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Archive for the ‘Evolution’ Category

SOUNDTRACK: RONG-“Shrugging at the Dearth of Discourse” (2019).

Every year Lars Gotrich publishes his list of favorite music in an NPR podcast called Viking’s Choice: The Year In The Loud And The Weird.  I always listen to these songs because I’ll never hear them anywhere else (he mostly seems to scour bandcamp for unknown music.

One that he especially liked was by the band Rong from Boston.

He says:

Just bonkers. Boston’s Rong channels the joyous chaos of Japanese punks Melt-Banana and the aggro skronk of Brainiac with a tad of Deerhoof’s weirdo-pop hooks, in what sounds like a swarm of bats fighting a comically large industrial fan… and the bats win. Dissect the noise and you’ll find some truly athletic guitar interplay, held together by a sturdy rhythm section and Olivia W-B’s vocal acrobatics.

This song starts out with Olivia screaming quickly and almost inaudibly while the drummer thrashes away on every surface nearby.  There appears to be two guitars each playing their own riff that seems irrelevant to anything else. It’s a chaotic statement that will likely make most people turn the song off.   After 30 seconds one of the guitars plays a riff and at 35 seconds the riff is actually really catchy and Olivia sings along with it.  Wow.

And the song is not even one third over.

After a few more rounds through similar styles things really slow down around 1:45.  It is just bass and drums and vocals for a bit before two separate solos happen at once.  About five more parts occur before the song ends at 3:11.  This includes a riff that is repeated a few times and a absolutely berzerk ending.

That’s the first of 8 similarly eclectic and, yes, bonkers, songs.  Finding the melody and connections between the parts is rather strangely rewarding.

Incidentally, the final track on the album is called . ༼ ༎ຶ ෴ ༎ຶ༽   In a bigger font, that’s:

༼ ༎ຶ ෴ ༎ຶ༽

[READ: Summer 2019] The Long Cosmos

The “Long Earth” Tetrology is complete.

This was a series that was pretty much impossible to end.  I mean the very premise is that there is unlimited exploration to be had in the various “Earths.”  So how do you end it?  Well, really you end it by following the main protagonist of all of this, Joshua Valiente to his logical conclusion (or something like that).

This book also serves as a kind of reconciliation for many of the estranged characters, but, thankfully does not resurrect any dead characters (well, except for Lobsang–whatever he may be).

The Foreword to this book answers a question that I had: If Terry Pratchett died in 2015, did he have anything to do with this book which came out in 2016?  Baxter explains that indeed, he and Pratchett had created drafts of the final three books by August 2013.  Terry and Stephen worked on the book together as late as autumn 2014.  Then Baxter dealt with final editorial and publishing stages.  So that makes me happy.

I am, as always with this series, puzzled as to what Terry’s contributions were to the books.  I haven’t read anything else by Baxter, so I don’t know if this is a Baxter book with Pratchett sprinkled in or if it’s a combination of their writing styles   The one thing is that this series is never really all that funny (with one huge exception later).  Not to say that Pratchett had to be funny, but it was certainly what he was known for.  Maybe I’ll try a Baxter book one of these days to see just what his works are like.

But back to the concluding chapter of this long series.

This book opens with the invitation: JOIN US. (more…)

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SOUNDTRACK: FALHA COMUM-“Film Do Mundo” (2019).

Every year Lars Gotrich publishes his list of favorite music in an NPR podcast called Viking’s Choice: The Year In The Loud And The Weird.  I always listen to these songs because I’ll never hear them anywhere else (he mostly seems to scour bandcamp for unknown music.

One that he especially liked was by this band Falha Comum, a duo from Brazil.

He says:

The Brazilian post-punks scaled down to a duo, but opened a festering third eye. The psychedelic noise receptors of a previous decade (think Raccoo-oo-oon and Gowns) run throughout Rakta’s Falha Comum, but in levels below, the sinister grooves and cackled reverb inhabit a life all their own with primal incantations to spirits unknown.

