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Archive for the ‘Fears’ Category

SOUNDTRACKRHEOSTATICS-The Horseshoe Tavern Toronto (February 17, 2001).

It’s hard to believe these shows were 18 years ago!

This was night 4 of 4 of the Horseshoe Tavern’s 53rd Birthday bash.  It was the final night and one of the longest shows I can recall at almost 3h in length. The Chickens opened the show.

It was hard to find information about The Chickens.  What I learned was that they were originally a band called U.I.C. which was first an acronym for Unemployment Insurance Commission but was later changed to Up in Canada.  They broke up and then years later reformed but as a different band.  From Now Toronto:

Not only do the Chickens boast the propulsive rhythm section of former U.I.C. drummer Murray Heywood and bassist Dan Preszcator along with the devastating firepower of U.I.C. guitarist Fred Robinson, but they also have the megacity’s most exciting microphone mauler, U.I.C.’s Dave Robinson, fronting the band.  That’s right, Exeter’s answer to the Stooges have clawed their way back from obscurity to kick ass with a vengeance. So why the name change? Well, despite the fashion-world dictate, the 80s are over and the Chickens aren’t a nostalgia act.  The songwriting savvy of former El Speedo guitarist Ken Mikalauskas has added a sharper pop edge to the compositions, as can be heard on the Chickens’ cranking new Prepare To Plug In (Egg-cellent) album.  “We went through about a million names and even contemplated going back to U.I.C., but it didn’t click. Ken has contributed so much to our sound that this really feels like a new group. Besides, none of us really liked the name U.I.C. anyway.”

So that’s the opening act.

For the main act, the band plays for nearly three hours.  They played almost all of Night of the Shooting Stars (songs are in bold–excluding “Remain Calm” or “Satan”).  There was a nice intro by Jeff Cohen (which states that The Horsehoe was originally a country club, which makes sense.)

And then they jumped n with six new songs.

“The Fire” which Martin says is “a new song Dave and i are working on.”  There’s some great harmonizing between the two of them at the end–they don’t duet enough.  It’s followed by some short, poppy song: “It’s Easy To Be With You” and “Superdifficult.”  Martin speaks the title through his robotic voice in low and high register and Tim says that thing was in my dreams last night.  It’s such a great but far too short song.

“The Reward” has such a great slinky guitar riff.  It’s another satisfying new song.  As is “Mumbletypeg” although they can’t seem to synch up on the intro to this song.  Dave yells “all together now” and they get going.  The new stuff ends with “Song Of The Garden” which Tim dedicates to Sarah Harmer’s new album.

Then it’s back to older songs.  There’s a soaring “Self Serve Gas Station” which segues into a screaming “RDA.”  They throw in some tags to The Clash’s “I’m So Bored with the U.S.A.” with DB shouting: “I’m so bored with the U.S.A.  I’m so angry at the U.S.A.  I don’t give  a fuck about the U.S.A.”  When the song is over, Dave says,  “We almost sounded like The Chickens there.”

There’s a discussion of music and hockey and The Chickens should be called The Gas Station Island Five since the starting line is the entire chickens band–they’re amazing on the ice.  One of them says “We’re gonna kick The Morningstars ass (Bidini’s team) at the Exclaim Cup.  DB notes: “Different division.  They can’t put us in the same division because there’s always a big terrible beautiful brawl when we play each other.  The Exclaim Cup.  April 13-15–it’s free.  It surprises you that it’s free to watch these guys play hockey?

Tim says they’re going “way back for” “Torque, Torque” which was fun to hear.  Especially since the follow-up the new song “In It Now” has a similar guitar sound.  I love the guitar riff and melody of this song.

They tale a small break to talk about the celebrities they’ve spotted on the last couple of nights, including Dave Reid, from Centennial High, where they performed Harmleodia.

Someone shouts “I’m looking for some fun” (the opening of Fish Tailin’)  DB: “Hey Martin that guy wants to talk to you.”  Martin says they’re playing something else.  When the guy shouts again, DB says, “Perhaps you would like to try another club if you’re still looking  Because we’re cooking.”

