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Archive for the ‘Matt Kindt’ Category

SOUNDTRACK: BIDINIBAND AND FRIENDS-Yukon Arts Centre, Whitehorse YT (February 10, 2011).

Stolen From A Hockey Card

From the City of Charlottetown:

Hosted by CBC’s Ron MacLean, Stolen From a Hockey Card is a hockey-themed concert which pays tribute to Canada’s love and passion for the game of hockey. The impressive all-Canadian line-up of artists for the concert includes songstress Sarah Harmer, Chris Murphy (Sloan), Lennie Gallant, Stephen Stanley (Lowest of the Low), Carmen Townsend, Liam Corcoran (Two Hours Traffic), Bidiniband and former New York Islanders great and Hockey Hall of Fame member Bryan Trottier.  [Not all of these performers are included below, if they were all there].

Each artist will write their own hockey-themed song which they will perform for the first time as part of the concert. In addition to their newly-written hockey song, each artist will also perform one of their own original songs. Bidiniband, featuring Dave Bidini, formerly of acclaimed rock band The Rheostatics and creator of the Stolen From a Hockey Card concert, will serve as house band for the evening.

The official line up: Paul Linklater – guitar; Douglas Friesen – bass; Don Kerr – drums
Geoff Berner – vocals, accordion; C.R. Avery – vocals; Buck 65 – vocals; Dave Bidini – vocals, guitar; John K. Samson – vocals, guitar; Kim Barlow – vocals, banjo; Mathias Kom – vocals, guitar;  Sarah Harmer – vocals, guitar

There are 12 songs in total

Geoff Berner wrote “Fighting To Stay in the Game” The lyrics begin: “Mike Keenan ruined watching the Canucks for me when he traded away Trevor Linden.” It’s a rocking song that goes beyond hockey: “I’m just fighting to stay in the game… to keep the love of our spouses. …to keep the banks from taking our houses. …to keep the respect of our children. …to making a living not making a killing.”

I loved this verse about a hockey player I had not heard of: “As the first nations leader Gino Odjick met with the Pope (it’s true) / The Pope apologized for the Church’s role in Canada’s residential schools / I wondered if he was tempted to grab him by the jersey and pop him a few / but no, Gino forgave him.  Said it was important to work together to build the future anew.”

After this one, he says, “I’m going to revert to form play a new song.  It’s about people on the run trying to get to a country that is safe.  There are a lot of people knocking on the door to Canada and we could have kids from Sri Lanka or Haiti playing hockey in the future.  And that would be a good thing.  The song is called “Wealthy Poet.”  It’s all accordion and vocal–cool wild accordion riffs in between a strongly sung melody.

C.R. Avery performed “Already The Great One,” his story of the Wayne Gretzky transfer.  He says, “I sat down to write a story about Eric Lindross–meant to write a good murder ballad.  But that memory of Gretzky crying…” Avery has a raspy Springsteenish voice in this piano ballad.  I enjoyed this section quite a bit: “I wanted to be that kid from Brantford, Ontario–between the pipes in a ski mask / I was cool like Ken Dryden / I was bad ass like Grant Fuhr  / An arrogant outlaw: part Billy the Kid, part Patrick Roi (screamed wonderfully)–noisy screaming big loud pianos and guitars.  It’s a great climax.  And then after 5 minutes there a really intense electric harmonica solo.

Folk rapper Buck 65 was up next.  He says, “So yea this is called ‘The Borje Salming Massacre’ a song about the night in November 1986 that Borje Salming got cut on the face and required 200 stitches.  The backing band plays along–the chorus is a slightly disturbing “look away.”  He talks about how he always wanted to be a hockey star, but after that incident, form which he couldn’t look away, even though “the Leafs won that game in the end  / but I never played hockey again.”  He also plays a short fun song called “Wicked and Weird” (not hockey related).  It’s his folky rap delivery over some interesting electronic percussion and samples.

