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Archive for the ‘Depression’ Category

SOUNDTRACK: DANIEL HOPE-three pieces (Field Recordings, August 21, 2013).

The only thing I like more than a Field Recording set outside, is one set in an unlikely building, like the way this Field Recording [Daniel Hope’s Earth And Sky Expedition] is set in the American Museum of Natural History.

When Daniel Hope was a boy, the only thing he loved as much as his violin was his telescope. Gazing into the night sky, he pondered the vastness of space. Now a grown man, Hope still has a penchant for wonder and discovery — especially when it comes to music.

In his latest album, Spheres, Hope returns to the spirit of those early astronomical adventures. His idea, he says, is “to bring together music and time, including works by composers from different centuries who might perhaps not always be found in the same galaxy.” The unifying factor is the big question: Is there anything out there?

What better place to play with that ancient query than the Rose Center for Earth and Space at New York’s American Museum of Natural History. We invited Hope and jazz bassist-composer Ben Allison into the “performance crater” in the Hall of Planet Earth.

As if the Hall isn’t interactive enough — with its glowing orbs and 4.3 billion-year-old zircon crystal — we wrangled afternoon museum-goers to participate in our own Earth and sky expedition. Equipped with small flashlights, they became the twinkling stars surrounding Hope and Allison in the darkened room.

The music seems to live and breathe in the space, as each of the three pieces (spanning four centuries) reverberates a unique voice. “Imitation of the Bells,” with its rippling arpeggios and tolling bass line, comes from the long forgotten Johann Paul von Westhoff, a German violin master who crisscrossed Europe a generation before J.S. Bach. In “Berlin by Overnight,” from contemporary Max Richter, Hope’s violin asteroids whiz past while Allison’s bass propels through outer space. And finally, the otherworldly beauty that is Bach’s “Air on a G String” floats in a safe, gentle stasis.

It’s neat watching the little kids swing their flashlights around while the older kids watch on, bored, from the balcony during “Imitation of the Bells.”  Hope’s violin is flying in a flurry of activity while the bass keeps things grounded.

I’m not sure that I have heard many violin pieces performed with a bass accompaniment.  The bass doesn’t add a lit of melody to the violin work, but it adds a very cool feeling of grounding and rhythm especially in “Berlin by Overnight.”  The piece feels very contemporary with a cool, fast, Glassian kind of repetitiveness.  And the bass adds occasional notes (that feel like rock bass notes, he plucks so hard) to keep the pace going.

The bass is much more pronounced on the familiar J.S. Bach: Air on a G String.  I feel an imperceptible sitting up straight once the first notes ring out of the violin.  But I keep coming back to the bass.  The violin melody is so pretty and so familiar that it’s interesting to listen to the way the bass plays off those notes.

[READ: February 9, 2018] “The Botch”

I have not enjoyed Means’ stories in the past.  They’re usually pretty violent and just not my thing.

This one was a bit more enjoyable until the end.  The only problem with it per se was that it was about a bank robbery and I feel like there’s not much you can say about a bank robbery that hasn’t been said in films and stories already.

But there’s some interesting tweaks.  It is set around the Great Depression–tommy guns and wise guys.  And the mastermind behind the scheme has thought out everything ahead of time.  There is a repeated refrain of “the idea is” which I kind of liked.  Although for some reason it bugged me when it was switched to just “idea being,” which I know is how it would be said, but it bristled. (more…)

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SOUNDTRACK: ST. VINCENT-Masseduction (2018).

St. Vincent’s latest album seemed like a radical departure for Annie Clark.  It seemed to be all synth–a transgression from her guitar prowess.  But in fact it was a continuation of the sound that Clark generates with her guitar.

Her albums have always used synths.  And her albums have always used effects on her guitars to create different sounds.  They have just moved further along on this album.

“Hang on Me” opens the disc with drums and sound effects.  The guitar comes in but it sounds like synths (like most of the album).  Her voice is up front  (It would have been very cool if it sounded like she was whispering in your ears).  The song builds with more and more sounds.  The processed guitar still sounds nothing like a guitar but you can tell from the way it is played that it is a guitar–which is pretty cool.

