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Archive for the ‘Black Flag’ Category

[ATTENDED: March 6, 2018] Spoon

I have been a fan of Spoon for years.  I’ve never seen them before, including when they played at XPN Fest a few years ago.  Since the song “Hot Thoughts” from the new album is so damn catchy, it seemed like a great time to see them live (especially at TLA).

It took the band quite a while to get going after Sneaks went off.  And I gather they were having technical problems throughout the night.  But it sounded fantastic out by us.  Brit Daniel said he’d tell us the story later in the show.

They played a great mix of new songs and old songs.  Daniel’s voice sounded perfect and he was full of energy–interacting with the audience–high fiving, making faces–and jumping all around the stage.

On my side of the stage I was just a few feet from bassist Rob Pope.  I enjoyed the way Pope came really close to the edge of the stage a number of times, practically leaning out above us.   Just behind him was drummer Jim Eno.

The other side of the stage, obscured by fog for the first half of the show was Gerardo Larios on keys and guitar and Alex Fischel on guitar and keys and all manner of sounds.  He opened the show with some interesting noises while shrouded in fog.  As the blue lights zoomed around the rest of the band came out and they started “Do I Have to Talk You Into It.” (more…)

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[ATTENDED: March 6, 2018] Sneaks

I’m fascinated by how opening acts get chosen for shows.  Sneaks was an opener for Palm last summer.  So I have now seen Sneaks more than bands I’ve actually wanted to see.

This Spoon show was not advertised with an opening act, so I was surprised (and a little disappointed) that there was one.  I had enjoyed Sneaks as an opener for Palm. I assume it was because it was a smaller venue (PhilaMOCA fits 250, TLA fits 1,000) and we were more intimate, that the Sneaks vibe worked well.  Spoon is quite a lot bigger than Palm, so I guess that’s a step up, but it brings perils.

About the PhilaMOCA show I wrote:

She has a great raw punk bass sound–it reminds me of the sound of Black Flag… Her riffs were cool, and while repeated a lot, they were certainly interesting enough to keep a song going.

She was also accompanied by a DJ. whose name I didn’t catch.  He kept some good beats and threw in some interesting sound effects.  It gave the show a bit more spontaneity than I was expecting from a drum machine based show.

Sneaks played a whole bunch of songs (most of them are quite short about 2 minutes or so).  Each song had a cool or interesting bass riff, she sang (deadpan) around it for 2 minutes and that was it.  She also did a couple of songs with no bass, just a freestyle rap over the drum machine.  And after 35 or so minutes she was done.

 

(more…)

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SOUNDTRACK: RHEOSTATICS-Fall Nationals, Night 3 of 10, The Horseshoe Tavern, Toronto (December 10, 2005).

This was the 3rd night of their 10 night Fall Nationals run at the Horseshoe.   Each night’s show has gotten longer, with this one reaching almost two and a half hours.

Ford Pier is back on keyboards.  They are joined by Alan Pigguns for a couple of songs and Jen Foster on accordion.

Throughout the show, someone is yelling “Legal Age Life” It never gets played–so that ought to teach you something about shouting requests.  But they are very friendly to the folks from San Diego who get lots of shoutouts.

The opening band was The Mellow Grove Band, and Tim says, “I’d only ever heard The Mellow Grove Band on CD.  I wanted to see them live.  They totally blew me away.

“Saskatchewan” is a beautiful slow opening with twinkling pianos.  Martin sang the first verse through his robot voice and it sounded pretty cool, but seemed to throw everyone off–no one did backing vocals and no one caught on to the chord changes.  Dave says he screwed him up with that robot voice, so they start over and it sounds great (and you can hear someone yell “Thank you, Martin”).

As the song ends, Martin plays a few lines of “Hey Hey, My My” before the final piano keys twinkle out and the rhythmic clapping of “Rain Rain Rain” picks up.  Dave is playing the bongos and Martin calls out “Bongo Davey!”  Dave keeps playing and Mike shouts: “You’ve got your whole life ahead of you!  You go!    Dave says “Bongo solo is supposed to be at the end of the show.”  Mike: “This is the end of the show.”  Tim: “No, it’s now or never.  Let him go a bit.”  When “Rain Rain Rain” starts, you can hear the loud woman singing along with him.  It even makes Martin chuckle.

During “Polar Bears and Trees,” Dave interjects, “the land of polar bears and trees, that’s Canada.”  Then Martin says “Hi there” which gets the Martin fans nutty.  Before singing “The Tarleks,” He does a lot of talking in the Tarlek voice: “Love what you do.  Dave Bidini, your books are such great books.  Mike, your production work…fabulous.”

