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Archive for the ‘Goths’ Category

SOUNDTRACK: ENYA-“Echoes in the Rain” (2015).

One of the running jokes in this series is that Daisy’s favorite musician is Enya.

So why not add an Enya song to the soundtrack here?

Enya has released eight albums over the last twenty years.  Her sound is instantly recognizable and distinctive.  The impressive thing about her is that if you give some time to her songs you can see just how much diversity there is in these songs that sound vaguely the same.

This song, from her latest album features those same synthy strings, layered and soft as they pulse through the melody.  And of course, he layered soft voice running through the melody.

The biggest surprise to me in this song is that the chorus is simply Alleluia repeated over and over (with a kind of weird 80s repeat on her voice on one of them).  I’ve never known her to have overtly religious lyric in her songs (of course I don’t know her music that well, so maybe she has lots of them).  The verse is also a bit less soothing than usual–like the words are very distinctive and clear and make you think more about what she is saying rather than the feeling the song evokes.

There’s also a piano solo (sort of) in the middle of the song.  This intrusion of an acoustic instrument (not soft and echoed like everything else) is kind of jarring.

All in all, it’s a lovely song fitting in with her other songs pretty well, although I tend to prefer her earlier singles for a total chillout.

[READ: January 21, 2020] Giant Days Vol. 6

Book six covers the Fall semester in the students’ second year at school.  It takes us up through Christmas and a few new (sort of) characters get a lot of story time (to very good effect).

It is also a time of tempestuous love and solitary death (not one of the main characters).

But the honeymoon of Esther, Susan and Daisy’s brand new flat doesn’t last long because…

Chapter 21
They are robbed! After an instinctual freaking out, they deal things in their own way–Esther attacks the room with her karate, Susan crafts a weapon out of a broom and knives, and Daisy tells the robber they can work it out–no harm no foul. Of course the robber is long gone, but at least we have that established. There is humor to be had though, Esther says that whoever stole Susan’s laptop is likely to catch typhoid from her keyboard. But Daisy is the most upset because the only items she had left from her parents–some pieces of jewelry–were also stolen.

The police come and Susan assures them they have reset their passwords “some of our new security questions answers aren’t even true” (I love this series). (more…)

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SOUNDTRACK: JAKE BUGG-“How Soon the Dawn” (2017).

Back in 2012 I recall Jake Bugg kind of buzzing around with his debut album.  One of my co-workers at the time was really into him as well.

He basically fell off of my radar entirely until I saw him mentioned in this volume of Giant Days, which is why I looked him up.  He has put out a couple of albums since 2012 with his latest being a 2017 acoustic album produced by Dan Auerbach.

This song has such an incredible 70s vibe both in the sound of his guitar and his vocal delivery.  His voice is soft and clear and the chorus is really catchy.  Really any song that has a “tooo” that you can turn into a lengthy “oooooh” section is going to be super catchy.  It’s just acoustic guitar and a very minimal accompaniment and it suits him rather well.

His Wikipedia entry says that in 2018 he signed to a new label “in a bid to relaunch his career.”  I guess that hasn’t happened yet.  Shame, because this is a really pretty song.

Incidentally, in the book, he is mentioned when the girls are at a musical festival. Daisy says “Is ‘Jake Bugg’ good music?” and Esther says “No.”

Ouch.

[READ: January 20, 2020] Giant Days Vol. 5

In 2017 I wrote

I love this series so much.  I can’t believe I have to wait forever for volume 5 to come out.

Turns out I took that forever more literally than I needed to.  This book came out in 2017, but it took me until 2020 to read it.  The only consolation is that I now have about 6 books to read right in a row!

Max Sarin’s drawings are still over-the-top cartoony which I rather like. Even though the story lines are realistic(ish), giving them a cartoony vibe allows the over-the-topness to feel natural.

This book focuses on the end of their first year of school (can it really be over so soon?).

Chapter 17 starts a mini thread with Daisy going on an archaeology dig.  Susan’s comment that “You’d have thought we’d dug up all the Romans by now is interesting since just a few weeks ago (in the real world) even more remains were recently discovered.  Daisy’s dig is a disaster because Professor Bradford (you mean bad-ford) is in charge and he criticizes everything Daisy does.  “You’re doing it wrong” is a constant refrain.  He is so mean because on his very first dig he sat on a mummified form and was basically never invited on another dig.

