brought flowers to show his appreciation. (more…)

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McSweeney’s #13 (2006)

13SOUNDTRACKPARTS & LABOR-Stay Afraid (2006).

partslaborParts & Labor have changed t heir style over the years going from noisemakers who have a melody to being melodious noisemakers.  This album is one of their earlier releases when noise dominated.  Right from the opening you know the album is going to be a challenge.  The first song has pounding drums (electronics that sound like bagpipes) and heavy distorted shouty vocals.  By the end of the songs there is squealing feedback, punk speed drums and screaming distorted vocals (complete with space sound effects).  It’s an aggressive opening for sure.  Song two opens with a long low rumbling and then “Drastic Measures” proves to be another fast-paced song.

“A Pleasant Stay” is 5 minutes long (most of the rest of the album’s songs are about 3 minutes).  It continues in this fast framework, although it has a bit more open moments of just drums or just vocals.  The way the band plays with feedback in the last minute or so of the song  very cool.

“New Buildings” has a hardcore beat with a guitar part that sounds sped up.  “Death” is a thumping song (the drums are very loud on this disc), while “Timeline” is two minutes of squealing guitars.  “Stay Afraid” has a false start (although who knows why–how do these guys know if the feedback sounds are what  they wanted anyhow?).  The song ends with 30 seconds of sheer noise).  The album ends with the 5 minute “Changing of the Guard” a song not unlike the rest of the album–noisy with loud drumming and more noise.

The album is certainly challenging, it’s abrasive and off putting, but there;s surprising pleasures and melodies amidst the chaos.   Indeed, after a listen or two you start to really look forward to the hooks.  If you like this sort of thing, this album s a joy.  It’s also quite brief, so it never overstays its welcome.

[READ: April 15, 2011] McSweeney’s #13

I have been looking forward to reading this issue for quite some time.  Indeed, as soon as I received it I wanted to put aside time for it.  It only took eight years.  For this is the fabled comics issue.  Or as the cover puts it: Included with this paper: a free 264 page hardcover.  Because the cover is a fold-out poster–a gorgeous broadside done by Chris Ware called “God.”  And as with all Chris Ware stories, this is about life, the universe and everything.  On the flip side of the (seriously, really beautiful with gold foil and everything) Ware comic are the contributors’ list and a large drawing that is credited to LHOOQ which is the name of Marcel Duchamp’s art piece in which he put a mustache on the Mona Lisa.  It’s a kind of composite of the history of famous faces in art all done in a series of concentric squares.  It’s quite cool.

So, yes, this issue is all about comics.  There are a couple of essays, a couple of biographical sketches by Ware of artists that I assume many people don’t know and there’s a few unpublished pieces by famous mainstream artists.  But the bulk of the book is comprised of underground (and some who are not so underground anymore) artists showing of their goods.  It’s amazing how divergent the styles are for subject matter that is (for the most part) pretty similar: woe is me!  Angst fills these pages.  Whether it is the biographical angst of famous artists by Brunetti or the angst of not getting the girl (most of the others) or the angst of life (the remaining ones), there’s not a lot of joy here. Although there is a lot of humor.  A couple of these comics made it into the Best American Comics 2006.

There’s no letters this issue, which makes sense as the whole thing is Chris Ware’s baby.  But there are two special tiny books that fit nearly into the fold that the oversized cover makes.  There’s also two introductions.  One by Ira Glass (and yes I’d rather hear him say it but what can you do).  And the other by Ware.  Ware has advocated for underground comics forever and it’s cool that he has a forum for his ideas here.  I’m not sure I’ve ever read prose from him before. (more…)

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