They play a great “Junction Foil Ball” during which a fire alarm goes off.  After the song Tim checks, “that wasn’t a real fire, right?  It was just Dave’s riff was too hot.”

They play a long “Dope Fiends and Boozehounds” with a wild drum solo in the middle and loud and roaring ending.   Then they play “Me and Stupid” and Dave forgets the words in the first verse (perhaps the first time I’ve heard him forget a lyric) but he is undaunted and they do fine until the end.  Mid song, Don quotes a poem “High Flight” by John Gillespie Magee, Jr. “and done a hundred things/You have not dreamed of –Wheeled and soared and swung.”  Then Dave quotes Wilderness Gothic by Steven J. Gibson “something is about to happen / two shores away a man hammering in the sky.”   [Both poems are printed in their entirety at the end of the post].


Martin’s been nominated for a Juno award for original art work–they’re never nominated for a musical category–the art has always been better anyway.  The Story of Harmelodia is being produced by the One Yellow Rabbit theater company in Calgary.  So up next is “The Sky Dreamed” on which Don Kerr takes lead vocals.

Don says he’d like to thank Maureen for “giving me an official Canadian tartan jacket, which means I am now an official Rheostatic.  Martin says Canadian tartan used to be our uniform.  Tim: and our bedding.

“Baby I Love You” a goof track from Nightlines Session is requested many times.  Tim says they considered it for Valentine’s Day, but it’s too complicated and doesn’t work without a Fender Rhodes.

For “Loving Arms” they are joined by Carmen from a fine band called Check (I guess). She sings backing vocals which sounds very pretty.  I never noticed that the ending melody sound like the guitar for “Here Comes the Sun.”  It’s followed by one more new song–a great version of “P.I.N.

Dave says they played Sydney, Cape Breton where they don’t get a lot of bands and they go crazy.  Somebody sent up shots of tequila and we stopped a song and played “Tequila.”  We kept shouting tequila but nobody was sending up any more shots.  And then all of a sudden there were 48 of them.  We’ve never been the same.

Then the bust out a surprise: “The Ballad Of Wendel Clark Part 1 and 2.”  During the song, Dave B talks to Dave of the chickens about what it would be like playing against Wendell.

Then it’s time for two Stompin’ Tom songs.  “Horseshoe Hotel” which they learned just for this occasion.  Tom wrote it in 1971 about this hotel where people drank a lot.  Tim follows with “The Ketchup Song.”  people requests “Bud the Spud”, but they have a two song Tom quota.  Plus, no more than one song about potatoes you don’t wanna get to filled up on potato songs.

Then comes an amazing trip of a set ender.  A simply beautiful version of “Stolen Car” followed by an intense “Horses.”  The version includes Dave chanting the Talking Heads’ lines from “Crosseyed and Painless” and Martin reciting the Tragically Hip’s “Blow at High Dough” through his computer voice.  The noisy outro of Horses segues into a lovely quiet intro of “The Wreck Of The Edmund Fitzgerald” and the crowd goes nuts.

It’s an amazing set ender that should satisfy anyone, but the Rheos are not done.  After a fairly long break they’re going to play for about 40 more minutes.  Someone shouts “Saskatchewan” and Dave says, yes, we were gonna do that but we ran out of time.

So instead, it’s “Legal Age Life At Variety Store” which features Tim Mech on guitar.  As they start the chords, Dave says, “you’re writing something in your notebook but how do you know which song were doing?  We could be doing “Rockin My Life Away” by Jerry Lee Lewis or “The Swimming Song” by Loudon Wainwright III.  But of course it’s “Legal Age Life” and everyone gets solos: Freddy and Davey from The Chickens and Timmy (Mech) who does a weird solo.   Tim Dave and Fred–the triple threat!

Somebody shots “Everybody Knows This is Nowhere,” but Dave says they can’t do it without The Bourbons and the guy shouts “I take it back!”

