Feeds:
Posts
Comments

Archive for the ‘Don DeLillo’ Category

dfwreadSOUNDTRACK: CHRISTIAN SCOTT aTUNDE ADJUAH-Tiny Desk Concert #477 (October 9, 2015).

aacsChristian Scott aTunde Adjuah and his septet play what he calls stretch music: “the particular type of jazz fusion he’s up to: something more seamless than a simple collision of genre signifiers.”

They note that even his appearance stretches traditional jazz: “You may note that he showed up in a Joy Division sleeveless T-shirt and gold chain.” It’s sleek and clearly modern, awash in guitar riffs, but also bold and emotionally naked.

Christian Scott aTunde Adjuah (not sure how to abbreviate that) is a trumpeter and he can hit some loud powerful and long –held notes.   It’s funny that when he bends over the trumpet grows quieter—those ic really are direction-based.

For the first song “TWIN” he does some impressive soloing over a simple and cool beat—piano and delicate guitar riffs (there’s also an upright bass and drummer).   After his lengthy solo there’s a flute solo that also works perfectly (if less dramatically) with the background music.  (Christian plays tambourine during her solo).  He says that this song is about being a twin.  His brother, Kyle Scott is a film director and for whom Christians scores the music.  Christian also explains that he comes from an African-American and Native-American background and that this song has rhythms as a sort of history of his family that touches on Mali, Senegal Gambia and The Ivory Coast and makes its way to the Caribbean, Cuba and into New Orleans.

He’s pleased to play the Tiny Desk Concert for an audience that appreciates “Music that has nutritional value.”

For the second song, “West of the West” he brings on a young alto-saxophonist who plays with his drummer in a different band. The song opens with a rocking electric guitar solo and then the jazzy band kicks in behind it.  The instrumental features a couple of solos by the saxophonist, the pianist and the bassist.

“K.K.P.D.” is a dramatic song for which he gives a lengthy back story.  Many years ago in his home of New Orleans, he was stopped by New Orleans police late at night for no reason other than to harass and intimidate him.  he was coming back from a gig.  He resisted and was in a serious situation and was seriously threatened—the story is long and very affecting, especially given how articulate (I know, terrible word, but true) and calm he is about retelling this horrifying story.  His pride almost made him do something ill-advised, but instead he channeled that pent-up frustration into a piece of music whose long-form title is “Ku Klux Police Department.”

He adds that we see things on TV about inner cities or the ninth ward and we believe them to be true.  Like that the neighborhood is happy that the police are clearing out the youth there.  We begin to think that the narrative is true, although the people who live there can tell you otherwise.  Despite the title and the origin, the is song is designed to reach a consensus to move forward –not to build derision or hate.  He says that we have to start working on that now, because if it doesn’t start now then our children will continue to inherit this situation.

It opens with a noisy guitar wash and fast drums.  It’s quite noisy and chaotic although it resolves very nicely into an almost sweet piano-based song with slow horns.  The middle of the song ramps up with some intense soloing from Christian.  I love how that segues into a very different section with an electronic drum and delicate piano.  Chritsian’s next solo is much more optimistic.  The final section is just wonderfully catchy.

When he introduces the band, he points out just how young some of his newest members are: Drummer Corey Fonville (another new member) used a djembe as a bass drum, and also brought a MIDI pad so he could emulate the sound of a drum machine; Lawrence Fields, piano; Kris Funn, bass; Dominic Minix , guitar (21 years old); Braxton Cook, saxophone (24 years-old) and Elena Pinderhughes, flute: 20 years old!

I don’t listen to a ton of jazz, but I really liked this Tiny Desk Concert a lot.

[READ: July-October 2016] The David Foster Wallace Reader

I’ve had this book since Sarah bought it for me for Christmas in 2014.  I haven’t been in a huge hurry to read it because I have read almost everything in it already.  And some of that I have even read recently.  But this summer I decided to read some of my bigger books, so this was a good time as any.

One of the fascinating things about reading this book is the excerpting in the fiction section.  I have never really read excerpts from DFWs longer books before.  And once you decontextualize the parts, you can really appreciate them for themselves rather than as a means to the end of the story.  This is especially true of the excerpts from Broom of the System and Infinite Jest.  But also just reading some of these sections as a short story makes for an interesting experience.

It was also very interesting to read the non-fiction all together like that.  These pieces come from difference anthologies, but they have thematic similarities  So, placing them together like that allows for really comparing the stories.

And of course, the selling point for most DFW fans is the teaching materials in the center of the book–an opportunity to look into the man’s mind at work shaping younger minds.

