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Archive for the ‘Colombia’ Category

SOUNDTRACK: THE FLAMING LIPS AND HEADY FWENDS-“You Man? Human???” (2012).

2012 saw the release of this very strange collaborative album.  Whether The Flaming Lips had entered the mainstream or if people who’d always liked them were now big stars or maybe they all just liked doing acid.  Whatever the case, The Lips worked with a vast array of famous (and less famous) people for this bizarre album.  Here it is 8 years later. Time to check in.

Nick Cave’s most recent music has been quiet pretty and tender.  It’s easy to forget that he has often been a wild man of Australian punk.  His Grinderman albums emphasized that noisy history of his and this song seems perfect for Cave.

In fact, this track seems like a song he could have released with the Birthday Party forty years ago. It’s abrasive and kind of rambling–although with more modern production and sounds. It also has a slow pummeling bass notes with lots of chaotic drumming.

Unlike most of the songs on the record which have falsetto vocals, Cave’s deep voice really stands out.  He is reciting a fairly crazy story of pools and chlorine and how you can touch him if you want.

Quintessential Cave mixed with a few Lips.

[READ: August 1, 2019] Strangers in Paradise XXV #7

Katchoo was falling off a cliff.  In the wide shot we see there is water down below (and a small boat).

She lands in the water and rockets down pretty far (some creepy eels greet her before she takes off back up to the surface).

The man on the boat tries to fend her off with a long pike, but he’s no match for Katchoo who avoids the gun shots until the boat takes off.

Back home, we see Francine and her (cool) Aunt Libby in some relative domestic happiness–Katchoo hasn’t warned her about he gunman yet.

Koo resists taking out the garbage. Francine asks, “when do you want to do it”  “Later when I grow up.”

When she puts the trash in the bin, she smells…something.  Which we see is a pile of cigarette butts and a shoe.  But she is called in before she sees what it is.

Katchoo goes to a small hotel.  There’s a man sleeping in the tub.  I’m unclear what that is meant to signify, but Katchoo leaves before he wakes up.

The book ends back home with Koo unable to sleep (she is reading I Hate Fairyland, by Skottie Young).  She heads downstairs (at 3AM) and sees a male shadow looking in their glass windows. Yipes!

Don’t mess with these cute kids, you hear me!

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SOUNDTRACK: THE FLAMING LIPS AND HEADY FWENDS-“Children of the Moon” (2012).

2012 saw the release of this very strange collaborative album.  Whether The Flaming Lips had entered the mainstream or if people who’d always liked them were now big stars or maybe they all just liked doing acid.  Whatever the case, The Lips worked with a vast array of famous (and less famous) people for this bizarre album.  Here it is 8 years later. Time to check in.

Lately, Jim James has been going in a more mellow direction after the pretty heavy psychedelia of Circuital in 2011.  But this song stays in that heavy psychedelic vein with a big distorted guitar riff and distorted vocals from James (and Coyne, I assume).

It’s that weird mix of creepy and catchy that the Lips do so well.  You can clearly hear James on the lead vocals, but who knows who is contributing vocals to the rest (the oh oh ohs).  The guitar solo is all distorted and reversed–a noisy explosion of sound.

This song is barely four minutes and it’s followed by another noisy short one before the album segues back into quieter terrain.

[READ: August 1, 2019] Strangers in Paradise XXV #6

Katchoo was given coordinates to meet Stephanie.  The coordinates put her way off the grid in Colombia.  As she waits, a guy on a moped drives up and a monkey hops off and delivers a package (that’s pretty adorable, honestly).

Katchoo can only assume things are bad since Stephanie didn’t show.  She can’t imagine what is in the satchel (she hopes it’s not Francine’s head).

But no, it is a tube and in the tube is an ancient piece of papyrus–Cleopatra’s mathematical ideas. (more…)

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SOUNDTRACK: LADAMA-Tiny Desk Concert #853 (May 30, 2019).

There’s a lot to like in this Tiny Desk, but I am immediately drawn to Mafer Bandola’s  bandola llanera.  Is it see through?  Is it hollow?  I have so many questions.

Some of which are answered in the blurb.

But what might be even more interesting than the instruments is the international makeup of the band.

During the course of their performance behind the desk, the four core members of LADAMA — Lara Klaus, Daniela Serna, Mafer Bandola and Sara Lucas — had a chance to display their individual cultural and musical roots as part of an engaging and mesmerizing whole. Represented in glorious musical virtuosity are Brazil (Lara Klaus), Colombia (Daniela Serna) and Venezuela (Mafer Bandola), with a dash of New York City (Sara Lucas and bassist Pat Swoboda) thrown in just to make it interesting.