The album is like a few things and nothing else that I’ve heard.  There’s elements of krautrock–but not sterile and efficient, more groovy and cool, with a warm bass and seemingly wild, improvised vocals.

This particular song is 7 minutes long and opens with a spoken word section (presumably in Portuguese).  There are synths and screams behind the speaking and then everything starts pulsing as the vocals echo and echo.   The music–a simple repetitive drum and bass (I guess) line, keep a terrific groove going while on top, the high notes (vocals and other synths) skitter and flit about.

Midway through, the song goes through a phase shift–it sounds like it’s been transported somewhere else, and that’s when the bass gets cleaner and the vocals grow a bit more intense.  But the groove remains.

Somewhere around 6 minutes, the groove changes slightly–a brief shift in notes suddenly gives the song a brief moment of extra melody.  The following keyboard frenzy keeps it from getting too comfortably melodic though.

It’s an unexpectedly interesting and cool record.

[READ: Summer 2019] The Long Utopia

This was the fourth book in the Long Earth series.  I brought it along on vacation thinking it would be a fairly slow and leisurely read like the others—something I didn’t mind putting down and picking up a few days later.  But this book changed that pattern entirely.  It was fast paced and quite exciting and my favorite book of the series so far.

The previous book about the Long Mars seemed to be more than anything else, a distraction.  Not a lot happened, although there were some cool ideas in it.  The one big thing that book 3 did that effects book 4 is the cable/elevator thing—which I still don’t understand [see yesterday’s post about book 3].

This book also introduces a new concept in Stepping.  Typically Stepping is described as moving left or right, east or west through the Earths.  But suddenly, in this one world, it seemed like a person could move…north.  Into an entirely different world—night instead of day:  “No stars exactly, it was like he could see the whole galaxy…from outside.”

This book is set in 2052.  Protagonist Joshua Valiente:

will be 50 years old. He has been stepping for 35 years and has been all over the Long Earth.  But some things are still unsettling—things that he can feel in his bones or his head.

The reason for his feelings date back to 2036 in New Springfield.  Cassie Poulson had been digging a basement for her house when she hit some kind of opening.  Not a cave or anything natural, but some kind of manufactured tunnel or the like.  When she poked her head in,  what poked back was a humanoid metal beetle.  Obviously she freaked out and covered up the hole. (more…)

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SOUNDTRACK: FIRE-TOOLZ-“mailto:spasm@swamp.god?subject=Mind-Body Parallels” (2019).

Every year Lars Gotrich publishes his list of favorite music in an NPR podcast called Viking’s Choice: The Year In The Loud And The Weird.  I always listen to these songs because I’ll never hear them anywhere else (he mostly seems to scour bandcamp for unknown music.

One that he especially liked was by this band Fire-Toolz.  He says:

When I try to describe the simultaneously fantastical and obliterating sounds of Fire-Toolz to folks, I usually throw my hands up — not out of frustration, but from awe. Angel Marcloid has clashed New Age synthscapes, clubby raves, jazz fusion and metal shrieks for a few years now, but Field Whispers (Into the Crystal Palace) goes beyond the mash-up, into an idiosyncratic master’s pure creation.

The album credits indicate: Angel Marcloid: voice, drums, electric & acoustic guitar, fretless bass, virtual studio technology, field recordings, circuit-bent junk, composition, lyrics, recording, production, mixing, mastering.

The only other musician is Ian Smith: who plays what can only be described as a smooth-jazz saxophone solo.  Oh, and her cat, Breakfast, gets a vocal turn.

I have listened to some of the whole record, (a lot of tape manipulation on track 2), but nothing sums up the project like the first song, “mailto:spasm@swamp.god?subject=Mind-Body Parallels” (yes, that’s the title).  In 2 minutes and 11 seconds, she includes more genres than I can name.  And the amazing thing is that unlike other artists who squeeze many genres into one song (there are those who do this well and those who do not), these shifts feel at once hairpin but also natural. 