I have written about virtually everything in this book already (title links refer back to previous posts), so mostly these are thoughts about the pieces themselves and not a part of a whole. (more…)

Advertisements

Read Full Post »

april16SOUNDTRACK: SEAN ROWE-Tiny Desk Concert #157 (September 16, 2011).

seanropwe Rowe (rhymes with how) is a burly, bearded folk-singer-songwriter.  When he’s not singing he is into wilderness survival and primitive living.

Before the third song he tells a lengthy story about going out into the woods with just a knife and surviving on whatever he could find.  If you’re interested in his stories, you can read about them on his site.

Rowe plays three songs.  For the first, “Night” he stands and plays a rather delicate guitar.  I don’t love his voice though, especially during the ending “where is my lord?” part.

I was amused by him when he said that for $200 he would eat the toast that is on the shelves behind him.  Robin asks if it’s really that hard out there.

He plays a different guitar (and sits on a stool) for “Bluegrass Baby.”  He sings and plays louder on this song.

The final song, “Surprise,” is my favorite.  I like the repeated riff that he plays, and his voice seems to work better with this louder song.  I especially love the great strumming/picking thing he does at the end

For sure, Rowe is a fascinating character.

[READ: March 13, 2016] “Plexiglass”

This is an excerpt from DeLillo’s novel Zero K (I do like that Harper’s tells you that it is an excerpt right from the get go).

I found that I didn’t rally like DeLillo’s last excerpt that I read.  His books are pretty complex and multifaceted and typically an excerpt doesn’t do it any kind of justice.  And while I enjoyed this one more, it still felt very spare.  And without context clues it’s kind of hard to get invested in the story.

Especially since in this case all of the characters seem to be rather unemotional themselves. (more…)

Read Full Post »

CoverStory-2-22-16-879x1200-1455509711 SOUNDTRACK: JULIEN BAKER-Tiny Desk Concert #512 (March 7, 2016).

julienI had never heard of Julien Baker before this Tiny Desk Concert.  Indeed, she looks young enough that perhaps this is her first concert (it isn’t).

Baker plays a lovely, slightly echoey, but otherwise very clear electric guitar.  Her tone is so clear and quiet.  And her voice is also incredibly delicate.  Watching her play and sing it’s amazing you can hear anything at all, and yet she does not wilt in any way–her music is delicate but not whispered.

As with many players these days, she uses a looping pedal to great effect.  For the first song, “Sprained Ankle” she loops the lovely harmonics at the beginning of the song and then allows for the multiple layers to play.  Her vocals are as gentle as the harmonics, and yet, again, not whispery.  At barely 2 minutes, the song leaves you wanting more.

She talks about doing a new song for them called “Sad Song #11” since “I already have ten sad songs.”  She thanks everyone for their “courteous laughter.”  And then plays another beautiful song now officially titled, “Funeral Pyre.”  She has a very nice way with words: “Ash for a decorative urn you keep on your mantelpiece like a trophy for everything.”  There’s a beautiful layered guitar solo at the end too.

The introductory guitar lines from “Something” are really lovely–her sound is just so clear–and once again, the song is beautiful and haunting with her repeated lyrics sounding more powerful with each go around.

The blurb about the show references Torres, and I totally see the deference.  They don’t sound anything alike in that Torres is brash and loud, but they have that same up-close and intimate vibe.  For Baker, it makes you want to lean is as she sings.

[READ: February 17, 2016] “sine cosine tangent”

I have always meant to read more from DeLillo, I just never do.

And while I have enjoyed all of the things I have read by him, I didn’t love this story so much.  Okay, I’ve since found out that this is an excerpt, which changes things.  I’ll keep my review the same but with bracketed realizations pertaining to the novel.

This is the story of a young man (his age in the story is unclear to me, and I’m not sure how much distance separates the present from the past [presumably this is covered in the novel]) and his relationship with his father.  His father is a successful businessman but the son says that he “shaved a strip of hair along the middle of my head, front to back, I was his personal Antichrist.”

His father left when he was 13, although he never found out why.  Years later, he sees his father, Mr Ross Lockhart on the TV, discussing the ecology of unemployment in Geneva. (more…)

Read Full Post »

dfwSOUNDTRACK: BUILT TO SPILL-Ultimate Alternative Wavers (1993).

Bts I am going to see Built to Spill this Friday.  I was supposed to see them back in 2001, but then some bad things happened in New York City and their show was cancelled (or I opted not to go–I see on Setlist that they did play that night).  Since then, I have enjoyed each new album more than the previous one, so I am really excited to see them.