Susan is distracted by McGraw’s new lady whom Ed Gemmell describes as “she speaks better English than we do but in an accent that means I understand one word in three.”  Susan refers to her as an Andalusian Succubus.

Ed reveals that he has been making spare change helping his roommate Dean with a translating project.  Dean pays 25 pence for every three word phrase they translate.   Like, “philosophical ideas about” becomes “recondite notions of,” and “brutally powerful world” becomes “mean planetoid.”  It soon dawns of Esther though that making money this easily can’t be on the up and up and that’s when they realize that Dean is basically selling plagiarized papers (with very bad phrases included).

Chapter 18 sees Esther and Ed being so concerned that they will get in trouble for Dean’s work–there’s a Paypal trail–that they visit a 24 hour lawyer.

But the more concerning news (really) is that their beloved home, Catterick Hall is going to be torn down at the end of school.

There’s a delightful running joke about Daisy being an unwitting pool shark.  She’s so good that McGraw, in his spare time, made her her own cue, which she calls a “pool pole.”

At the Farewell ball, Ed reconnects with Jenny.  Jenny broke the story on Dean’s plagiarism ring but described the lower tier workers as “Mr. Hair and Vampiella” (hee hee).  After a night of dancing, Ed Gemmell has fallen in love.  Even if he and McGraw aren’t sure what  they ‘re going to do if their roommate is in jail.

Chapter 19 is a delightful side trip to A Music Festival!  Esther is all in, Daisy is quite nervous and Susan just doesn’t care.  She has been smoking a lot more and when it comes time to set up her tent, she just lays it on the ground.  She’s in a sleeping bag anyway, this is just another layer–“double bagged like in an American supermarket.”  [Is that a uniquely American thing?].

Esther has a crush on the singer for Poison Nebula and wants to get right up close to hear their topical song “You’re my Napster you’re my wifi.”  Esther followed the band to their bus (Daisy: “Don’t go into buses with strange men!”).  It turns out Poison Nebula is really into…calligraphy: “Quill work on rag-edge parchment.”  There a hilarious moment later on when Shinobi the drummer tries to barter one of his quills for food but the philistines don’t appreciate the quality of the tool.

Daisy is horrified by this spectacle and is looking for something with the majesty of Enya combined with the mystery of Enya, “You’re just jealous of her success.  Everyone is.”  But she soon finds herself loving the world music stage which means Susan can explore on her own.

Susan meets up with The Cowboy who drugs her drink and has her spinning and flying through the festival–not in a good way.

This is all just to much for daisy who needs to find a space to meditate.  Which she does just as the sky opens up a downpour on them all.   The only consolation is that Susan’s unpegged-tent is there to save the day.

Chapter 20 opens with two guys throwing a rager in a unfamiliar house.  The furniture looks utterly destroyed.  We find out the at this is the place the girls are living in this year.  Amazingly it all looks beautiful.  Until Susan sits on the couch and finds that it is all held together with school glue and tape.  This can only mean one thing: a trip to IKEA!

Esther has never been to one (The deGroots fled the Netherlands to escape the jackboot march of flat-packed furniture) but she is instantly convinced of its awesomeness. The next page shows them sitting on all kinds of furniture with IKEA sounding-names (the note at the bottom translates” Orkan/Hat/Slukhål as hurricane/hatred/sinkhole.

Esther is allowed to buy one puppet and they have come in under budget which means meatballs!  Susan explains that they are “made of the national meat of Sweden: swan.”

Then reality sets in–they have to transport all of those flat boxes home.  AND put it all together.  Susan refuses to let Daisy ask McGraw for help, but Daisy sneaks out to ask him for tools: “is one size of junior hacksaw enough?”   “For 99% of the human race, probably.”

McGraw and Ed move into their new place.  Ed has spent a fortune on a cappuccino maker which he says will save them a ton of money over the year.  When they come back from their evening out, Dean has returned and has immediately destroyed the coffee maker by stuffing bananas into it and saying the smoothie maker is broken.

It’s going to be that kind of year.

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SOUNDTRACK: ANTONIO CORA-“The Cellar” (from The Blair Witch Project) (1999).