Two more new songs include a rockin “CCYPA” and “We Went West” which seems a weird song for an encore (it’s pretty slow), but it sounds good.  It’s followed by another surprise, their version of Jane Siberry’s “One More Colour.”  Dave says that they have a song on the (incredibly diverse) compilation box set Oh What a Feeling 2.  Proceeds go to charity.  They are on it after Jane Siberry.

Then they leave, but they’re not done.  JC comes out and announces that it’s 2:30 in the morning (!).  Do you want to hear any more? No rules tonight.

The guys play “Northern Wish” in the crowd acoustic and unmic’d.  The recording is pretty good and the crowd really sings along–great fun there.

Everyone assumes they are done, but they’ve got room for one more, a rocking, late night version of “Introducing Happiness,” which sounds like it’s 2:45 in the morning but is pretty awesome, nonetheless.

What a show.

They played 63 different songs over the four nights.  There were 30 songs that were played more than once.

[READ: February 14, 2019] Mythical Irish Beasts

This book is a fun illustrated collection of the historical origins of Irish beasts.

Joyce does a lot of research (there’s footnotes!) and mentions many original documents to explain where these myths came from, but it is still a very simple introduction to these stories–a way to pique your interest.

He also illustrates every beast in his striking but unusual artistic style.  I really like the look of his beasts, but they are certainly unconventional.  They’re very modern looking, which is interesting for these ancient creatures.

There does not appear to be a reason for the order, but I’m going to list all of the creatures just because it’s fun to have some many weird words in print. (more…)

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SOUNDTRACK: KING GIZZARD AND THE LIZARD WIZARD-Willoughby’s Beach (2011).

After releasing five new albums in 2017, KGATLW spent 2018 re-releasing their first five releases.  These were out of print and hard to find.  And now they’re back.

Back in 2011, KGATLW was more of a goofy side project (hence the name).  But they coalesced as a seven-piece band and proceeded to make an EP–Willoughby’s Beach.  At nine songs in about 25 minutes, this garage rock/dirty blues project pretty well flies past.  Lyrics are an afterthought (most songs repeat one line) and most of the songs are under 2 and a half minutes.  It is great zipping fun with fuzzy guitars, fuzzy harmonicas, fuzzy vocals and an all around DIY feel.

“Danger $$$” is a fast, crazy blues with a wild harmonica solo and the repeated shouted lyrics of “danger money” between lots of whoops and screams.  “Black Tooth” opens with a similarly fast riff but it immediately slows down into a slower but still rocking riff.  “Lunch Meat” is a crazy fast and catchy song with the full lyric: “They made me get up in the morning morning morning morning.”

“Let it Bleed” is the longest song on the disc at 3:14.  It’s slower and the repeated lyrics are far more comprehensible (I want to see my lover again).  The wonderfully titled “Crookedile” has a kind of a spy theme for its music dark with echoing squealing guitars and chanted vocals.  What “just say god is on your side, he’s on your side” has to do with the title I have no idea.  “Dead Beat” is also (relatively) long, but it is much faster with lots of whoops and a simple but addictive guitar line.

“Dusbtin Fletcher” is a fun punk song with lots of big backing vocals–like The Monkees doing punk.  Oohs and oh ho ohs make this an incredibly poppy song.  “Stoned Mullet” has two sets of lyrics: “jack it” and “green out.”  Your guess is as good as mine.  It’s fast and catchy with a wonderful chorus.

“Willoughby’s Beach” is quick and catchy, a wonderful end to the disc.  The song is the definition of three-chord rock and features the lyric: “Just because I like you, it doesn’t mean I like you.”  Superb stuff.

[READ: January 31, 2019] Secret Coders: Monsters & Modules

This book ends the Secret Coders storyline.

It begins with the boys feeling very calm as they work out a code that will get them to travel to Flatland.  But Hopper doesn’t understand why they aren’t freaking out since as soon as they work out the code they will be travelling to a world with one fewer dimension!