I thought it would be interesting to revisit their earlier records.  In reading about the band I learned that Doug Martsch was in Treepeople (which I didn’t know and who I don’t really know at all).  I also learned that his plan for BtS was to have just him with a different line up for each album.  That didn’t quite work out, but there has been a bit of change over the years.

Their debut album is surprisingly cohesive and right in line with their newer material.  It’s not to say that they haven’t changed or grown, but there’s a few songs on here that with a little better production could easily appear on a newer album.  Martsch’s voice sounds more or less the same, and the catchiness is already present (even if it sometimes buried under all kinds of things).  And of course, Marstch’s guitar skill is apparent throughout.  The album (released on the tiny C/Z label) also plays around a lot with experimental sounds and multitracking.  When listening closely, it gives the album a kind of lurching quality, with backing vocals and guitars at different levels of volume throughout the disc.

But “The First Song” sounds like a fully formed BtS song–the voice and guitar and catchy chorus are all there..  The only real difference is the presence of the organ in the background.  “Three Years Ago Today” feels a bit more slackery–it sounds very 90s (like the irony of the cover), which isn’t a bad thing.  The song switches between slow and fast and a completely new section later in the song.  “Revolution” opens with acoustic guitars and then an occasional really heavy electric guitar riff that seems to come from nowhere.  The end of the song is experimental with weird sounds and doubled voices and even a cough used as a kind of percussion.

“Shameful Dread” is an 8 minute song.   There’s a slow section, a fast section, a big noisy section and a coda that features the guys singing “la la la la la”.  Of course the most fun is that the song ends and then Nelson from The Simpsons says “ha ha” and a distorted kind of acoustic outro completes the last two minutes.

“Nowhere Nuthin’ Fuckup” is one of my favorite songs on the record.  There’s a sound in the background that is probably guitar but sounds like harbor seals barking.  I recently learned that the lyrics are an interpretation of the Velvet Underground’s “Oh! Sweet Nuthin.”  They aren’t exactly the same but are very close for some verses.  The rest of the music is not VU at all.  In fact the chorus gets really loud and angular.  I love the way the guitars build and then stop dramatically.

“Get a Life” opens with a wild riff that reminds me of Modest Mouse (who cite BtS as an influence), but the song quickly settles down (with more multitracked voices).  I love how at around 4 minutes a big swath of noise takes over and it is resolved with a really catchy noisy end section.  “Built to Spill” starts out slow and quiet, and grows louder with a catchy chorus.  In the background there’s all kinds of noisy guitars and superfuzzed bass.

“Lie for a Lie” is pretty much a simple song with s constant riff running throughout.  The verses are catchy, but the middle section is just crazy–with snippets of guitars, out of tune piano, a cowbell and random guitar squawking and even shouts and screams throughout the “solo” section.  “Hazy” is a slow song with many a lot of soloing.  The disc ends with the nine minute “Built Too Long, Pts 1,2 and 3”  Part 1 is a slow rumbling take on a riff (with slide guitar and piano).  It last about 90 seconds before Part 2 comes in.  It has a big fuzzy bass (with a similar if not identical riff) and wailing guitar solos.  Over the course of its five or so minutes it get twisted and morphed in various bizarre ways.  With about 30 seconds left, Chuck D shouts “Bring that beat back” and the song returns, sort of, to the opening acoustic section.

While the album definitely has a lot of “immature” moments (and why shouldn’t the band have fun?) there’s a lot of really great stuff here.

btstix

[READ: September 26, 2015] Critical Insights: David Foster Wallace

It’s unlikely that a non-academic would read a book of critical insights about an author.  Of course, if you really like an author you might be persuaded to read some dry academic prose about that author’s work.  But as it turns out, this book is not dry at all.  In fact, I found it really enjoyable (well, all but one or two articles).

One of the things that makes a book like this enjoyable (and perhaps questionable in terms of honest scholarship) is that everyone who writes essays for this collection is basically a fan of DFW’s work.  (Who wants to spend years thoroughly researching an author only to say means things about him or her anyway?).  So while there are certainly criticisms, it’s not going to be a book that bashes the author.  This is of course good for the fan of DFW and brings a pleasant tone to the book overall.

For the most part the authors of this collection were good writers who avoided a lot of jargon and made compelling arguments about either the book in question or about how it connected to something else.  I didn’t realize until after I looked at the biographies of the authors that nearly everyone writing in this book was from England or Ireland.  I don’t think that makes any difference to anything but it was unexpected to have such an Anglocentric collection about such an American writer (although one of the essays in this book is about how DFW writes globally).