A lot of the music I listen to is weird and probably creepy to other people, but I don’t necessarily think of songs as appropriate for Halloween or not.  So for this year’s Ghost Box stories, I consulted an “expert”: The Esquire list of Halloween songs you’ll play all year long.  The list has 45 songs–most of which I do not like.  So I picked 11 of them to post about.

I was getting bored of the Esquire list so I found this fun little tidbit of spookiness.

The Blair Witch Project was a low budget, DIY-looking movie.  The soundtrack is a compilation with songs on it (Josh Blair’s Witch Mix), but this track is from the actual movie soundtrack.  I couldn’t exactly tell if there was a release of the actual movie soundtrack, but the last track on the disc is similar to a video I found online for the “end credits theme.”

Excluding the intro, which has 30 seconds of dialogue from the film (“Heather’s Apology”), this track is a five-minute nightmarish ambient score.

It is largely quiet with rattling, echoing sounds.  An online thread (therefore of dubious truth) says that the score was made with the sound of sticks breaking and being thrown into a culvert (or some such) and slowed down dramatically.  There’s also some kind of droning sound throughout (maybe a synth, but who knows).  It seems to slowly percolate while things scrape and bang.  There’s a few louder noises that really stand out, but there’s no momentum or narrative to the soundtrack.  It’s just a sort of endless low grade scare.

Don’t listen at bedtime.

[READ: October 27, 2019] “Last Call for the Sons of Shock”

Just in time for Halloween, from the people who brought me The Short Story Advent Calendar and The Ghost Box. and Ghost Box II. comes Ghost Box III.

This is once again a nifty little box (with a magnetic opening and a ribbon) which contains 11 stories for Halloween.  It is lovingly described thusly:

Oh god, it’s right behind me, isn’t it? There’s no use trying to run from Ghost Box III, the terrifying conclusion to our series of limited-edition horror box sets edited and introduced by Patton Oswalt.

There is no explicit “order” to these books; however, I’m going to read in the order they were stacked.

I feel foolish that I didn’t “get” this story right away.  When I see that it was originally published in The Ultimate Frankenstein, I guess the Blank Frank name would have been a bit more obviously Frankenstein’s monster.  I did figure it out before the end, but on a second read it was much clearer. (more…)

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SOUNDTRACK: MARTIN TIELLI-The Starlight Club Waterloo, ON (September 24, 2008).

This Martin Tielli show is the final solo show (excepting a Bidiniband that I am saving) on Rheostatics Live that I have to write about.

This is the first show of a tour at The Starlight Club in Waterloo Ontario. Just prior to release of The Ghost Of Danny G Part 1. Only live recording I have to date of “Ship Of Fire” and “Our Keepers.”

As Martin comes out he says, “This is our first show, we’re starting it here at my favorite club.”

This is a new band
Selina Martin – acoustic guitar, vocals, bowed saw ;  Monica Gunter – piano, synth, viola, vocals ; Greg Smith – bass, vocals ;
Ryan Granville-Martin – drums, vocals, glockenspiel.  There’s a lot of Martin up there.  Martin says, “My name is Martin because my mum’s last name is Martin.”

I really enjoyed this set a lot . The sound quality is excellent and the band is in tremendous form.

“Dead Is The Drunkest You Can Get” starts with just acoustic guitar and voice.  But when the get to “just like a child” the backing vocals come in.  And the xylophone sounds pretty.  It’s quite a surprise when the drums kick in mid way through the song.  “That’s What You Get For Having Fun” opens with some quavery violin and guitar trills–very different from the Nick Buzz version.  It’s overall more rocking and less cabaret style.

“Love Streams” sounds really pretty on piano.  He says, “that was a song I did a long time ago with a group called Nick Buzz.”  “(A Romantic Place) She Said, ‘We’re On Our Way Down'” opens with a musical saw!  He tells us, “I have to adjust the teleprompter here.”  He says it’s tough one, it’s a song I wrote about a place I love in Toronto.  A bar called the Inter Steer.  I wrote it in the bar while other music was going.  There’s too much music in pubic places, I think.  We should ban it.”  It has some great low acoustic guitar trills.  Overall, it’s a pretty spare song with Martin on guitar and the saw playing along.  When it ends he says “sorry about my brain… my brain my brain.”  That’s one of my favorite chorus of any song.  It’s by Wayne Omaha.