Using a simple repeating code, the turtle makes the opening and they fall into the second dimension.  Eni turns into a square, Josh turns into a triangle and Hopper turns into a line!  And we learned in the previous books that lines (and women in general) were considered nothing.

They are immediately bothered by circles–the most superior shape in Flatland.  After some altercations, Josh and Eni are thrown in jail.  Hopper is able to hide because she is just a line and is therefore very hard to see. (more…)

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SOUNDTRACK: LIGHTSPEED CHAMPION (“Field Recording” March 2, 2009).

Years before NPR created a category called “Field Recordings,” they were creating Field Recordings–“backstage” (or elsewhere) recordings of bands.  Most of these seem to happen at Music Festivals where musicians just seem to be hanging around anyway.

I have no idea how many of these there are.  In fact, the only reason I discovered this one is because there was a link to it from the Blood Orange Tiny Desk Concert.

Because it turns out that Devonté Hyness, the guy behind Blood Orange was once Dev Hynes, the guy behind Lightspeed Champion.

And so, eleven years ago, Lightspeed Champion played SXSW.

It was a spectacularly beautiful day in Austin, TX when Lightspeed Champion’s Dev Hynes and violinist Mike Siddell met with All Songs Considered’s Bob Boilen for this exclusive outdoor performance. Hynes and Siddell offered up an intimate little set as they ran through four songs, opening with “Tell Me What It’s Worth,” followed by “Everyone I Know is Listening to Crunk,” “Galaxy of the Lost” and an inspired cover of Olivia Newton John’s “Xanadu.”

For all four songs, it’s Dev on acoustic guitar and Mike on violin.  Like on “Tell Me What It’s Worth” Dev sings mostly quietly with his accent audible.  The violin adds sweet touches and occasional solos.

He introduces “Everyone I Know is Listening to Crunk” by saying that crunk is a musical genre that originated about two hours east of here.  Li’l John more or less started it and the queen of crunk is Sierra.  It features this amusing chorus (?)

my drawings are starting to suck
My best friends are all listening to crunk
i feel like the world’s gone crazy
…sometimes in the cold night my phone rings but it’s not you

“Galaxy of the Lost” is a slow pretty ballad with a lovely rising scale in the middle.

Finally comes his cover of “Xanadu” (a song I love).  The opening guitar sounds like “Sugar Pie Honey Bunch” and I love the way he resolves it into “Xanadu.”  The sprinkles of violin are a nice touch.

It’s pretty amazing how different this sounds from Blood Orange.  It’s an impressive development for an artist.

[READ: January 23, 2019] Secret Coders: Potions & Parameters

Secret Coders 4 ended with a puzzle.  But I read it months ago, so I haven’t even thought about it since then.  In fact, I have conceded that I will not learn basic programming from this series, so I’m not even trying.  I could see, though, that if you were reading these in quick succession that it would be fun to learn how to do what they are doing and to try the tests.

When we last left our heroes they were being attacked by biting ducks (!).  They use their program skills and the hard-light-generating Light-Light to escape.  And they wind up in a room with all the people who have drunk the green soda.  Including Hopper’s dad.  What?

As they try to snap him out of the “green!” stupor he is in, Dr. One-Zero arrives with Paz.  Turns out Paz was double crossing the kids all along and now Dr. One-Zero has the hard light generator and has the kids trapped.  He’s that much closer to winning–and his final plan is pretty terrible. (more…)

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SOUNDTRACK: WHITEHORSE-Live at Massey Hall (December 8, 2017).

I saw Whitehorse open for Barenaked Ladies a few years ago and they blew me away.  I really want to see them again.

When I saw them it was just the two of them and the magic of their interplay was what really impressed me the most.  For this special Massey Hall show, they have a full band.  But as Melissa McClelland explains:

This is the first time playing the Massey stage with a full band.  We wanted to … finally invite some friends on stage with us and play music.

Those friends include John Obereian on drums, Ryan Gavel on bass, guitar and backing vocals and on keys and bongos and guitar, the second best singer in this band Gregory MacDonald.  He replies, “Thanks to the second best guitar player in the band.”  I have seen MacDonald on tour with Sloan a bunch of times and he is awesome.