Not to mention all four of them sing lead.

“Sin Ataduras” opens with great sounds from the bandola llanera and some really great bass work Pat Swoboda.  Daniela Serna sings, almost raps, the lead vocals.  The song is catchy with a middle parts that’s all rim shots from Lara Klaus and clap alongs.  Then Sara Lucas adds a little guitar work, but it’s Mafer Bandola’s solo that’s really fantastic.

For the second song, “Elo” Lara Klaus plays the pandeiro and it’s amazing how much sound a little tambourine-looking drum can make.  She also sings lead–a very different vocal style.  Daniela Serna moved over to the congas and the tambor alegre.  Mafer Bandola switches to a more traditional-looking bandola llanera but still plays some amazing leads.

Throughout the songs, Sara Lucas plays quiet electric guitar that acts a foundation to lead bandola.  Incidentally, Mafer Bandola is a stage name (I assume Mafer is her first names put together).  Her real name is Maria Fernanda Gonzalez.

“Tierra Tiembla” is a much slower ballad.  Sarah Lucas sings lead (in Spanish).  Has a slow, smooth rhythm with nice echoing sounds form the bandola.  Sara Lucas sings lead on this one.  Lara Klaus is back on the kit, so with her and Daniela on congas, there’s a lot of percussion.   Mafer plays some nice lead lines and everyone sings delicate backing vocals.

The final song is “Inmigrante”  this song is for everybody–para todos inmigrantes–we are all immigrants.

It’s the fiery “Inmigrante” that finally raised the BPM meter and got hips swaying in our corner of NPR’s HQ, with its call-and-response back-and-forth and a very enthusiastic audience. T

Mafer Bandola sings this last song.  The bandola is a echoed and very cool sounding as she plays an excellent riff.  The drums are mostly hi-hat while the congas supply most of the percussion.  Sara Lucas puts down her guitar to play the raspa.

The song ends with a clap along and some fast and furious congas from Daniela.

This is yet another great Spanish-language band that enjoyed quite a lot.

[READ: July 1, 2019] “A Love Story”

The Summer 2019 issue of The West End Phoenix was a special all comics issue with illustrations by Simone Heath.  Each story either has one central illustration or is broken up with many pictures (or even done like a comic strip).

Each story is headed by the year that the story takes place–a story from that particular summer.

1992: This is the story of tree planting and romance.  Claudia and her friend drove to the planting location with dreams of getting rich.

I have heard about tree planters from many different sources (it seems a very Canadian thing to do–I’m not even sure if people do there).  All sources suggest it is very hard, physically exhausting and pays little.  No matter how romantic the idea sounds, it’s not a fun job.

Claudia adds to this idea and includes that they slept in tents and were sleeping in an area where bears traveled.  They could hear the bears every night but the experience planters assured them they were safe (how does anyone do this long enough to become experienced?). (more…)

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SOUNDTRACK: MOUNTAIN MAN-“Sewee Sewee” (Field Recordings, February 2, 2012).

Until recently, had I posted this I would have said that Mountain Man features Amelia Meath from Sylvan Esso.  Now I can say that and I can say that Mountain Man, of whom Id never heard, has a new album out.  How about that.

I don’t know much about Mountain Man, but this song is quite pretty.  It opens with someone snarkily commenting “Mountain Man live from the dungeon, take one.”

The song is a beautiful two-minute ballad with wonderful harmonies sand quiet acoustic guitar.  But all focus is on their voices as they intertwine beautifully.

Amelia Meath is the only person I know from this band and I know of her as somewhat goofy, so it’s amazing to see her (looking so young) being very intense while she sings her parts.

The Vermont trio Mountain Man fit an awful lot of moony harmonies into this all-too-brief performance of “Sewee Sewee.” Mountain Man’s three members — Molly Erin Sarle, Alexandra Sauser-Monnig and Amelia Randall Meath — sang and stared sweetly into each other’s faces.

Then as soon as the song is over Amelia gets very silly again.  I assume it’s her who starts rapping Li’l Mama’s “My Lip Gloss” (“my lipgloss is popping, my lipgloss is cool”) as the camera goes dark.

This Field Recording [Mountain Man: A Choir of Angels] was the second one done at the Newport Folk Festival, and it’s clear they are having fun exploring the abandoned grounds.