“That’s How They Do It In Warsaw” has a false start and lots of laughter.  He describes it as a “bit of a rockabilly number,” and when it’s over he says, “there were some devil notes in there.  Satan!  Frightening music that rockabilly.”

He opens “The Underbrush” by saying , ” the next few songs are on my subscription series records. These 2 record are about growing up in rural southern Ontario.”  This one is about a feral child.  Then he tells a story about his sister: She had an afro but she used to wear a towel on her head pretending she had straight hair.  I used to ask her what is wrong with an afro, it’s awesome….   We don’t talk anymore.  She lives in Brampton.

I love that you can hear the footsteps like in the beginning of the album and love how quiet and delicate it is with lovely backing vocals.

He busts out the vocoder for “Something In Those Woods.”   And then plays the beautiful “Watersriders”  They guitar is terrific and the keyboards add wonderful atmospherics. I love the guitar melody on “I’ll Never Tear You Apart” as well.

He tells a little bit about the subscription series: I had a bout of bravado about 4 or 5 years ago.  I’d do a subscription series and do 4 or 5 records in a year.  Then we blew the entire budget on the first record, Operation Infinite Justice, uh Joy.  Justice was the name that Bush gave to the first war on terror.  The town I’m writing about is Priceville.  Someone has heard of Priceville?  Priceville is where my grandparents live. His Italian grandparents are from a town near Verona, Italy.   A month ago I celebrated for a week because I finished all of the paintings.  The art is an important part of these records.   I was hoping to have it ready for Halloween because there are spooky musings about ghosts and spirits.  But now I’m hoping Christmas.

“Beauty On” jams through the whole first part even the normally quiet intro: “i am not.” It sounds great with the percussion.  But he asks, “Did we drop a verse n that song, it seemed too short.  He confesses, “I like working in bars because you can drink cocktails while you do your job that you get paid for.  I have a passione for the cocktails.

It’s nice to hear him do a Rheos’ song: “Take Me In Your Hand” is quite slow and different-sounding with the female backing vocals.  The coda on bells and melodica(?) is charming.

“My Sweet Relief” sound nice with the piano and Neil Youngish with the backing vocals.  “A Hymn To The Situation” is solo piano.  he interrupts the song to say “At the end of the next verse, there’s an axe and I want some heartfelt applause for the idiot I’m portraying, not an idiot…an honest guy.”  The crowd responds wonderfully.   He says that he’s been trying to rearrange “Sane, So Sane” so much that that’s the only way it can be done now.  It sounds good you can really hear the “lesbian pasta, please” lines.

He then says, “the next song is one I wrote with a certain hockey writer/sports writer.  Nice fellow, very gregarious.”  “Saskatchewan” opens sounding like “I’ve Got Sunshine on a Cloudy Day” and the band jams it for a moment before playing a really good version of the song–appropriately rocking.

He uses the robotic voice thing again for “Sergeant Kraulis.”  It sounds great but when he gets to the end, it feels like he wants to do something else but it just sort of fades out with him playing weird notes. The backing guitarist plays the notes that should come next, but he says “That’s the end.”

Then he introduces a “Totally new song.  I’m pretty sure it’s going to be on my next record after I finish this subscription… debacle.”  He says “Our Keepers” is “full of hate… the most invigorating emotion, hate… the most delicious, invigorating, joy-inducing emotions.  bloody ..and loving.”  The song totally rocks and the middle section is pretty classic rock sounding.  It’s shame it’s only available on More Large Than Earth (We Will Warn the Stars).

Apropos of nothing he says, “this is Buddy Holly’s Stratocaster–midi Stratocaster.  The light keeps things from getting too spontaneous.”

Then it’s back to the music with “another song I wrote with this Armenian-looking guy who writes columns for the Star and is on the radio a lot.  I stole the song and changed the entire meaning of it.”  “Stolen Car” sounds great.  The backing vocals are different, but Martin is the heart of this song and he songs it great.

Then it’s back to “Sergeant Kraulis” with the “Reprise.”  The song picks up with the repeated notes from earlier and then Martin repeats primarily the “we were opening packages” mantra on the robotic voice.  The end is a long jam with wild soloing from Martin.  At the end, We had to pick up the last bit of that song.”

During the kind of encore break, he says “thanks for helping us kick this little tour off.”