As to why they are a duo, she says

we knew that Whitehorse was always going to be just the two of us and that everyone would know that we are equal partners in the band.  But we didn’t want it to be a folk duo so we started brainstorming and bought looping pedals and a kick drum and a stomp box and we  found new arrangements and once we got it we were like Yeah!

The show opens with hand clapping from the band and the audience and then Melissa’s slinky bass intro to “Baby Whats Wrong.  Then comes Luke Doucet’s echoing Western guitar. Their voices are wonderful together and I love when Doucet sings in that weird telephone microphone.  He also plays a ripping guitar solo.

Luke introduces “Tame as the Wild Ones” by saying they needed to write a sexy song so “Melissa kicked me out and said she’d do it alone.  I go to the bar to get drunk and when I come home, she plays me this song.  And nine months later our son Jimmy was born.”  I love the way the bridge (or is it a chorus) builds and settles–that melody is just gorgeous.

“Pink Kimono” has a simple rocking riff and the two singers singing at the same time.   Doucet’s soloing is on fire in this song.

“Die Alone” is a showstopper.  A slow moody piece in which Melissa sings over a wash of synths.  The music so much build as just unfold as first Luke sings with her and then the band kicks in.  Wow can Melissa belt out a song.

“Downtown” is a celebration of how you can put hundreds of thousands of people in a city and for the most part everyone gets along.  It s got a great throbbing bass and some cool guitar scratching and riffs from Doucet.  It’s a bummer that they interrupt the awesome middle solo section with an interview, even if it is quite interesting.

After Melissa lays out how they wanted the band to sound, Luke says that when people ask him about what it’s like to do Whitehorse, he says

we were solo artists first but we had been involved with each others albums as singer or producer  or touring musician.

So in order to be successful

you have to hang out together for five or six years and play in each others bands and make eight albums together and then you have to go on tour as freelance/hired gun musicians working for Blue Rodeo or Sarah McLachlan and then you have to live together for five or six years and listen to music together and fight and then you have to get married and once you’ve done all these things and listened to 10,000 hours of music and dissected Tom Waits entire catalog and argued about which is the best Beatles record and had fights on stage about who is speeding up or slowing down and once you’ve done all those things together then start a band.

It certainly worked for them.  The only bad thing about this show is that it’s only 30 minutes.

[READ: January 24, 2019] Hits & Misses

It has been a while since Simon Rich published a collection of his stories.  This one was pretty enjoyable.  Overall, not as much fun as some of his previous collections, but still a lot to laugh at.  Rich tends to write what he knows, which is often a very good sign.  However, sometimes what he knows is limited to writing and filming, which tends to miss the everyman silliness of his earlier pieces.

Having said that there are still some hilarious pieces that anyone can enjoy and some pieces about writers that are very funny.

A few of these pieces appeared in the New Yorker, and I indicate as much, with a link to my longer review.

“The Baby.”  This was a highlight.  A sonogram reveals that their baby is holding a pen–he is going to be a writer!  But when word gets out that the baby is already getting a reputation AND representation, well, that baby’s writer father is pretty damned jealous.  Wonderful absurdity based on reality taken to its extremes. (more…)

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SOUNDTRACK: JEN CLOHER-Live at Newport Folk Festival (July 29, 2018).

Even though it was half a year ago, NPR is still posting some shows from the Newport Folk Festival Festival.  This one is kind of hard to find, since it’s not with the other Newport Folk Festival shows, so here’s the link.

Jen Cloher is a great Australian singer-songwriter/punk.  I have seen her live twice. Once opening for Courtney Barnett & Kurt Vile and once on her own.  She is dynamic and brash, funny and clever and a great frontwoman.

When she opened for Kurt & Courtney, she was a solo artist, but when I saw her headline, she had a full band (the same line-up as Newport).  And her set rocked.