The song starts with a skittery electric melody that almost sounds like digital pipe organ.  It’s very new-agey, but with heavier drums than you might expect.  The quiet death metal growling is certainly unexpected, but somehow it doesn’t feel out of place (and is low enough in the mix to feel more like another sound than vocals–I have no idea what she’s saying).

After the first verse the music shifts to a kind of jazzy new age followed by a punishingly fast electronic drum and a scorching heavy metal solo and the song devolves or crescendos with inhuman growls.

Welcome to 2020!

[READ: May 2019] The Long Mars

I found the first book in this series rather compelling–almost surprisingly so given that it’s not a fast-paced book and, to be honest, not a lot happens.

But it was really well written and the things that do happen are compelling and fascinating.  And I couldn’t wait to read more.

In the first book:

A man creates an invention (The Stepper) which allows one to step into a parallel world that is next to ours.  There are a possibly infinite numbers of parallel worlds in each direction (East or West).  The worlds that are closer to ours are almost identical to our Earth (known as Datum Earth).  The further you go, the greater the differences.  But none of them have experienced humanity before Step Day (aside from earlier hominids).

The main character is Joshua Valienté.  Joshua is a natural “Stepper.”  He doesn’t need the device to Step from one word to the next, nor does he feel the nausea and other side effects that most people feel as they travel.  Most of the book follows his exploits.

The Black corporate has a ship with an entity known as Lobsang who claims that he was a human reincarnated as artificial intelligence.  Joshua is sure that Lobsang is a computer, but Lobsang’s human skills are uncanny.  This ship has managed to Step as an entity, meaning everything in the ship can go with them.  Normally you can only bring what you can carry (aside from metal).

The novel more or less is an exploratory one with Joshua and Lobsang Stepping through millions of Earths.  Not a lot happens, but the novel never grows boring.  The interactions between Joshua and Lobsang are often funny.  And the writers have infused the Earths that they stop in with just enough differences to make each stop strangely compelling (this must be Baxter’s hard science leanings).

I found the second book less compelling on a story level, but no less compelling on a conceptual level.  There was still some cool stuff going on.

Joshua Valienté has settled down in a town called Hell-Knows-Where.  He has a wife, Helen, and a child, Daniel, and lots of regrets about what happened at the end of book one.  He is embedded with the rest of the community.  They show off what a successful community can be way out in the Long Earth.  It is more or less cut off from Datum Earth, which means that everyone needs to work for the community to survive.  Since trust and companionship are key to survival, people don’t really try to take advantage of others and crime is pretty much nonexistent.

This independence is a major concern for the governments of Datum Earth.  In fact, some of the more thriving distant communities (like Valhalla) want to declare independence from Datum Earth altogether.

Another issue is human (or alien) rights.  The trolls from the first book have become a part of most communities at this point.  And yet, the way they are treated seems largely dependent on who they are with.  Some are welcomed like family members, other are treated like animals, slaves or worse.   And the mistreatment of a mother and son troll are what set a series of events in motion.   Maggie Kauffman is a new character introduced to speak on behalf of the trolls.  Before their otherwise peaceful nature gets pushed too far.

Another plot line (and there are quite a few) concerns Roberta Golding, a young genius who goes on an exploratory mission with the Chinese.  The Chinese are exploring the “East Earths” (most of the other travelers went West).  Roberta is an odd child, who anticipated jokes and therefore finds nothing funny. She is cold and emotionless.  Her story remains unresolved by the end of the book.  But her crew managed to get to Earth East 20,000,000 with the crew.

When Sally tries to get Joshua involved in an adventure once again, he is reluctant, but Helen is the one who spurs him on–as long as she and Dan go with him. This adventure is a bit of backtracking, though–an attempt to use Joshua’s name and status back on Datum Earth–where he is not welcomed by everyone.  He tries to prevent the government from harming trolls–because he knows what is at stake if the trolls grow angry.

In their adventure, they also encounter a race of beings known as Beagles.  It is a pretty dark and disturbing world, with Joshua getting tortured and Sally and Monica being the only things keeping him from a brutal death.   There’s a lot of brutality now, which is not unexpected given the reality of the situation, but it does often seem rather harsh

That’s a lot of summary to prepare for Book Three.  But book three does continue the saga, just another twenty years or so later.