The intense “Ship Of Fire” has a rather Neil Young sound but with some cool synths.  This is the only recorded live version of it which is a shame because it is intense live.  There was more robot voice at the end.

Martin begins tuning and says, “Let’ do ‘Voices from the Wilderness.'”  And you hear someone say “Oh, yeah, okay!”  There is a hunt for capos “Capos have been located.”  More tuning Martin says, “Talk someone, while I tune.”  Selena sings “G…  A….” (as Martin tunes those notes, then asks, “So uh what’s things like in Waterloo?  I never get to spend any time here.  Just soundcheck, show.  It seems like a swell place.” Martin chimes in:  “I got to spend a lot of time here when I was a kid–Kitchener/Waterloo.  There was a big cemetery we used to play in.”  Someone asks, “Did they used to be two towns that grew together, kind of like mold?  But good mold on cheeses.  When we get big we’ll have people who can tune guitars for us–were working on that.  You know Gibson has expensive guitars that actually tune themselves.  I think Jimmy Page had one a really l long time ago.. because he could.  Voices has a lovely guitar melody and bells.   I like that he puts in the line “I know Geddy, but he don’t know me.”

[READ: April 20, 2017] Giant Days Vol. 4

I was so excited to see two volumes of Giant Days out!  This meant I could read them right after each other.

And its a good thing because the third book ended with a bombshell that Esther was dropping out of school.

Chapter 13 opens with Esther storming around her house, her parents quite upset about her decision.  But Esther is certain and she even goes out to find a job.  She gets one at Bakerymax as a sausage roll technician.

And how is Esther enjoying being home?  She runs into her old best friend Sarah (who has fun hair) and they catch up.  There is a wonderful joke about textiles.  And then she sees her ex, Eustace.  But he just looks at her and walks away.  It’s ugly being home.

Meanwhile Daisy is so upset to have found out that Esther is not returning that she talks to her grandmother for advice (I love the way she twists anything her gramma says into something good for her).  Daisy and Susan decide to go and find her to bring her back.  They show up at Esther’s house and her parents are thrilled to see them (and thrilled to offer them so free luxury–Esther’s parents are loaded!). (more…)

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 SOUNDTRACK: NICK BUZZ-Lula Lounge, Toronto, ON (December 9, 2010).

I was looking through the solo concerts on the RheostaticsLive page and realized that there were only a few left for me to post about.

This is the first of two Nick Buzz shows on the site and the one I hadn’t posted about yet.

This audio has been taken from the Mini DV recording of the show that I put on YouTube (which is available in 13 parts).  These clips are all available on YouTube.

It’s interesting hearing Martin with Nick Buzz because they are clearly a more cabaret style–even on Martin’s solo songs.  As of this recording, they had released Circo and the Shoenberg EP.

“Spilling The Wonderful” sounds terrific.  It’s odd and cabaret-ish and as the title says, Wonderful.  On “That’s What You Get For Having Fun” it is cool watching him pluck at his guitar.  It’s a weird song but always sounds great.

He says, “Thanks a hell of a lot for coming” and then takes off his suit jacket.  “Just Because” is quiet and pretty.

Then he explains that the next few songs are from the Schoenberg EP.
I can’t tell how they do that opening collage of music and spoken words for “Gigerlette.”  But Martin seems to be enjoying it.  At the  end of the song he says “Strangely all these rather formal songs that Schoenberg wrote back then are all about sex, is that strange?  I don’t know.”  I cracked up that during “Der Ganugsame Liebhaber (Black Persian Kitty) he shakes his head after he sings “it shivers as I stroke its velvety nap.”  Then he even does some jaunty dances.  The final one is “Arie Aus Dem Spiegel Von Arcadien.”  It is so much fun with the boom boom boom bits.  He notes: it’s 100 years old.

“A Hymn To The Situation” is from “our first and essential only album Circo.  The other album was part of a subscription service I’ve done over the past 38 years–a collection of the creepiest Schoenberg songs.  But this is one of the most despicable songs I have ever written.  And I want to share it with you.

“Milkeek” is a new song.  It’s inspirations are from a dream world.  It doesn’t make any sense to me hopefully it will make some sense to you.  And it’s about keeping certain types of food separated from other types of food.  There’s scratchy violin.  He says that song was about “The relax”.
This song ain’t.  “Eliza” features banjo and Martin takes his guitar guitar back.  Although once the vocals start he takes the guitar off again.