The setlist she played for Newport was a truncated version of the full set list she played for us.  But she also played two different songs.  The first was “David Bowie Eyes” and “Toothless Tiger.”

She opened both sets with “Regional Echo” and “Forgot Myself” (oh god, oh god, oh god).  The album is really good, but her lives show packs more punch.  Her band is great: Jen’s wife, Courtney Barnett, on electric guitar and Bones Sloane from Courtney’s band on bass plus the amazing kick ass drummer Jen Sholakis.

The “new song” is actually an old song, “David Bowie Eyes” which she says is “for anyone who likes Patti Smith..”  It’s a sweet poppy number with (of course) interesting lyrics:

She got David Bowie eyes
One is green and one is blue
I’m sure one of his is brown
But what can I do?
Come on say you’ll be
Mapplethorpe to my Patti
Just kids living on a shoestring dream

It’s followed by “Sensory Memory” one of my favorite songs of hers.  The melody is wonderful and the lyrics are so bittersweet.  After “Shoegazers” which has some great noisy soloing from Courtney, comes “Toothless Tiger” the other “new” song (which is also old, both of those songs are from her 2013 record).  It’s more on the snarky side, with some backing vocals from Courtney.

I love “Analysis Paralysis” for the lyrics (of course)–kangaroos in the pool–but also for Courtney’s wailing guitar solo.

When we saw Kurt & Courtney, they played Jen’s “Fear is Like a Forest” and it was fun to hear it live.  When I saw Jen, like in this version, it was a very different, rocking song and Courtney takes a verse or two.  The set ends with Cloher’s awesome anthem “Strong Woman,” a great song for these times and for all times.

Cloher may get over shadowed by her famous bandmate, but she is an amazing songwriter/performer herself with all kinds of charisma.

SET LIST:

  • “Regional Echo”
  • “Forgot Myself”
  • “David Bowie Eyes” *
  • “Sensory Memory”
  • “Shoegazers”
  • “Toothless Tiger” *
  • “Analysis Paralysis”
  • “Fear Is Like A Forest”
  • “Strong Woman”

*not played at my show–the songs below were played at my show.

  1. Mount Beauty**
  2. Stone Age Brain **
  3. Great Australian Bite**
  4. Name in Lights**

[READ: January 19, 2019] The League of Lasers

I had forgotten how much I enjoyed Star Scouts (it had been almost two years since I read it).

It helps to have read book 1 to get the full understanding of this story, but this one stands on its own pretty well, too.

The book opens with a one-eyed creature in a cloak firing a blast at earth.  A blast directed at Avani Patel (the hero f book 1).  Avani and her Star Scouts (all aliens except for Avani’s friend Jen) are rocking out in their terrible rock band.  After the song, we see that Mabel the alien is still sniping with earthling Jen (Mabel made friends with Avani and was shocked to learn that Avani had friends back home).  The explosion hits earth, but it’s not a missile, it is a messenger.

The messenger is for Avani.  The handwritten (on lined school paper) note invites her to join the The League of Lasers–a special squadron of the Star Scouts.  How can she say no? (more…)

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SOUNDTRACK:공중도둑 (MID-AIR THIEF)쇠사슬 (Ahhhh, These Chains!)” (2018).

At the end of every year publications and sites post year end lists.  I like to look at them to see if I missed any albums of significance.  But my favorite year end list comes from Lars Gottrich at NPR.  For the past ten years, Viking’s Choice has posted a list of obscure and often overlooked bands.  Gottrich also has one of the broadest tastes of anyone I know (myself included–he likes a lot of genres I don’t).  

Since I’m behind on my posts at the beginning of this year, I’m taking this opportunity to highlight the bands that he mentions on this year’s list.  I’m only listening to the one song unless I’m inspired to listen to more.

공중도둑 (Mid-Air Thief) is from Korea (obviously).  Beyond that, virtually nothing is known about him (Lars confirms that it is a he, even if many of the vocals are by Summer Soul–she is his guest singer).