(more…)

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SOUNDTRACK: ALEJANDRO ESCOVEDO-Tiny Desk Concert #834 (March 20, 2019).

I feel like I’ve been hearing Alejandro Escovedo’s name for years, and yet I know very little about him.

I assumed he was a kind of folkie guy.  So I was pretty surprised by the loud sound he brought to the Tiny Desk.  And even more surprised to read

The musician, who once opened for the Sex Pistols … seemed to appreciate the difference between being pelted with spit and debris by punk rock fans and being showered with loving appreciation in the NPR Music office.

Escovedo came  in a leather jacket and a large band.  And even though I thought they were loud, apparently they intended to be louder.  They even started the show with “one for the money, two for the show, three to get ready and four Go Alejandro!”

Escovedo and his backing band known as Don Antonio set up behind the Tiny Desk, their first sounds were blistering loud. That’s when we broke the news: We wouldn’t amplify Alejandro’s voice. We got a slightly sullen look from the band; but despite the toned-down volume, they were all still amped up.

A little research into Escovedo, though shows that he has, indeed, played folkie/alt-country music.  But that his sound has evolved over the years.

Escovedo pulled the three-song set from The Crossing, the most recent chapter in his ongoing odyssey and a typically hard-rocking, literate saga about two teenagers looking for their American Dream of rock and roll and beat poetry.

“Teenage Luggage” opens kind of quiet with one guitar and quiet drums, but soon enough a sax and keyboards are added, then comes some bass and the second saxophone and the roaring lead guitar.  As Escovedo sing/speaks his story.  Then comes the catchy chorus:

You think you know me, you’ll never know me you’re just a bigot with a bad guitar.

By the end, everyone is rocking out with mini solos from Perinelli on saxophone and a raucous guitar solo from Gramentieri

The close quarters of the Tiny Desk allows for a kind of backstage insight into the musical and visual interplay between Escovedo and the veteran Italian band Don Antonio [Antonio Gramentieri: vocals, guitar; Denis Valentini: bass; Matteo Monti: drums; Nicola Peruch: keyboard; Gianni Perinelli: tenor sax; Franz Valtieri: baritone sax]. Lead guitarist Antonio Gramentieri is the perfect foil for Escovedo, who adds a heavy dose of edginess to the sound with his power strumming.

“Something Blue” is slow with a dominant organ sound (reminiscent of Bob Dylan).  It sounds like an old-school rock song and his delivery sounds more than a little like Warren Zevon.

He says that “Sonica USA” goes out to Don since Wayne Kramer from the MC5 played on this.  It has a great raw rock feel with Escovedo’s punky vocals and the chanted chorus of “Sonica USA.”  The soloing section is great with the two saxophones playing on top of Gramentier’s wailing solo.

It’s a really fun garage rocking set.

[READ: Summer 2018] The Long War

I found the first book in this series rather compelling–almost surprisingly so given that it’s not a fast-paced book and, to be honest, not a lot happens.

But it was really well written and the things that do happen are compelling and fascinating.  And I couldn’t wait to read more.

In the first book:

A man creates an invention (The Stepper) which allows one to step into a parallel world that is next to ours.  There are a possibly infinite numbers of parallel worlds in each direction (East or West).  The worlds that are closer to ours are almost identical to our Earth (known as Datum Earth).  The further you go, the greater the differences.  But none of them have experienced humanity before Step Day (aside from earlier hominids).

The main character is Joshua Valienté.  Joshua is a natural “Stepper.”  He doesn’t need the device to Step from one word to the next, nor does he feel the nausea and other side effects that most people feel as they travel.  Most of the book follows his exploits.

The Black corporate has a ship with an entity known as Lobsang who claims that he was a human reincarnated as artificial intelligence.  Joshua is sure that Lobsang is a computer, but Lobsang’s human skills are uncanny.  This ship has managed to Step as an entity, meaning everything in the ship can go with them.  Normally you can only bring what you can carry (aside from metal).