Dave Bidini and Bidiniband performed “Val Marie.”  Bidini talks about being a Leafs fan but when he was in grade 10 he made a TV tray and put Bryan Trottier’s face n it.  Why not a leaf?  He can’t say.  But Bryan Trottier and his brother used to play in Val Marie Saskatchewan, and he says je was one of “hockey’s greatest musicians.”

John K. Samson is there “making his case for Reggie Leach joining the hall of fame.”  His song  “Petition” has a “choir” backing him: “we the undersigned put forth his name.”   The host asks him why Reggie Leach. “I always thought he was an exemplary and fascinating player.  Growing up I was not a Flyers fan, I was more of a Habs fan, but we made an exception for Reggie because he as from the Interlake Region….  Woah.”  Reggie Leach comes up on stage.  Samson: “I’m flabbergasted.”  Samson, also plays “a song about curling.  he was at the Dawson City 112th international bonspiel.”  He plays a solo version of The Weakerthans’ “Tournament of Hearts.”

Kim Barlow’s “One Good Goalie” is an ode to Jaroslav Halák.   She says, “this is for people who like goalies and appreciate their nobility.  And it’s also for the gals who play hockey.  She started playing and says “All the cool girls all play hockey in the Whitehorse women’s hockey league.”  She sings that the first game she watched was for her boyfriend. But the game we caught that night was “the shining hour of Halák–he stopped 53 pucks they kept coming but he didn’t crack.”  The chorus is just a repeated Halák, with a final line: “one good goalie made me understand I was born a Habs fan.”   t

Mathias Kom sings “Dear Phoenix.”  He says, “I went back to Winnipeg and was digging into the municipal archives and found a letter written by the city of Winnipeg that began, “Dear phoenix.”  The Winnipeg Jets were transferred from Winnipeg to Phoenix in 1996.  The letter reads in part:  “Do you think they’ll be happy trading parkas for sunscreen.  They say gentlemen prefer blondes but these are no gentlemen, they grew up with blood on frozen ponds.”   He says the letter notes that they’d give it 15 years.  18 years later they changed the team name from the Phoenix Coyotes to Arizona Coyotes, which is not quite the same thing.  Everyone enjoyed this line: “you can take the Jet out of the ‘Peg but never the ‘Peg out of the Jet.”  And this fun conclusion:

I know there’s nothing I can do so please treat them well be loyal be kind and be true.  Just so you know if i see you around my gloves will come off, you know i’ll throw down, oh Phoenix, I mean it I’ll break your arms and your legs okay, better sign off now.  Yours truly, Winnipeg.  Go Jets Go.”

Sarah Harmer “straight from the Wolf Island hockey tournament.  She plays “Go to Sleep” and explains that “she had to go to bed after the first period and she would listen to games upstairs.  Her dad used to do this one resounding clap when the Leafs scored.  She imagined asking him to do two claps when they other team scores, but she never had the nerve.  It’s a tender lullaby.  The other song is “Harold Harvey Rink,” written by Luther Wright.  Its a romping song about being a young hockey player and the various indignities you suffer for the love of the game.

Dave ends the night with “Land is Wild.”  A somewhat subdued version of the song, probably because of the setting.

This is a fun show and is not the only Stolen From a Hockey Card Night.  I don;t think it’s annual , but there was another one in 2015.

From the RheostaticsLive site:

Still have an old shoebox filled with hockey cards from your childhood? Did you sneak outside for a game of street hockey when you were supposed to be doing homework? Remember providing your own play-by-play, ending with “He shoots, he scores!!”?

This concert’s for you – all Canadian music celebrating the sport of hockey. Hear songs freshly written and performed by Dave Bidini and BidiniBand, C.R. Avery, Kim Barlow, Buck 65, Geoff Berner, Sarah Harmer, John K. Samson, and Mathias Kom. From Wayne Gretzky to Reggie Leach, from Borje Salming to Jaroslav Halak – emulated players get idolized in song.

Dave Bidini coerced this incredible line-up of stars to convene in Whitehorse to celebrate Scotia Bank’s Hockey Day in Canada back on February 10, 2011. The Yukon Arts Centre won’t ever be the same! (Eric Mac Innis)

[READ: April 13, 2017] Sweet Tooth: Unnatural Habitats

Despite all of the action in the previous book, Lemire slows things down to give us a flashback.  And, wow, is it a good one.