Dave send the next one out to people who aren’t from:  Toronto, Scarborough, Markham, Etobicoke or  North York. Mike: what about Mississauga.  Dave says you know I don’t even acknowledge Mississauga,  mike.  You know that all of the worlds problems stem from Mississauga, let’s face it.  Tim: Our last drummer was from Mississauga.  Triumph was from Mississauga.

They play a delightful “We Went West” and then start talking about hydrating.  Dave mentions “precious bodily fluids.  It all comes back to Stanley Krueger, Krubrick.  Someone put liquid acid in my bottle of water.  Everybody knows it was the guys from San Diego.  They scored liquid acid at Queens Park today (they shout “last night”).  And you thought it was a Tylenol.

“PIN’ starts with the outro music and then launches into the intro with lots of strummed acoustic guitars.  There’s pretty twinkling sounds at the end with Martin stating “On the Dirty Blvd.”

During “Mumbletypeg,” Dave states: “We’re Klaatu from Etoboicoke.”   During the outro, three of them are all singing different things in a chaotic fugue.

While people are shouting out their requests, Dave says, “Thanks for your requests, we’ll get to them later.  Or not.  You’ll go home disappointed but we’ll have your money.  That’s the way it is. That’s the rock n’ roll business.”

This seems to get the audience riled up and I hate that you can hear people yelling and talking loudly during the opening quiet part of “In This Town.”  Whats’ wrong with these people?

Dave adds an intro to “Power Ballad For Ozzy Osbourne” “Death to you and death to me / death to the head of the company / corporate whores and superstores bring death to the future that i see / death to the men in pistols and pointed hoods who run F.M. radio and Hollywood.”  There’s some really  pretty vocals at the end of the song before Martin and I assume Ford take turns screaming the last note.

Why is someone hollering during the quiet beginning of “Northern Wish”?  Martin sings “gonna launch it from my garage.” And after that Martin seems to get lost but Dave is there to help him out.  At the “we don’t need submarines” (fucking hate em).  And then someone starts doing a doot doot submarine sound.  And then at the end, Martin is still doing the “land ho” when the band kicks into the “launch it from my pad” section.  Then Martin starts singing another verse and Dave says I believe it’s the end of the song.  So they do the land ho part again and everyone (even the crowd) sings along.

Martin: I think somebody slipped some ludes into my bottled water.   I was just enjoying the sweet grooviness of what was going on and I fell into a dream.”

Then up comes Jennifer Foster on the squeeze box.  She’ll be accompanying on “Who Is This Man And Why Is He Laughing?”  Dave: It’s a Michael Philip Wojewoda composition and it goes something like this (he plays drums really fast). Martin: “Put Dave behind the drum kit, he can barely contain himself.”  By the end on every fourth beat the audience starts shouting “oh!” in time.

We’d like to invite another beautiful person for tonight’s program, Alun Piggins.  Alun: “I’m just flattered that you called me beautiful, Dave.”  That idiot is still shouting of r”Legal Age Life” and Dave says, Al didn’t learn that.  Dave says “we;re gonna act like we didn’t discuss what to play.”  Ford: “I didn’t”  Alun: “Was that you, Mike?”  Mike: “No that was Ford, another smart ass in the group.”  Let’s do Fred.

They do a cover of Fred Eaglesmith’s “Freight Train.”  It sounds so different from anything else they play.  There’s even a harmonica solo.  It really rocks and sounds great.  I never heard the song before.

Note: When I write about kids books I try to keep the music somewhat clean.  It doesn’t always work.  And since I’m in the midst of this Rheos marathon who are usually only mildly dirty and am doing First Second books, I didn’t expect what comes next.  So, if you’re easily offended skip the next paragraph.

Alun asks if he can do a Christmas song. After some abuse, he says it’s a lonely Christmas song about a guy who spends Christmas Eve, Christmas Day and Boxing Day masturbating to internet porn.  Probably at triple xmas dot com.  Dave asks, Is this like that McLean and McLean song “Merry Christmas Handjob.”  Alun: No, I wrote this one.”  Dave is insulted by the McLean song saying “he calls it a handjob but he’s actually masturbating.  You know how fucked up that song is?”  Mike: “Is that from Toilet Tricks?”  Dave laughs and then admits that he does like the song. Alun’s song is called “Dirty Dirty Dirty Dirty Christmas” and it’s pretty damned dark.