The novel more or less is an exploratory one with Joshua and Lobsang Stepping through millions of Earths.  Not a lot happens, but the novel never grows boring.  The interactions between Joshua and Lobsang are often funny.  And the writers have infused the Earths that they stop in with just enough differences to make each stop strangely compelling (this must be Baxter’s hard science leanings).

At the end of the book, the anti-steppers attempt a massive, deadly protest.

(more…)

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SOUNDTRACK: LAU NOAH-Tiny Desk Concert #823 (February 11, 2019).

Lua Noah is a Spanish singer/guitarist with a fascinating story.  She sings mostly in Spanish (with subtitles!).

Lau Noah’s journey as a songwriter and guitarist occurred by happenstance. She was born in Reus, Spain barely a few hours drive from Barcelona. She speaks and now sings in Catalan, Spanish, English and sometimes Hebrew. She’d played piano growing up (never guitar) and left Spain for New York City five years ago while in her late teens.

On a visit to Montreal in 2016, Lau hoped to go to a Patrick Watson concert with friends. But the performance sold out and she was left alone in an apartment while her friends went to the show. Then a snowstorm ensued. The apartment had two guitars and, with nothing else to do, she picked one up and began to play. She wrote her first song, “Pequitas,” which means “Little Freckles.”

Her songs are quite short.  “El Jardinero (The Gardener)” is barely 2 minutes long.  She plays complex chords but not in an elaborate way–just making lovely sounds in beautiful patterns.  The speed of her singing is somewhat at odds with the gentle playing, but it all works, as if she needs to get these passionate words out.

There’s a magical aura that surrounds Lau Noah as she sits behind my desk and embraces her guitar with one foot propped unnaturally high on a stool. As melodies pour from the strings, she sings these words in Spanish: “On the verge of the soul, there is a red petal, attached to the skins of mortals.” A few lines later in the song she continues, “a fragile petal that drinks the water of the most cruel stories: children who have never heard a fairytale, lovers who love, dressed in regret.” This is the sort of poetic tale that captured my heart amongst the thousands of entries I watched during the Tiny Desk Contest in 2018. Her song she submitted for the contest is called “La Realidad.”

I love the way in “La Realidad (The Reality)” she returns to a part where she plays a low note that rises and falls while everything else stays the same as she sings.

She says thats she is from Catalonia and was always afraid to sing in Catalan, so she sang mostly in English.  She is very happy to sing the next song “L’Adéu (The Goodbye)” in Catalan.  It has a beautiful melody and sounds very differrent from the other two songs.

She re-tunes her guitar for “La Belleza (The Beauty)” which has a very different fingerpicking style–faster and a bit more intense.  The melody rises and falls both from her fingers and from her voice.  It’s a mesmerizing song.

Before she played her final song, “Red Bird,” (in English) she quoted Spanish writer Miguel de Cervantes Saavedra, from his novel Don Quixote: “When life itself seems lunatic, who knows where madness lies,” Lau said, reading from her notes. “Perhaps to be too practical is madness. To surrender dreams is madness. And maddest of all: to see life as it is and not as it should be.”

She sounds just as lovely singing in English as she does in her other languages.

[READ: February 11, 2019] One Day a Dot

I don’t normally post about children’s picture books.  But this one has two things going for it.  It’s published by First Second and it’s pretty awesome.

This is, as the cover says, “the story of you, the universe, and everything.”  All in 40 pages.

It begins: One day a dot appeared.  And it was so excited to be there that it burst.

And that is the children’s version explanation of the big bang. (more…)

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mar

SOUNDTRACK: SILK ROAD ENSEMBLE-“Saidi Swing” (Field Recordings, March 26, 2014).

I really enjoyed the Silk Road Ensemble’s Field Recording, so I was delighted to see that they did a second recording from the same session [A Field Recording Bonus Track: The Silk Road Swings].  I have no idea how they cleared everyone out and cleaned up the place for this video (how long did these four guys have to hang around?), but it was worth it.