“Pills” is almost all dance–lots of drums and synth sounds (which may be guitar, who can tell).  It’s the chorus, (the repeated pills pills pills) that really grabs you.  The guitars that come through have a very Prince-like feel (and the sexual connection–pills to fuck) even when the roaring fuzzed out guitar solo comes blasting through it’s not unlike something Prince would have done.  When the second part of the song comes in–absolutely quiet compared to the chaos that came before (S. assumed it was a different song) it has a beautiful melody and really showcases Annie’s voice nicely.  The two parts are so very different and yet both are really catchy in their own way.

“Masseduction” is the most poppy song on the record (and probably of her career).  It starts again with drums and Annie’s whispered vocal (again mixing her right in your ears would have been very intense).  Then comes there’s the big chorus of echoed vocals singing “mass seduction” with roaring guitars underscoring everything (even though this album feels very un-guitar there are noisy guitars galore on it, they’re just buried underneath everything).

Chanted vocals and programmed synth open up the fast-moving “Sugarboy.”  I love that the riff from “Los Ageless” is presented her in much faster and more staccato and mechanical way.  This song has a great, catchy chorus.

“Los Ageless” was the second single off the album and the dancey beat and synth sounds were quite a shock when the song came out.  For this one, her voice is mixed right in the middle of your head, which is very cool.  But it’s the “how can anybody have you” part that is so incredibly catchy and wonderful.  There’s not a lot of guitar on this song until the third verse in which all the synths drop out and you get a nasty guitar playing behind the verse–once again so inorganic but so interesting.

“Happy Birthday Johnny” is a beautiful piano ballad that showcases a great melody and lovely vocal from Annie.

“Savior” features a slinky guitar line with bits of wah-wah on it (slighty porn-y to be sure, especially given the topic of the song).  The bridge picks things up and with each subsequent verse more and more is added (backing vocals, big drums and sound effects).  It’s when the song gets to the third part, the ‘pleeeease” that it totally soars.

“New York” is another piano song, this one with more dance beats in it and the rather graphic “you’re the only motherfucker in the city who can stand me” for a chorus (odd choice for first single).  The bridge “I have lost a hero” just soars out of the piano section in a very cool way–the juxtaposition is outstanding.

After the quite ending of New York the noise and electronica of “Fear the Future” comes as quite a shock.  It’s practically a wall of noise before and abrupt ending

“Young Lover” is quieter and sounds a lot more like early St. Vincent songs.  The music is spare–thumping drums and washes of music.  But that first chorus grows very loud–crashing electronic drums and soaring vocals.  The amazing part comes toward the end as Annie hits some incredibly high notes and then caps it off with a high note that gives me chills every time I hear it.  The fact that she duplicated it live was just staggering.

“Dancing with a Ghost” is 46 seconds of waves of synths (or guitars) that I never quite realized was its own song.  It almost segues into “Slow Disco” which is a quiet song with strings and Annie singing.  When the harmony vocals come in it builds the song nicely.   Then someone (Annie?) sings a recurring motif of “don’t it beat a slow dance to death.”  It’s my least favorite song on the album and the one she has now made two (slower) remixes of.

That feels like it should end the album, but there is one more song, the dramatic “Smoking Section.”  With a husky voice Annie sings of getting stomped out and screaming “let it happen, let it happen, let it happen.”  The strings build dramatically until a loud three note riff introduces the second part of the song.

This album is pretty polarizing, even though it is St. Vincent through and through.

[READ: October 3, 2018] “The Rise and Rise of Annie Clark”

The previous story that I read by John L’Heureux was also about the Catholic church.  That one was the story of Jesuit Priesthood, circa 1954, and a man trying to join.

This one is also based around the Catholic church circa 1950.  The subject is very different, but with the same questioning attitude.

Annie Clark is a middle-aged woman in the 1950’s .  I’m unclear where this is set.  At first I thought France, but that is unlikely. so somewhere in the States, but I have no idea where.

Since the end of WWII, Annie knows that women were the real winners–women are taking charge of their lives.

But Annie is Catholic and must proceed slowly. (more…)

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SOUNDTRACK: BRIAN BLADE AND THE FELLOWSHIP BAND-“Landmarks” (Field Recordings, August 14, 2014).