As a gaggle of videographers, musicians, industry types and hangers-on stepped gingerly through tall brush to enter a dilapidated section of Fort Adams in Newport, R.I., you couldn’t blame us for feeling like unwitting participants in a horror movie. Standing amid hundred-year-old rubble as the 2011 Newport Folk Festival clattered merrily in the distance, we were either going to capture two breathtaking minutes of music or get eviscerated by maniacs as part of The Newport Witch Project. Thankfully, we made it out with the footage you see above.   If the scene above once seemed destined to devolve into a grisly horror movie, at least we had a choir of angels on hand to escort us into the afterlife.

I haven’t heard their new album but I wonder if their voices still sound amazing together after 8 years apart.

[READ: January 7, 2017] “Honey Bunny”

This is a story about a girl who has left (fled?) Colombia and is now doing and possibly selling cocaine in America.

She is apparently buying her supply from a guy named Paco.  Inexplicably, the coke is cut with all kinds of weird things–plant leaves, bug wings, rabbit fur?

All along she keeps eyeing an orange suitcase in her apartment. (more…)

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SOUNDTRACK: JUANES AND MON LAFERTE-Tiny Desk Concert #746 (May 23, 2018).

Juanes did a solo Tiny Desk Concert back in 2011.  Amusingly, seven years ago the blurb said: The blurb says that “he usually plays arenas and large venues, so it’s a treat to see him up close like this,” (see the third quoted paragraph below).

Colombian pop star Juanes and Chilean singer Mon Laferte recently wrapped up a sold-out tour of the United States, which (lucky for us) included a stop at the Tiny Desk.

Laferte began the concert solo with the torch song “Pa’ Dónde Se Fue” (Where Did You Go?). She sang the break-up story with a smirk that belied the heartache hiding in her poignant lyrics. Then… Juanes joined her to perform the duo’s sultry single, “Amárrame” (Tie Me Up).

It’s rare to see Juanes in such an intimate setting. After almost two decades of performing solo, the Latin pop star is more of a stadium and arena kind of guy. It’s a treat to hear his voice unencumbered by loud speakers or crowd noise, and to see his facial expressions as he sings lyrics that many of us know by heart. This marked a return to the intimacy that fueled his earliest days and that’s still present in the personal lyrics that have sold millions of records.

That intimacy was heightened by the presence of Laferte. The duo performed a PG-13 version of “Amárrame,” a passionate pop song with lyrics reminiscent of 50 Shades Of Grey. You can sense an obvious chemistry between the two during that song, as well as on the Juanes classic “Fotografia” (which originally featured Nelly Furtado).

Juanes closed out the concert solo with a stripped-down version of “Es Tarde” from his last album, Mis Planes Son AmarteThe performance demonstrates why Juanes and Laferte’s duet tour sold out across the U.S. this year. There is a magic here that makes for repeated viewing. It’s that much fun to watch.

SET LIST

  • “Pa’ Dónde Se Fue” (Where Did You Go?) by Mon Laferte. She sings and plays guitar and has a beautiful, powerful voice.
  • “Amárrame {Tie Me Up} [feat. Juanes]” by Mon Laferte.  An additional guitarist plays the cool funky riff while Mon Laferte sings (and rolls her r’s beautifully).  Juanes sings (and makes some asides, “Mon Dios!”) the (beautiful, soaring) chorus and alternating verses.  They sound fantastic together, with his voice being particularly sultry and steamy.
  • “Fotografía [feat. Mon Laferte]” by Juanes.  This is a sweet ballad, with again both singers playing off of each other and joking with each other (there’s a phone gag that is pretty funny).  It’s delightful.  And their voices meld perfectly once again.
  • “Es Tarde” by Juanes.  It’s just him singing on this one (with the guitarist on accompaniment).  His voice has a slight gravel to it but is mostly smooth and delightful.  The middle of the song has a kind of whispered spoken word.  It’s quite obvious why he is a megastar.

[READ: January 22, 2017] “The End of the End of the World”

This is an essay about birding in the Antarctic and the death of Franzen’s Uncle Walt.  Both of these stories were fascinating.

Two year earlier, Franzen’s Uncle Walt died and left hims $78,000.  Wow.  (My uncle left me a pitchfork and sheep shears).  He wasn’t expecting it, so he decided to do something special with it in honor of his Uncle.  He had been planning a big vacation with his longtime girlfriend, so this seemed like the thing to us it for.  When he suggested a deluxe cruise to Antarctica, she was puzzled but agreed.

After booking the cruise, he was filled with reservations, and so was she.  Her concerns were more serious–an ailing parent–and his were just nerves.

He intersperses this trip with memories of his Uncle.  Like in August of 1976 when he found out that Walt’s daughter had died in a car crash.  Walt and his wife Irma were his godparents, although his mother couldn’t stand Irma (Franzen’s father’s sister).  She said that Irma had been spoiled at the expense of his father.  Walt was far more likable anyhow. (more…)

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SOUNDTRACK: ROY AYERS-Tiny Desk Concert #712 (March 1, 2018).