What I find so magical about this piece is that it is four percussionists and yet they make such beautiful music.

They’re playing a piece written by Shane Shanahan called Saidi Swing. While it’s inspired by a traditional rhythm from Upper Egypt called saidi (which goes “dum tek dum dum tek” in its simplest incarnation, for those of you who want to find its seeds sprinkled through this piece), Shanahan uses that pattern just as a launching point. And with such fantastic collaborators — from left to right, Sandeep Das playing the Indian tabla, Shanahan playing the riq, or tambourine, Mark Suter on daff frame drum and Joseph Gramley playing the goblet-shaped dumbek — Shanahan can really let his imagination take flight.

The piece begins with the four drummers playing together.  Then comes the individual moments

First comes a solo by Sandeep Das playing the Indian tabla. I love that it’s mostly finger tapping–the tabla is a fascinating instrument.

Up next is Joseph Gramley playing the goblet-shaped dumbek.  To start his solo, he plays the side of the drum which rings out almost like a tambourine before returning to the proper method of playing.

The third solo comes from Mark Suter on daff frame drum (I assumed it was a bodhran, I wonder what the difference is…ah, the daf has metal rings inside of it and can be made of fish skin (!)).  Suter bangs it for a big open sound but then he rubs his fingers along the skin to create even more fascinating sounds.  It’s awesome.

Then they return to the main rhythm.  All four play loud then quiet and then it’s time for each of them to get a very brief (2 seconds, maybe) solo in order left to right.

Then it’s time for Shane Shanahan playing the riq, or tambourine, to get a solo.  It’s the most conventional instrument except it seems quite different from the one that we see in folk bands.  He does some pretty nifty tricks with it too.

In the last part they each play a solo that’s about a second.  Again, left to right, which sounds cool and probably sounds even better in person.

World music percussion is really fascinating and I’m glad it gets showcased in this way here.

[READ: February 7, 2018] “The Ecstasy of Alfred Russel Wallace”

I never understand why people write fictionalized accounts of true stories.  There must be a reason for doing it–maybe you can’t write a five-page biography and have it get published anywhere?  I don’t know.

This is the true (I assume) account of Alfred Russel Wallace.

Wallace was a student of nature–it filled whim with an ecstasy that sometimes felt like lust.  He was not one for theory–he was all about the search.

He collected specimens and he wrote letters home to his mother about his joyful expeditions.  He traveled endlessly, exhaustively.  Even when wracked with malaria he continued. (more…)

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SOUNDTRACK: BIG DADDY KANE-Tiny Desk Concert #708 (February 19, 2018).

I remember Big Daddy Kane, of course, although I don’t think I knew any of his songs.  As far as I can tell, Kane hasn’t released an album since 1998.  But his voice sounds great and he seems pretty content to rap his old hits.

The smooth operator, Big Daddy Kane, still emits that same palpable swag he did as a lyrical heartthrob during his heyday. He strides into the room and fully commands it with his presence.

One of the greatest to ever bless the mic, Big Daddy Kane treated Tiny Desk to an office block party in the true essence of hip-hop.  Kane, aka Dark Gable, was a breakout member of the seminal Juice Crew in hip-hop’s golden era during the latter part of the 1980s. He popularized quick-cadence flows and multisyllabic rhyme schemes.

He performed a short set of classics, including “Smooth Operator,” “Ain’t No Half Steppin’,” “Raw” and a bonus freestyle. Through his warm, engaging and devilishly self-effacing style, the pioneer used an interlude between songs to address the intergenerational divisiveness defining rap today and the importance of fans of all ages supporting whatever they like, while “focusing on what’s positive and keeping that in the spotlight.”

The Concert opens with a great drum beat and a funky bass line for “Smooth Operator.”  The rather wimpy keyboard riff with the sax is kind of a wasted opportunity to give fuller sound to this song.

It’s interesting that Kane–whose voice still sounds deep and full–keeps the old songs with incredibly dates references like “Freddy Krueger walking on Kane Street.”