Matt Kindt does the art for the first part, a wonderful old-fashioned-looking journal type story.  Indeed the story is the journal of Dr James Thacker, September 4, 1911.

He has set sail to the Arctic Ocean to retrieve his sister’s fiancee.  The guy agreed to marry Thacker ‘s sister, but first wanted to go to the Arctic as a missionary.

The fiance wrote home regularly but then the letters stopped. People feared the worst but his sister needed to know the truth.  So Thacker and his family spent a considerable fortune (which they had), to commission a boat to find this man.   Thacker feels a sense foreboding about the trip and well he should. (more…)

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redSOUNDTRACK: LE FLY PAN AM-fpamCeux qui inventent n’ont jamais vécu (?) [CST019] (2002).

After their previous EP, Le Fly Pan am (note the addition of the Le) come back with an album that can be described as funky.  True, it’s weird funky that gets dismantled while its going along, but it’s still pretty funky.

They wouldn’t be them if there weren’t some crazy noises.  And so the first song (parenthetical translations are from Wikipedia), “Jeunesse sonique, tu dors (en cage)” (“Sonic Youth, You Sleep (In a Cage)”) is just noise and static for 90 seconds before leading to the first song proper:

“Rompre l’indifférence de l’inexitable avant que l’on vienne rompre le sommeil de l’inanimé” (“Break the Indifference of the Inevitable Before We Come to Break the Sleep of the Inanimate”) which kicks in with a really funky bass guitar and drum section. It’s really catchy and almost danceable. But throughout the song’s ten minutes there are elements of destruction going on. There’s screeches that sound like a dentist’s drill. About a minute in, the guitars just seems to stop playing riffs and just tart going crazy–playing loosened strings and just random notes like a beginner (even though the original rhythm is still there).  That funkiness stays for about 5 minutes until the songs shifts gear into a loping melody with a big bass and simple repetitive guitar lines. And then it kind of falls apart all together with some sounds like broken strings and lots of chatter (in French).  At 7 and a half minute it resumes at breakneck speed with the drums and bass pounding away and all kinds of effects splashing on top. The song ends with low rumbling noise before jumping into….

“Partially sabotaged distraction partiellement sabotée” (“Partially Sabotaged Distraction Partially Sabotaged”) This song opens with a four-note, slightly off-key guitar and then loping bass riff that reminds me of SST Records bass guitar of the 80s. It switches between this and a slightly funkier sounding section. But the destruction is apparent from the get go as early in the song, the sound just completely drops out on a couple occasions, making you think the disc is broken (it isn’t).  The song starts to get more intense as the notes seem to get faster and more insistent (those repetitive notes and ringing guitars just seem to scream tension).

“Univoque/Équivoque” (“Univocal / Equivocal”) opens with static and then a very funky bass line.  There a music box playing over the top and some quiet guitars. About half way through the bass ends but the music box (tiny and distorted) continues.  At 3:30 a new bass line, similar to the previous but with a new section added pops up.  It’s a simple song showcasing their groove and their noise.

“Arcades-Pamelor” starts with low distorted noises.  Like the first “song” this is mostly sound effects and things slowed down. Until a screaming noisy static takes over about half way through.  It’s really quite unpleasant.

“Sound-support surface noises reaching out to you” opens with another funky bass and drums and some simple guitar notes. About a minute in a sound emerges that sounds like a skipping CD (but it’s not your CD).   And then a new, different bass pattern emerges with lots of noisy percussion(sounds like people banging things). The skipping sounds seems to work as a segue between section, with some great funky parts and and then the final section which opens with what sounds like a mildly out of tune guitar ran and more great bass. This really enjoyable section winds up glitching to a halt with the  sound of a skipping record player.