“L’Astronaut” has an amusing story attached:    He says it’s inspired by a fantasy:  one of the things that occurred to me and a friend of mine was how we felt at folk festivals.   We would like to attend one in a spacesuit with tools to take samples of the boutiques and booths and bongo jams and take samples and do observations to take back to our world.  To use a boring drill to take sample drill into a djembe.  We’ll play the song and see if its comparable at all.   Don’t think so.  Not sure if there’s second unknown song or if that was part of “L’Astronaut,” but at the end, Martin jokes, “yes, we’re a little bit country.

“The House With The Laughing Windows”  is spare and pretty with a lovely piano melody.  I love when the guitar comes kicking in near the end of the song.  “Sane, So Sane” opens with him saying” Are you enjoying the show so far?  This is only our second show in a normal venue.  We’ve only done abnormal venues at this point things like television and classical tent arrangements.  This is a song about Toronto where I don’t live anymore.  There’s some really cool sound effects throughout.

“Love Streams” is from our album Circo.  The first time we played it from top to bottom we kept it for the record.

He says this next song features my bass playing.  It’s “Uncle Bumbo’s Christmas.”   It’s pretty long and for the end he’s basically playing two notes.  I wonder if he was bored.  The final song “If You Go Away” gets cut off at the end, but it is a delightful torch song.  Martin walks away for a bit in the beginning but comes back after 2 minutes to start singing.

I assume there were more songs at the show, but we will have to make due with what we have.  The quality is good and the band sounds great.  It’s nice to see Martin working with violinist High Marsh in the Rheostatics reunions.

[READ: April 20, 2017] Giant Days 3

Boy do I ever love this series.  It might just be my favorite graphic novel series yet.  And that’s saying a lot.

The only thing that confounded me a bit was that in the year since I read the last book, I’d forgotten a bit about what was going on.  But it only took a short amount of time to get caught up again.  I also noticed that I said I didn’t like Max Sarin’s drawing style in the previous book.  Well, I find that I really like it now and that I just didn’t like the change from one to the other in the middle of the previous book.  Because here it’s just right on–exaggerated and fun, but still delightful.

Chapter Nine opens on what I thought was a confusing scene–Ed and a woman (Amanda) are spying on the student government. The woman is an editor at the paper, she is older and pretty intense.  But they find out some shocking secrets (which allows them to make great use of the joke “absent Parent”).  After their espionage, Ed falls for this editirix.  And she is quite taken with him so she invites him home.  But she is older and more experienced and well, soon someone has some stories to tell. (more…)

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SOUNDTRACK: FRAGILE ROCK-Tiny Desk Concert #635 (July 14, 2017).

Fragile Rock are an emo band.  But they are not your typical emo band because they are a band of puppets.

And for just 15 minutes on a glorious spring day in Washington, D.C., National Public Radio became National Puppet Radio.

It was the real-life breakup of band leader Brently Heilborn that led to the formation of the woefully woven band Fragile Rock. But these aren’t just any puppets — no. They are emo puppets, armed with drums and guitars and glum tales to tell, with songs like “Wake Up to the Breakup” and “I Am Sad (And So Am I)” that which draw from the spastic boogie of The B-52s and the laments of The Smiths. At one point, you’ll see Fragile Rock empty a bag of “bloodied” socks, tossing them into the crowd, before breaking into the song “Socks Are Murder,” a playful take on The Smiths’ thoughtful “Meat Is Murder.”

The band consists of seven puppets (handled by 8 performers) and three actual musicians (see below for the details).  They play three punky songs.  And I wish I liked the songs a little more.  There’s something that doesn’t quite live up to the visual fun of the band.

“Wakeup To The Breakup” is a fast punk song, but the song isn’t quite as catchy as I’d like.  But I do like the spirit of the song and the amusing “crowd surfing” of Milo S.  I also enjoyed the amusing commentary afterward: “There’s so many sad breakup songs… but sometimes it’s a wonderful thing.  So if anyone came here today with someone you don’t want to leave with… that song legally counts as your conversation.”