Mid-Air Thief makes beautiful but weird, glitchy folk music.  Every time something really lovely seems to come along, there’s always some kind of twist to make it not what you think.  This, of course, keeps everything interesting and fun.  But despite that, the whole album is bright and cheerful.  There’s feelings of Dungen and Beck and even some Kishi Bashi.  There’s even a sense of the more psychedelic Flaming Lips songs (but without the over-loud low end).

It’s really great.

“쇠사슬,” which translates into the delightfully odd “Ahhhh, These Chains!” opens with a pretty, fast-picked guitar and delicate voices.  The song builds as electronic sounds are placed throughout adding tension but never overriding the pleasantness of the guitar and soft voices.  After a slight break into a “chorus” the song resumes almost doubled in sounds and power, but never losing that sweetness.

I love how the song seems like it’s going to end after around four minutes but it still has a bashing coda to show off before it finally ends at five minutes.

Bob Boilen has sent out a plea to Mid-Air Thief to do a Tiny Desk Concert, and boy I hope that happens.

Plus how great is Mid-Air Thief’s avatar (on the left).

[READ: January 6, 2019] “It’s All Over Now”

This story is about a young woman, living alone and fearful in a sketchy part of Mexico.

Tina Reyes is the single woman.  She boards a bus to visit her friend Rosa.  She hopes Rosa is all right–Rosa had looked tired last week. Tina thinks about Rosa with her husband and children and she grows rather sad and melancholy thinking about her own life and how she will never have anything like that.

Is her status a self-fulfilling prophecy or is she just sensible about the word around her?

As soon as she gets off the bus a man approaches her.  She is freaked out by his request:

Pardon me senorita, may I walk with you? (more…)

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SOUNDTRACK: KATE CARR-“The Ladder Is Always There” (2018).

At the end of every year publications and sites post year end lists.  I like to look at them to see if I missed any albums of significance.  But my favorite year end list comes from Lars Gottrich at NPR.  For the past ten years, Viking’s Choice has posted a list of obscure and often overlooked bands.  Gottrich also has one of the broadest tastes of anyone I know (myself included–he likes a lot of genres I don’t).  

Since I’m behind on my posts at the beginning of this year, I’m taking this opportunity to highlight the bands that he mentions on this year’s list.  I’m only listening to the one song unless I’m inspired to listen to more.

Kate Carr creates Field Recordings.  But she then manipulates them into soundscapes.  This track, “The Ladder Is Always There,” has an incredibly sinister tone–and that title doesn’t help.  The recording was done on or under the water and the sounds I hear include a tuned radio (or something), a vacuum cleaner going back and forth (clearly not), electronic receptors beeping, birds modified (or maybe recorded from underwater), dripping water, breathing, clanging, seagulls and waves crashing.

Gottrich describes whats she does as “not only mapping bodies of water and landscapes in field recordings, but engaging with the environment as an active participant.

It is certainly strange to listen to something that you could (in theory, but not in actuality) go out side and hear for yourself.  Even if you could go outside and hear this, there’s no way it would be curated in this way.  So while this is indeed listening to nature, Carr has sculpted nature into an aural exercise that’s really engaging.

I’ve listened to a few more pieces on this disc and while none are quite as engaging as “the ladder” none are dull either.  I can’t decide when I would most enjoy listening to this.  Sitting a lone in my car at lunch time with my eyes closed or in bed by myself later at night.  Even listening at work is strangely intoxicating.

You can hear the whole disc and more at her bandcamp site.

[READ: December 29, 2018] “Plante’s Ferry”

Apparently, I’ve read a bunch by Jess Walter although I don’t have much recollection of his stories.

This one is set in an unnamed place in the unspecified past.

The narrator explains that Bonin liberated the Scots’ pelts and then the two of them rode the lower trail until they arrived where the Frenchman ran a ferry across the river.

He hopes they were not followed, but they are not going to slow down.  They must get across the river.

The ferry is not cheap and since they are being chased because of Bonin’s action, the narrator wordlessly insists that Bonin pays his fare too. (more…)

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