Mid song Kane says, “stay right here Ben… gonna make this into a family affair.  Are there any smooth operators out there?”  They sing the riff.  Then, “Let me see whats happening behind me.  Jay Dub (John Williams) on sax, is he a smooth operator?”  He is.  Kane tells him to “Make yourself at home” with a good solo.

While that solo is going on, he says “certain members of the band just can’t wait till their turn (looks at keyboardist who had been playing with the solo).  He says, “He’s been with me a long time, he’s the baby of the crew we call him J Minor (Judson Nelson)–most places we play he’s not supposed to be there, he’s not old enough. If I ask you to play like a grown man, how’s that sounds, baby?  He plays a smooth solo.

Kane: “I forgot there was another verse.  I was having so much fun looking at them.”

We should keep this party going.  I saw a couple of these people looking at their watch.  Some of you all might be on lunch break I don’t want to mess it up

“Ain’t No Half Steppin” starts off with simple sax and some more dated lines:  “Friday the 13th, I’m gonna play Jason.”  (Rappers loved horror movies back in the day).  He gets the crowd into it: “Say it like it’s 6’o clock Ain’t no half steppin’.”

“Let me hear you once more…  I lied, just one more time y’all.”

After the song he says, “I’m enjoying myself.  This is all right for real I might fill out an application for a job here next week.  this ai’iiht.”

“I’m gonna do one more song and then were gonna shut it down and this ain’t got nothing with y’all getting back to work, I’m starting to get hot in here.”

A great drum beat starts off “Raw” which is followed by that crazy squeaky sax.  And there’s this one last pop culture line: “The rhymes I use definitely amuse better than Dynasty or Hill Street Blues.

Mid-song, a cool faster drum beat is added–I love the snare sound Matt Lambert gets and then the whole band kicks of for a great riff on bass and sax to end the song–it’s a shame it ended there as it was really taking off.

People don’t want him to leave, so they do a freestyle.  A cool slide bass line from Benjamin Geis and staccato piano.  It’s my favorite music of the show.  And the speed of his freestyle rap is really impressive.  And he (virtually) drops the mic and is off.

It’s a great old school set.

[READ: Summer 2017] The Long Earth

I have read nearly everything that Terry Pratchett has written (I kind of drifted a bit towards the end, but I’ll catch up eventually).  Anyway, I was in the bookstore in Bethlehem, PA and saw this book.  It’s a series I’ve known about but didn’t know very much about.  I decided to check it out to see what it was all about.  I don’t know very much at all about Stephen Baxter except that he’s a hard science fiction writer, meaning he focuses as much on the science as he does on the fiction.

So how does this pair–a hard science writer and a comic parodist of fantasy work together?  Well, honestly the story is much more Baxter than Pratchett. Although since I haven’t read any Baxter, I guess I can’t say that legitimately, but it’s definitely not very Pratchetty.

Well, maybe some of the character interactions are kind of Pratchetty, but certainly not like any of his Discworld characters.  As with any co-writing experience, I wondered how this story was constructed.  So I found an interview with Stephen Baxter from around the time they finished writing the fourth and final book

How did the idea for the Long Earth series come about?

The whole thing was basically Terry’s idea. He’d started work on this project and short stories set in this world back in the ’80s but he got stuck with it.  He wanted to have a very human, level way to access these words. You don’t need to get there on a rocket ship, you can just walk in.  At the same time, the vision for the end was going to be out on a galaxy somewhere.

We’d known each other for years and [about] five years or so ago at a dinner party, Terry [said he] was going through his archives looking for unpublished short stories and things like that and he came across an aborted project from about 30 years ago.  We were just talking about that and it just struck me as immediately a great idea because it’s so simple and yet it’s got endless possibilities.  By the end of that [party] we already had the storylines and Terry was going to send me the material.

Terry was having trouble seeing so Stephen did the typing and then “We fixed each line and each scene together.”

So that’s that sorted.

Baxter also says “it just struck me as immediately a great idea because it’s so simple and yet it’s got endless possibilities.”

And that is the truth.  The story can be summed up pretty easily. (more…)

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