Here’s yet another Field Recording at the Newport Jazz Festival [Chorale For Horns And iPad App, In The Pouring Rain].

The 2014 Festival must have been a rainy one, because some of the other Recordings seem wet as well.  The blurb explains

We had hoped to get the great drummer Brian Blade to give us a little private exhibition after his set at the Newport Jazz Festival this year. The weather, however, was proving much less generous than he and his band were. Early that morning, a steady all-day rain settled in over coastal Rhode Island, making it difficult to transport dry instruments anywhere. On top of that, a last-minute change to travel plans meant that Blade needed to get out of town quickly — to an airport over four hours away.

But he and the Fellowship Band — the group of guys Blade has been making music with for the better part of two decades or more — were game to figure out something for us. So we herded them into the shelter of a quiet tunnel in Fort Adams State Park.

Despite Blade being a drummer, they are unable to use drums or even bass.  So they decide to play a composition of the keyboardist.  Chris Thomas, the bassist, suggests that he could do an interpretive dance (but he does not).

As they get set up, Jon Cowherd starts tinkering on his iPad.  He gets a synth up and starts playing the opening to Van Halen;s “Jump” which gets everyone excited.  Then he starts playing a cool keyboard sound on the app and the two horns join in on the serene melody.

First Myron Walden starts playing the bass clarinet.  Then he is joined beautifully by Melvin Butler on soprano sax.  The song unfolds simply.  I love the way it just seems to grow and grow–slowly revealing more and more of itself.  But it’s over pretty quickly, with the notes fading in the tunnel.

So even though the featured performer, Brian Blades is not playing–and I still have never heard his drums, this was a nifty little piece.

[READ: April 17, 2016] “Land of the Living”

I had it in my head that Sam Shepard was a noir writer from the 1950s.

Well this story (and the surprising fact that the New Yorker published a second of his stories just a few weeks later) led to something entirely different.  This story is about a man who is going on vacation with his family.

It begins with a very funny exchange between the man and his wife,  She tells him, “It’s just amazing how friendly you become when you’re on Xanax”  And he agrees, “I feel this friendly person coming out in me and I wonder if maybe that’s my real nature.”

The family is currently waiting on a customs line in Cancun.  The heat is unbearable, especially since they have just come from Minnesota.

Their conversation is full of things that he says which she is surprised by: (more…)

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SOUNDTRACK: GUSTER-Parachute Live from Brooklyn Bowl (2013).

In 2014, Guster released three CDs of them playing their early CDs live in their entirety (excluding for some reason their second disc Goldfly).  So this is a recording of their first album ‘Parachute’ performed and recorded live in concert at Brooklyn Bowl on December 1, 2013.

This album sounds quite different from the other Guster albums.  I don’t really understand what the difference is.  It sounds like Guster, but not exactly.  Is it that they both sing in harmony through most of the songs?  Is it that Ryan sings “better?”  Are the songs just more folkie?

Whatever the case, even after several albums that don’t sound like this album and nearly twenty years, the band jumps right back into it (the harmonies on “Window” are perfect, for example).

They aren’t the same three-piece they were back in 1994 (they have drums now for instance), but it all works very well.  They also aren’t terribly funny between songs.  Usually Ryan is pretty silly in a show, but they seemed to take it more or less seriously.

After “Dissolve” Ryan says, “we’re playing in a bowling alley I just realized.  Cool.”  You can hear someone in the crowd shout “steeerike.”

I know the guys have made jokes about their song “Happy Frappy” a few times when I’ve seen them, so it’s no surprise that before the song, Ryan shouts, “Alright its ‘Happy Frappy’ time, stoners.”  Although I have no idea what the song is actually about.

When the disc is over Ryan shouts, “Parachute the album–19 and a half years old!”

I think it sounds even better than the original.

[READ: June 2, 2018] “Orange World”

I love when a title gives you an idea but it is totally not the idea of what  the story means–and the new idea is even better than what you had imagined.

“Orange World” conjured up many things to me, but not the devil, not a woman nursing the devil and not a woman nursing the devil every night because the evil saved her baby’s life.

