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Archive for the ‘Hocketing’ Category

SOUNDTRACK: OHMME-“Jing-a-Ling, Jing-a-Ling” (2019).

OHMME provided gorgeous backing vocals on the previous two Christmas songs that I posted about.  Well, they also have their own song on the JNR Holiday Party, Vol. 2 compilation and it is not quite as beautiful as you might think.

However, what it lacks in conventionality, it more than make up for in coolness.

OHMME is a two-piece band made up of Sima Cunningham and Macie Stewart.  They both play guitar and sing (there’s other instruments going on as well).

Their voices are gorgeous together, but their music also features some interesting guitar sounds.

“Jing-a-Ling, Jing-a-Ling” is a manic song originally sung by The Andrews Sisters.  There are two parts, a super fast chorus (the “jing, jing a ling” part) and then a middle part that is slower and, in the OHMME version, a bit creepy, maybe.  OHMME is known for their amazing use of hocketing.  [In the medieval practice of hocketing, a single melody is shared between two (or occasionally more) voices such that alternately one voice sounds while the other rests].  It’s a mesmerizing sound that they do perfectly.

This version opens with noisy guitars and the two voices rapidly singing the chorus.

Jing jing a ling jing a ling jing a ling
I love to hear our laughter mingle
Hah hah
Ho ho

But when the ha ha ho ho part comes in, OHMME performs some amazing hocketing to make the sound just stunning.

The slower middle part is played on a deep low guitar with a second guitar playing scraping noises as the two voices sing in close harmony.

It’s over quickly and after a guitar solo the manic chorus resumes.

Everywhere-man Thor Harris is also on this track.   I’m not sure what he’s doing, but I assume the drums and maybe whatever those other weird ringing sounds are (or are those from the guitar?  who knows).

As the song comes to an end, the two voices sing separate ho ho and ha ha and then they ho ho slightly out sync until they return in perfect tuning for the end note.

And if you listen closely at the very end of the track you can hear someone say, “Yeah!  Fucking awesome.”

It’s a really stunning song in just over 2 minutes.

I played it last night for my family and my 12 year old daughter loved it while my 14 year old son did not: “just because it’s weird doesn’t make it good.”

[READ: December 18, 2019] “Amaranth”

This year, S. ordered me The Short Story Advent Calendar.  This is my fourth time reading the Calendar.  I didn’t know about the first one until it was long out of print (sigh), but each year since has been very enjoyable.  Here’s what they say this year

The Short Story Advent Calendar is back! And to celebrate its fifth anniversary, we’ve decided to make the festivities even more festive, with five different coloured editions to help you ring in the holiday season.

No matter which colour you choose, the insides are the same: it’s another collection of expertly curated, individually bound short stories from some of the best writers in North America and beyond.

(This is a collection of literary, non-religious short stories for adults. For more information, visit our Frequently Asked Questions page.)

As always, each story is a surprise, so you won’t know what you’re getting until you crack the seal every morning starting December 1. Once you’ve read that day’s story, check back here to read an exclusive interview with the author.

Want a copy?  Order one here.

I’m pairing music this year with some Christmas songs that I have come across this year.

I read this story in Lucky Peach back in 2013.  In that review I gave away a little more than I was planning to this time, so avoid if you want fewer details (but no real spoilers).  I am also surprised at my reaction to the story six years ago.  I thought it was unduly harsh and a little hard to read (the content, not the quality of the story).

Here it is now, six years later with so much badness going on in the world and I found the revenge rather impressive and it gives a little bit of hope for those waiting for a long payback. (more…)

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SOUNDTRACK: OHMME-Tiny Desk Concert #848 (May 9, 2019).

It’s not very often that I have seen a band before I have seen their Tiny Desk Concert (most of the time it’s the Tiny Desk Concert that makes me want to see the band). But I saw OHMME open for Jeff Tweedy last year and they were amazing.

This Tiny Desk captures most of that amazingness with some difference. Like in our show, Sima Cunningham (white guitar) and Macie Stewart (blue guitar) sang and played guitar (intensely fuzzed out guitar).  But at our show, one of them played violin for a few songs, which is not used here, and here they have a drummer, Matt Carroll.

When Sima Cunningham and Macie Stewart fired up their angular guitar sounds during soundcheck at the Tiny Desk, I was thrilled. The shrieking, rhythmic noise these two classically trained musicians make as Ohmme is what made their debut album, Parts, a musical highlight for me in 2018. But hearing them in the office, trading vocals with such ping-pong precision, sent me into euphoria. This is now one of my all-time favorite Tiny Desk concerts.

Sima Cunningham and Macie Stewart, along with drummer Matt Carroll, steer clear of rock music clichés that plague so much of the music I hear these days. Their adventurous spirit is sometimes challenging. But it opens a window on what the voice can be. It also redefines what the guitar can do — at one moment it’s a stuttering percussive instrument, the next it’s a bed of noise with a harsh tone that somehow morphs its way into the melody.