I hadn’t heard of Roy Ayers, although I imagine I’ve heard his work somewhere before.  I love the vibes so I was looking forward to his set.

I was a little bummed to hear him singing–I assumed it would be all instrumental. Especially since his songs aren’t exactly lyrically masterful.  But the jazzy funky solos were pretty great.

Roy Ayers [is a] 77-year-old jazz-funk icon.  He sauntered through the office with a Cheshire grin on his face, sharing jokes with anyone within earshot. Accompanying him was a trio of brilliantly seasoned musicians — keyboardist Mark Adams, bassist Trevor Allen and drummer Christopher De Carmine. Later during the performance, pride washed across Ayers’ face as his bandmates took the spotlight. (Be sure to watch as Adams woos not just the room but brightens Ayers’ face during his solo.)

The set began with one of Ayers’ more recognizable hits: an extended version of “Searching,” a song that embodies the eternal quest for peace and love.  The vibes solo at 2 and a half minutes is worth the wait, though.

The lyrics are essentially.  I’m searching, searching, searching searching. It takes over a minute for him to even get to the vibes!  It’s followed by a groovy keyboard solo that starts mellow be really takes off by the end.

During “Black Family” (from his 1983 album Lots Of Love), you’ll hear him call out “Fela” throughout. That’s because Afrobeat legend Fela Kuti was a huge influence on Ayers in the late 1970s; the two eventually collaborated on an album, 1980’s Music Of Many Colors. “Black Family” is, in part, a tribute to Fela, even if the original version didn’t include his name.

Again the lyrics: “lo-lo-lo-lo-long time ago” and not much else repeated over and over and over. But it’s all lead up to a great vibes solo (as the band gets more and more intense).  I love that the keyboardist has a keytar as well and is playing both keys at the same time–soloing on the keytar with an awesome funky sound.  There’s even a cool bass solo.

Concluding this mini-concert, Ayers closed the set out with his signature tune, “Everybody Loves the Sunshine”, a feel-good ode if there ever was one. The essence of this song flowed right through him and out to the NPR audience.

Another terrific vibes solo is followed by a keytar solo which is full of samples of people singing notes (they sound like Steely Dan samples)–it’s weird and kind of cool.

[READ: August 2017] McSweeney’s No 46

As the subtitle reflects this issue is all about Latin American crime.  It features thirteen stories selected by Daniel Galera.  And in his introduction he explains what he was looking for:

DANIEL GALERA-Introduction
He says it used to be easy to talk about Latin American fiction–magical realism, slums and urban violence.  But now things have expanded.  So he asked 13 writers to put their own Latin American spin on the crime story.

And of course, each McSweeney’s starts with

Letters

DANIEL ALARCÓN writes passionately about Diego Maradona’s famous “Goal of the Century” and how as a child he watched it dozens of times and then saw it thousands of times in his head.  When he learned of Maradona’s questionable “Hand of God” goal, his father said that his previous goal was so good it counted twice.  But Daniel grows sad realizing that the goal of the century also marked the beginning of Maradona’s decline.

LAIA JUFRESA this was a fascinating tale about a game called Let’s Kill Carlo that her family played.   It involves a convoluted history including her mother “inventing” a child in order for her husband to come to Mexico from Italy and avoid conscription there.  But when this child “Carlo” “came of age” they had to think of reason why he wasn’t there anymore–so they invented the Let’s Kill Carlo game.

YURI HERRERA waiting for a bus in New Orleans as a man lay in the gutter also waiting.

VALERIA LUISELLI her friend recently moved to Minneapolis with her nervous wreck Chihuahua named President.   He was diagnoses with terminal cancer and the vet encouraged all manner of alternative therapies.  This friend was a very sweet person and had many virtues. And yet perhaps through her virtue the alternative therapy seems to have worked.

FRANCISCO GOLDMAN wants to know why immigration officers at Newark Airport are such dicks (and this was before Trump–#ITMFA).  He speaks of personal examples of Mexican citizens being treated badly.  He had asked a friend to brings books for him and she was harassed terribly asked why did she need so many bags for such a short stay.  Another time he was flying back to NYC with a Mexican girlfriend.   She went through customs and he didn’t hear anything for hours.  He didn’t know if she would even make it though customs at all–even though she’d done nothing wrong.   He imagines wondering how these officers live and what their lives must be like that they seem to take pleasure in messing with other people’s lives. (more…)

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