Philip Coleman is the editor and he write three more or less introductory pieces.  Then there are two primary sections: Critical Insights and Critical Essays. (more…)

Read Full Post »

dtmaxSOUNDTRACK: TOM WAITS & KEITH RICHARDS-“Shenandoah” (2013).

roguesgallery-f8be47f3887d51de57ea842a129f0a722e53ef74-s1This tune comes from the album Son Of Rogues Gallery.  The album is, of all things, a sequel to the album Rogues Gallery.  The full title is Son Of Rogues Gallery: Pirate Ballads, Sea Songs & Chanteys.  The first album was a kind of novelty–I can’t even say novelty hit as I don;t know if it was.  But it must have had some success because here’s a second one (and there’s no Pirates of the Caribbean movie to tie it to).

The album has 36 songs (!) by a delightful collection of artists, including: Shane MacGowan, Nick Cave, Macy Gray, Broken Social Scene, Richard Thompson, Michael Gira and Mary Margaret O’Hara (among many others).  I enjoyed the first one, but I think the line up on this one is even better.

“Shenandoah” is not a song that I particulalry like.  Because it is traditional, I have a few people doing versions of it, but I don’t gravitate twoards it–it’s a little slow and meandering (like the river I guess) for me. And this version is not much different.  What it does have going for it is Waits’ crazed warbling along with even crazier backing viclas from Keith Richards (there;s no guitar on the track).

[READ: January 7, 2012] Every Love Story is a Ghost Story

I had mixed feelings about reading this biography.  I’m a huge fan of David Foster Wallace, but I often find it simply disappointing to read about people you like.  And yet, DFW was such an interesting mind, that it seemed worthwhile to find out more about him. Plus, I’ve read everything by the guy, and a lot of things about him…realistically it’s not like I wasn’t going to read this.  I think I was afraid of being seriously bummed out.  So Sarah got me this for Christmas and I really really enjoyed reading it.

Now I didn’t know a ton about DFW going into this book–I knew basics and I had read a ton of interviews, but he never talked a lot about himself, it was predominantly about his work.  So if I say that Max is correct and did his research, I say it from the point of someone full of ignorance and because it seems comprehensive.  I’m not claiming that he was right just that he was convincing.  And Max is very convincing.  And he really did his research.

It’s also convenient that DFW wrote a lot of letters–Max has a ton of letters to quote from.  And DFW wrote to all kinds of people–friends, fellow authors  girlfriends, colleagues….  Aside from old friends, his two main correspondents were Don DeLillo, whom he thought of as a kind of mentor, and Jonathan Franzen, whom he considered one of his best friends and rivals.  I guess we can also be thankful that these recipients held on to the letters. (more…)

Read Full Post »

SOUNDTRACK: WILD FLAG-Wild Flag (2011).

For reasons unclear to me now, I wasn’t psyched when I heard about this band.  Despite the fact that it was 2/3 of Sleater-Kinney and the force behind Helium joining together, I didn’t jump for joy.  But now that I have listened to the album a million times, I can say that it is one of the best albums not only of that year, but of many years.  Man is it good.

Sleater-Kinney was a great band, they were melodic and tuneful but also abrasive and occasionally off-putting.  Who knew that the majority of the adhesiveness came from Corinne Tucker (well, she was the screamer, admittedly).  It’s pretty clear that Carrie Brownstein is bringing a ton of melody (and a wee bit of amativeness) to the mix.  Mary Timony always included trippy imagery and a weird kind of whispered/loud singing voice.  The tunes are so catchy so strong, so singalongable.

There’s little moments in each song that are amazing.  The backing vocals (and the pitch shift in the chorus) in “Romance”.  The way “Something Came Over Me” sounds so different from “Romance” (and is clearly a Timony-sung song).  I absolutely love the guitar “solo” that begins each verse and how it stands out but fits in so nicely as a baritone guitar sound (I assume from Carrie?)  “Boom” is just a full-on rocker with some great guitar pyrotechnics and Carrie’s more extreme vocals.  And man is it catchy.

“Glass Tambourine” is a cool trippy psychedelic workout  that’s still catchy and interesting.  “Endless Talk” has a strange British retro vibe.  (Carrie seems to be singing with a kind of punk British voice).  And there’s lot of keyboards.  It’s great that the album has so many different sounds, but still sounds cohesive.  “Short Version” has some great guitar soloing in the front and back.  “Electric Band” is like a perfect pop song–great backing vocals, great poppy solos and a cool video to boot.  “Future Crimes” is another amazing tune, with a keyboard solo!