When Rae was pregnant she was worried about a lot of things: ABNORMAL RESULT, HIGH RISK, CLINICAL OUTCOME UNKNOWN.  When the third test came back, she started begging for anything to save her baby from the unknown.

Between 4 and 5 A.M. one night something answered and it promised the baby would be okay.

So what does this have to do worth orange world?  Well, “Orange World is where most of us live.”  It is a nest of tangled electric cords and open drawers filled with steak knives.  It’s a used crib  It’s compromises that could hurt the safety of your baby.  You take a shower with your baby and suddenly….

“Green World” is a fantasy realm of soft corners and infinite attention. The Educator say that Green World is ideal but Orange World is the reality.  Next week’s class is “Red World” and Rae doesn’t want to think about it.

Rae takes the baby doll.  Its head falls off and she steps on the blanket.  Sneaker bacteria: Orange World; decapitation: Red World.  The educator encourages her to go to new moms group. (more…)

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SOUNDTRACK: JOHN PRINE-Tiny Desk Concert #717 (March 12, 2018).

For all of the legendary status of John Prine, I don’t really know that much about him.  I also think I don’t really know much of his music.  I didn’t know any of the four songs he played here.

I enjoyed all four songs.  The melodies were great, the lyrics were thoughtful and his voice, although wizened, convey the sentiments perfectly.

The blurb sums up things really well

An American treasure came to the Tiny Desk and even premiered a new song. John Prine is a truly legendary songwriter. For more than 45 years the 71-year-old artist has written some of the most powerful lyrics in the American music canon, including “Sam Stone,” “Angel From Montgomery,” “Hello In There” and countless others.

John Prine’s new songs are equally powerful and he opens this Tiny Desk concert with “Caravan of Fools,” a track he wrote with Pat McLaughlin and Dan Auerbach. Prine adds a disclaimer to the song saying, “any likeness to the current administration is purely accidental.”

I thought the song was great (albeit short) with these pointed lyrics:

The dark and distant drumming
The pounding of the hooves
The silence of everything that moves
Late in night you see them
Decked out in shiny jewels
The coming of the caravan of fools

That song, and his second tune, the sweet tearjerker “Summer’s End,” are from John Prine’s first album of new songs in 13 years, The Tree of Forgiveness.

He introduces this song by saying that.  This one is a pretty song.  It might drive you to tears.  He wrote this with Pat McLaughlin.  We usually write on Tuesdays in Nashville because that’s the day they serve meatloaf.  I love meatloaf.  We try to write a song before they serve the meatloaf.  And then eat it and record it.

For this Tiny Desk Concert John Prine also reaches back to his great “kiss-off” song from 1991 [“an old song from the 90s (whoo)…  a song from the school of kiss off 101”] called “All the Best,” and then plays “Souvenirs,” a song intended for his debut full-length but released the following year on his 1972 album Diamonds in the Rough. It’s just one of the many sentimental ballads Prine has gifted us.

He says he wrote it in 1968…when he was about 3.

Over the years, his voice has become gruffer and deeper, due in part to his battle with squamous cell cancer on the right side of his neck, all of which makes this song about memories slipping by feel all the more powerful and sad.

“Broken hearts and dirty windows
Make life difficult to see
That’s why last night and this mornin’
Always look the same to me
I hate reading old love letters
For they always bring me tears
I can’t forgive the way they rob me
Of my sweetheart’s souvenirs”

The musicians include John Prine, Jason Wilber, David Jacques and Kenneth Blevins.

 

[READ: December 11, 2017] X

I really enjoyed Klosterman’s last essay book, although I found pretty much every section was a little too long.  So this book, which is a collection of essays is perfect because the pieces have already been edited for length.

I wasn’t even aware of this book when my brother-in-law Ben sent it to me with a comment about how much he enjoyed the Nickelback essay.

Because I had been reading Grantland and a few other sources, I have actually read a number of these pieces already, but most of them were far off enough that I enjoyed reading them again.

This book is primarily a look at popular culture.  But narrowly defined by sports and music (and some movies).  I have never read any of Klosterman’s fiction, but I love his entertainment essays. (more…)

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SOUNDTRACK: VOIRVOIR-The Free-P (2016).

I got this Free Ep at a VoirVoir (not Voir Voir) show in Bethlehem.  This EP contains four songs.