The second song is a lot more catchy (and a bit funnier).  As an introduction, Milo says, “A lot of you don’t want us to get political on National Puppet Radio.”  But they need to speak out that “Socks are Murder.”  The lyrics are largely clever: “argyle is a lie / with every step a puppet dies.”  I rather like the way the chorus starts with him dead panning “Socks Are….”  “socks are murder!”  When the song ends, he glowers: “We don’t appreciate your laughter.”

Before the final song, Milo says “We’re very happy to be here at the legendary Tiny Desk Concert.  We’re assuming we set the bar so high this will be the last one.  So we’d like to close out the series….”  The backing puppets all look aghast: “It’s not funny!”  The song is dedicated to everyone’s dark muse, “Fairuza Balk.” It’s the catchiest of the three with great backing vocals.  I like at the end when the final line is “She was in The Craft” and the guitarist chimes in.  “And The Waterboy.  She was in The Waterboy, etc.”

And in the spirit of the day Fragile Rock managed to crowd surf a puppet bringing giggles to a crowd of reporters, editors and friends, while puppets depicting NPR hosts Susan Stamberg, Michel Martin and Robert Siegel (the latter actually received a playful kiss from none other than Nina Totenberg) — all created by NPR’s own puppet master Barry Gordemer — objectively observed.

As the video ends, you can see the puppets getting of the elevator and then sitting behind the NPR microphone.

It’s a very fun, make no mistake.  I just don’t think I’d enjoy the songs without the visuals.

  • Musicians

    Milo S. (lead vocals, handled by Brently Heilbron); Nic Hole (bass, handled by Megan Thornton); Kyle Danko (guitar, handled by Chadwick Smith); CoCo Bangs (drums; handled by Taylor Love and Luke Wallens); The Cocteau Triplets (back up vocals; handled by Emily Cawood, Kim Stacy, and Bryan Curry); Cindy Ward (bass); Ryan Hill (guitar); Jayme Ramsay (drums)

[READ: August 1, 2017] “Le Réveillon”

This excerpt comes from a 1977 untranslated novel called Livret de famille.  It was translated by .

The piece begins as we learn of the death of Fats.

The narrator was 18 when he met Fats.  He was introduced to the large man (the nickname was not ironic) by a cabaret girl, Claude.  At midnight she would appear on stage wearing a mink coat and evening gown.  She would perform a striptease while two white toy poodles capered around her and snatched her underthings as she removed them.

Fats was a regular presence at her shows and would leave notes for her afterwards.  When she introduced Fats to the narrator, Fats laughed that the narrator had the same name as brand of cards in Italy, so he began calling him Poker. (more…)

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SOUNDTRACK: NICK HAKIM-“The Want” NPR’S SOUTH X LULLABY (March 24, 2017).

It’s always interesting to hear someone with a big hairy beard sing in high falsetto, and that’s just what Hakim does here.

This song is very simple with twinkling synths and programmed beasts all underneath Hakim’s delicate voice.  The blurb introduces Hakim to those of us who don’t know him:

Nick Hakim begins with a bit of a fake-out — languorous strings like something out of a Stars Of The Lid record rumble from a sampler, somber and hesitant. But as he begins to sing in a heartbroken falsetto, surrounded by optical fibers hanging from the ceiling of SXSW’s Optic Obscura installation by Raum Industries, the ambient intro morphs into a quiet, psychedelic croon.

“The Want” will appear on Hakim’s full-length debut, Green Twins, but for now, this solo version is only backed by Mellotron and the reverb’d rhythms of what sounds like a Casio preset. It’s soul music for outer-space, performed in a room that looks like outer-space.

This blurb makes this song sound a lot more trippy than it actually is.  To me, the only psychedelic bit is one harp line.  Otherwise it sounds like a very spare, echoing, simple song.  The end does add some interesting layers of sound, but maybe the recorded version is more trippy.

[READ: June 1, 2016] The Good Neighbors: Kith

I didn’t really love book one in this series.  I enjoyed the premise, but found the execution flawed–both in the “script” and to an extent in the drawings–there a bunch of characters who all look vaguely similar.  But I did like it enough to want to read Book 2.

There’s a handy recap that catches us up.

Then we see Rue sad because of her sullen boyfriend who might be breaking up with her.  But he’s a dick anyhow as are most of the characters, frankly.

About 30 pages in something interesting happens when they discover a knife in a tree. (more…)

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