“Racehorse” is probably my least favorite song on the disc.  It’s got some cool parts and some interesting swagger (and I like the live versions where they really jam) but the album version feels a little dragged out (although the chorus is really hot).  The disc ends with the wonderful “Black Tiles” which could easily be a Helium song, but which still sounds very Wild Flag.

And, I can’t say it enough, Janet Weiss is amazing on drums.  I feel badly because I tend to leave out the keyboardist–because I don’t know who she is or the band that she came from.  But her keyboards play an essential role in the music.  They fill out the spaces that the two guitars don;t always fill.  They even introduce the opening of the album.

If you go back through previous posts you’ll see I’ve mentioned them 3 times already because they have special bond with NPR and three of their concerts are available there.  I can’t wait for more from them.

[READ: May 8, 2012] Grantland 2

I was surprised at how much I enjoyed Grantland #1.  So I was pretty excited to get Grantland #2.  #2 has all of the elements that I loved about #1–non-sports articles about entertainment (video games, music, TV), and sports articles that are short and digestible for a non-sports fan.  This issue also features a number of really long articles about basketball.  I like basketball fine, but I can’t say I paid any attention to the lockout.  Thus, much of this was lost on me. It probably doesn’t help that I don’t know any sports people either.

I may have said this last time, but I will reiterate for Issue #3–for those of us who don’t follow sports, or those of us who may not remember back to September when most of these articles were written, or heck, for people who are going to read this in ten years’ time:  For certain articles, can you give us an epilogue about what happened after the article was written.  If you speculate about  the lockout. Have an epilogue to say about how the lockout turned out.  If you talk about a game 5 of a series and the series didn’t end, have an epilogue that tells us how the series ended.  It doesn’t have to even fit the style of the article, just a few words: so and so ended like this. It can show how prescient the writers were.  And it can help us complete the stories.

So, despite a few articles that I thought were too long, (although probably aren’t if you love basketball) I really enjoyed this issue of Grantland, too. (more…)

Read Full Post »

SOUNDTRACK: ULVER-A Quick Fix of Melancholy (2005).

This EP came two years after Teachings in Silence (with a movie soundtrack and “greatest hits” collection in between).  This first track, “Little Blue Bird” is a simple soundscape with echoey keyboards.  When Garm starts singing, his most emotional side comes through (even if I really can’t understand him most of the time).

“Doom Sticks” belies its name and the EP title by being somewhat upbeat.  There are kind of squeaky keyboards that pulsate through the track.  After about a minute and a half, distorted drums keep a martial beat.  But it quickly morphs into a twinkly section that makes me think of the Nutcracker or some other kind of Christmas special.

“Vowels” is similarly upbeat (the music on both of these two tracks has a vaguely Christmastime feel somewhere in there–not that anyone would think these were in any way Christmas songs, or maybe it’s because I’m listening in mid-December).  For this, we get a return of Garm’s choral voice: deep, resonant and hard to understand (although I undertsand the lyrics are from a poem by Christian Bok).   But the poem quickly makes way for some dramatic staccato strings. 

“Eitttlane” begins with some menacing keybaords and staccato notes, creating a feel of a noir movie.  But when the vocal choir comes in, it gets even more sinister.

These Ulver EPs are really true EPs–stopgap recordings for fans.  Their larger works tend to be more substantial, but these EPs allow them to play around with different styles.

[READ: December 1, 2011] “Laureate of Terror”

Two authors I admire in one article, how about that!  In this book review, Martin Amis reviews Don DeLillo’s first collection of short stories and gives a summary of DeLillo’s work.

Amis opens the article by undermining my plans for this blog.  He states point blank than when we say we love an author’s works, we “really mean…that we love about half of it.”  He gives an example of how people who love Joyce pretty much only love Ulysses, that George Eliot gave us one readable book and that “every page of Dickens contains a paragraph to warm to and a paragraph to veer back from.”  Also, Janeites will “never admit that three of the six novels are comparative weaklings (Sense and Sensibility, Mansfield Park and Persusaion).  [I still hope to read all of the books by the authors I like].

Amis says he loves DeLillo (by which he means, End Zone, Running Dog, White Noise, Libra, Mao II and the first and last section of Underworld).  And he also seems to really like The Angel Esmeralda: Nine Stories,(well, much of it anyway), DeLillo’s first (!) short story collection

His main assement is that these pieces are a vital addition to DeLillo’s corpus.  (more…)

Read Full Post »

Older Posts »