Two of them are new and two are re-recordings of songs from their debut album.

“Quit It All” is a bit poppier than their debut album.  The 90s synth is a nice touch to this song which, make no mistake, still rocks.   The middle noise section (skronking guitar solo and great drums) is a highlight as are the catchy verses.  The band even submitted a video for the Tiny Desk Contest (I had no idea).

“Sides” is perhaps one of the best catchy alt rock songs I’ve heard in years and I am bummed that they didn’t get recognized for it.  It’s got a great 90s alt-rock sound and wonderful harmonies in the backing vocals.  There’s a video for this song as well.  You can also stream the song on bandcamp.

The other two songs, “Stupid for Now” and “There are No Good Goodbyes” were recorded at WDIY (Lehigh Valley’s Community NPR Station) in a stripped down format.  You can stream the songs here.  It’s interesting to hear them without the fuzz and drums.  The songs are solid and work very well although I do like the originals better.  The show also includes an interview with the three members who play the stripped down show.  The DJ asks their influences and while main singer guitarist Matt Molchany demurs,  April Smith says Built to Spill) and Josh Maskornick says Primus and Superchunk.

And if you can’t get enough (since they haven’t released that much) here’s a live show from Shards.

[READ: January 10, 2016 & January 10, 2018] Goldfish Memory

For some reason, I read this book back in 2016 and then didn’t post about it–I felt like I needed to read it again, and so I waited almost exactly two years and re-read it and enjoyed it even more this second time.  Almost like actual goldfish memory.

The back of this book made the stories sound really compelling:  “what does it mean to have a connection with someone? This is the question these brilliant short stories try to answer.”  The note said that this was the first translation of Monique Schwitter’s form-breaking work.  The translation was by Eluned Gramich.

I’m not sure how form-breaking these stories are, but they are certainly interesting.  They remind me in some ways of Julie Hecht–a narrator who is connected to people but very distantly.  But while Hecht’s narrators are critical and dismissive of everyone, Schwitter’s narrators just seem to be incapable of connecting properly.  You can feel the longing in the distance between them.  I also like how these missed connections cover all kinds of relationships–familial, sexual, friendship, professional, even passing acquaintances.

Few of the characters seem to be able to tell anyone else how they really feel–even when they are dying.  There is sadness at loss, but a kind of c’est la vie about it as well.  And all along, Schwitter’s writing is consistently excellent and the stories are really enjoyable. (more…)

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SOUNDTRACK: THE FLAMING LIPS-Christmas on Mars (2008).

Title aside, and despite the Lips’ love of Christmas, there is nothing Christmassey about this recording.

It’s a soundtrack to their film and it is composed of 12 instrumental pieces.  The disc (which is short) sounds like interstitial Flaming Lips pieces–songs that might appear at the end of or in between songs.

The tracks run the gamut from spooky outerspacey dirges to pretty choral numbers.  But the overall tone of the soundtrack is dark and foreboding (the movie isn’t very happy after all).

Some of the tracks (3 and 4 in particular) are prettier than other–with pretty harps and tubular bells.  But do not put this in your Christmas music rotation unless you really dislike Christmas music.

[READ: June 21, 2017] Adios, Cowboy

Hot on the heels of the depressing Sorry to Disrupt the Peace come this depressing story by Olja Savičević Ivančević (her full name according to Goodreads) translated from Croatian by Celia Hawkesworth.  In Peace, the narrator’s brother killed himself and the narrator wants to find out why.  In Adios, Cowboy, the narrator’s brother kills himself and she want to find out why.

The difference is that this book is set in Croatia, has multiple characters, multiple stories and a huge amount of confusion.

Dada (the narrator) lives in Zagreb, but she is called home to Old Settlement by her sister to help with their aging mother.  She is intrigued at the thought of going home  again after so many years.  But when she gets there, her mother has been taking all kinds of pills, her sister has pretty much given up as evidenced by her chain-smoking, their long-dead father’s shoes still lined up on the steps, and their dead younger brother’s cowboy posters of are still on the walls.  (The dead brother’s name is Daniel.  The fact that one of the characters in the previous book also about the suicide was also named Daniel really didn’t help this much). (more…)

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