This show has four songs (!)  Yay!  Sixteen minutes of songs from an artist I like.

“Water” is the song that blew my mind when I saw them live.  That amazing buzzy guitar sound, the way the guitars morph and change, the way the bridge is harsh and alienating, the noise-filled “solo” and then of course, the hocketing.  I am frankly shocked that the blurb doesn’t talk about the hocketing:

the rhythmic linear technique using the alternation of notes, pitches, or chords. In medieval practice of hocket, a single melody is shared between two (or occasionally more) voices such that alternately one voice sounds while the other rests.

Both Sima and Macie alternate notes in a beautiful yet disorienting melody.  And the wonderfully noise-filled guitar solo that Macie plays is such a wonderful contrast to the catchy melody of the song.  It’s a stunning song.

“Icon” is a simpler song–on the surface.  The verses are a simple up and down melody–soothing and familiar.  But the chorus just takes off with high notes and an unexpected emphasis on the words “I want a new icon.”

“Parts” has Macie playing a looping guitar line while Sima plays a low bass-ish part.  They sing in harmony with Sima taking some occasional low notes.   This song has some very cool dramatic slow downs and build ups combined with wonderful lyrics.

My bloody Mary had arrived and so I bent into the pain
He can’t believe all the distortions I put my body in
Like an acrobat and banshee decided to inhabit
The same fleshy husk and it’s my job to stand it
A fly with a vengeance kept landing like a dancer
He must have had a grudge for some dead ancestor
I smashed last summer in a fit of rage
I don’t like little things touching my face

Sima also takes very pretty guitar solo on this one.

The final song “Grandmother” goes out to their grandmothers whom they love very much.  After a quiet opening (featuring Sima’s wonderful vocals), the song takes off in a three note rocking motif (with Sima scratching up and down her guitar for interesting sound effects).  Then Macie takes off with a noise-fueled guitar solo that would make any 90s band proud.

They are wonderful live and I can’t wait to see them again.

[READ: May 13, 2019] “Brawler”

I enjoyed Groff’s book of short stories recently, so I was intrigued to read this one as well.  And it features Groff’s unique peculiarities of subject and outlook.

Sara was on the diving team.  As the story opens, Sara is late for the match (but has not missed it).  She was in detention for getting in a fight–her knuckles were bloody and raw.  But she snuck out of detention when the moderator fell asleep.  Her coach called her “Brawler.”

Sara had originally been on the swimming team, but she was caught “brushing the boys’ junk in their Speedos with her hand as they swam by in the next lane.”  Diving suited her more, anyway.

Her dive was a success, even if she had to cover her minor foul with her bloodied knuckles (apparently the back of her head had grazed the board). (more…)

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SOUNDTRACK: KING GIZZARD AND THE LIZARD WIZARD-Polygondwannaland (2017).

KGATLW continued to amaze in 2017 with their fourth record of the year.  This record was given away for free in November–it was released under an open source licence—meaning the band did not sell copies of the album, but uploaded the master tapes online, encouraging fans to make their own copies and bootlegs of the album. They wrote:

Make tapes, make CD’s, make records.  Ever wanted to start your own record label? GO for it! Employ your mates, press wax, pack boxes. We do not own this record. You do. Go forth, share, enjoy.  P.S. If u wanna make cassettes I don’t really know what you would do.  Be creative. We did it once but it sounded really shit.

As of 2019, Louder tells us

They put the master tapes and artwork online, and indie labels all over the world filled their boots. According to Discogs there are currently 246 different versions of the album, coming in all sorts of shapes and sizes. There’s the label who released a triple vinyl 8″ lathe-cut edition of 101 copies. Australian label Rhubarb Recordings released an edition of 500 housed in a reflective silver foil laminated gatefold sleeve with psychedelic UV printing. Pocket Cat Records released a run of 20 with the grooves cut into blank laserdiscs. Aural Pleasure Records used a Kickstarter campaign to fund their edition of five “Glitter Lizard” LPs, with transparent blue and yellow vinyl featuring embedded glitter and “lizards.” It all got a bit crazy out there.

Conventional wisdom would say that obviously if they’re giving it away, it must not be very good.  But that’s the surprise (or not, given the quality out put of these guys)–this album is just as good as their others, and in many places better.  They really seem to have unified their sound for the bulk of this album, incorporating so many aspects of previous albums, but successfully merging them into a coherent whole.  There’s an epic song, a whole bunch of songs that segue into other songs, songs that refer to other songs, loud vocals, quiet vocals, flutes, harmonica, and it’s all wrapped up in an early Pink Floyd-era synth sound. (more…)

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