“Erreur, errance: interdits de par leurs nouvelles possibilités” (“Wandering Error: Prohibited by Their Opportunities”) has the sounds of sticks clacking together and silverware dropping and mechanical sounds.  And they all seem to somehow settle into a rhythm of piano notes. Unlike the other tracks this one is pretty consistent—strange noises and a simple piano motif.  It’s also probably the least interesting of the bunch.

The disc ends with “La vie se doit d’être vécue ou commençons a vivre” (“Life Must Be Lived or Begun to Be Lived”) another great, funky bass and piano line, with some interesting guitar sounds round the corners. This song is so catchy, it’s wonderful.  After about 2 minutes there’s another breakdown. The music all stops except for the guitars which sound like they are getting strangled.   The second half of the song has the same funky bass but very different guitars and lots of squeals and feedback. After a couple more glitches at 6 minutes in, the bass takes off playing fast rocking riff as the guitar tries to keep up. It’s such a satisfying ending that it’s hugely disappointing that it only last 45 seconds before the album ends.

While it was always obvious that Fly Pan Am were going to play weird experimental stuff, it wasn’t clear before just how funky and dancey they could be too.  If you can handle some noise in your dance, this is a great album.

[READ:January 10, 2016] Red Handed

I absolutely loved this graphic novel.

I had never heard of Kindt before and I didn’t really know what to expect from the book, but I certainly didn’t expect the complicated and super clever plot and structure that this book had.

It opens with a newspaper story that tells us about Detective Gould’s ten years on the force.  Since his arrival there have been no unsolved murders.  He credits the rise in technology for his success.  (continued on A12) and then it moves into the graphic format.  It is headed Detective Gould (in black and white).  Then it shows some mug shots of suspects in color.  And it turns out that these people’s stories will comprise the bulk of the book.

The next chapter opens with a woman fleeing a diner with a stool.  She worked there and is told the stool is coming out of her paycheck,.   We learn that stealing chairs is kind of her thing.  And then we see what her next acquisition after this stool is.

The next chapter is called the Jigsaw and it involves a man who is an art dealer.  As the story opens he steals a giant painting form a woman he has picked up at a bar. And then we learn what he did with it and how he made his reputation.

After he is caught, the story shifts to a series of dialogue boxes on a black background in which Sgt Gould is speaking to a woman who Sgt Gould assumes is connected to all of the cases in the book.  She is playing innocent and has explanations for everything.

After this there is another black and white section designed to look like newspaper stories of The Detective’s Wife  (in which the two are sweet together) and then Tess’s True Heart in which we learn that Tess (whoever that is) is a very smart girl.

The next chapter is The Ant in which an artist wants to tell a story told from the point of view of an ant.  But since the ant cannot write, it must collect letters from the newspaper.  This turns into an art installation in which the author’s editor begins finding the words all over town and using them to tell the story (it’s much more convoluted than that and really clever).  Then we learn that Tess is the author’s editor–the first connection is built.

And after that short piece, we see more black and white stories from Detective Gould and Tess’ True Heart.

The next chapter is The Forgotten about a sleight of hand magician who has stopped doing magic and has become a pickpocket.

The Repair Man is about an elevator repair man who takes pictures up women’s skirts when they are stuck between floors.  And then he begins selling them to a smut dealer.  The way these pictures connect to the rest of the story is amazing.

The next section is The Performance Artist in which a woman is set up to look like she is cheating on her husband (elaborate ruse once again).

The Escape Artist tells the story of a car thief and how so many thieves think they are going to stop but they are afraid of losing the rush.  Well, this guy retired for real.  Until he ran into Tess.  He knows from long ago.  And she brings him back to the city.

Finally, The Fire Starter is about a guy who gets paid to start fights with the intention of a payout coming somewhere down the line.

The last fifty or so pages show how all these crimes, all these cases solved by Detective Gould, are tied together.  And the way it is told just gets more and more interesting.

This was an outstanding book.  I loved the art and design–the various ways that the medium was used to tell the story.  I loved that it was confusing but not too confusing and that it unraveled in the way it did.   I really can’t say enough about this book.  This was another big win for First Second in their #10yearsof01 celebration.

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