When it ends, Mike notes: That man was in The Morganfields (a thrash/folk act).

“Here Comes The Image” has cool long keyboard solo and effects.  And a woman keeps shouting for “Making Progress,” but they don’t play it.

Dave says they’re going to play three songs from Whale Music, and that they’ll be doing the whole album on Wednesday.  And that tomorrow night is the all-ages show.

“King Of The Past” is a bit sloppy although Martin plays a great solo at the end: “ride that wild stallion, Martin.”  During “RDA”  Tim is pretty much screaming the backing vocals and laughing like a maniac.  Then Dave throws in a few choruses of “I’m So Bored with the U.S.A.” and starts chanting:

we have no voice
when force is the noise
when force is the sound
when guns are the melody
when wrongs are the truth
when the newspapers are the crime

Which sounds eerily prescient for 2017.

“California Dreamline” is kind of sloppy but “Feed Yourself” is really intense.

After the encore, Dave plays his two acoustic songs, “Last Good Cigarette” which he says is “our White Stripes tribute” and “My First Rock Concert.”  The end gets a kind of reggae style and Dave sings in an almost reggae-but-really-inaudible way.  Then Dave asks Ford what shows he saw at 14.  And boy does Ford have a list

Big Country, Killing Joke, The Pogues’ first European tour, Black Flag, Husker Du.  And that’s when I became a non-U2 fan.  During the Unforgettable Fire tour, when he was singing Pride and Martin Luther King was projected and I thought…this is….  Dave says, “I’m pro U2.”  Mike: “Martin and I are more into the spy plane, actually.”  Martin: “Dave said the War tour was awesome. The Waterboys opened.”

Another request for “Making Progress.”  But Martin says, “Let’s go back to the 1950s with this next number.”  Mike: “When nuclear energy was still hopeful.”  They play “Torque Torque” which segues into ” a rollicking Claire.”  Paul Linklater comes up for a solo as well.

You can hear someone ask Dave something and he says, March 2007 at Massey Hall we hope (and that did come to pass).

They end this lengthy show with a wild “Satan is the Whistler,” which they have been doing very well lately.

[READ: October 17, 2017] Crafty Cat and the Crafty Camp Crisis

I was surprised to see that this second book had come out already (and a third one is due soon).

In this book Birdie is excited to go to Craft Camp. Birdie and Evan had a deal.  He would go to Crafty Camp and afterward she would go to his house to play Pumpkins & Pirates.  And when she loses the game, she will watch him do the victory dance.

She has high expectations for what this camp will be like–a big table full of brand-new craft supplies?  Maybe the walls will be sparkly and decorated with all the cool crafts we’re going to make?

Her best friend Evan is running late and there’s an amusing scene where he shows up but has to go to the bathroom.  While he’s in the bathroom she gets a visit from Cloudy who tells her that she is a good friend.  But Cloudy won’t tell Evan to hurry because it doesn’t do bathrooms.

Evan also bursts her bubble–“Craft Camp. It’s just in our regular classroom at school.” (more…)

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[ATTENDED: June 22, 2017] Sneaks

Sneaks was second on the bill opening for Chastity Belt.

I ended my post about Joy Again by coming out of the bathroom.  Well, while I was on line, I kinda thought that Sneaks was standing behind me.  But I’d only watched one video from her so I wasn’t sure and didn’t want to be presumptuous.  Well, I was right, because the woman wearing the Space Jam T-shirt climbed up on stage with the same shirt tied in a knot and, now, glitter all over her face.

I hadn’t heard Sneaks, so I checked out her bandcamp.  Sneaks is basically a one-woman show.  She plays bass and sings/raps/freestyles over her punky bass and a drum machine.  She has a lo-fi recording out and a more polished disc.  I would have loved both of these records when I was in college–the DIY punk attitude is pretty great.  But I didn’t love either one all that much the other day.

But she was great live. (more…)

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margoSOUNDTRACK: COLIN STETSON-New History Warfare Vol. 3: To See More Light [CST092] (2013).

stetson3 After the raucous wildness of Stetson’s Vol. 2, I wasn’t expecting the first song to be so gentle.  Justin Vernon sings (with many layers of processing) the rather pretty opening track.  When I first heard it I didn’t like it—I wanted Stetson to do Stetson and it seemed like the track was all voice (nad very different from Stetson).  But Stetson is there, and he plays his normal unceasing melodies behind the voices.  The track seems especially light since it is followed by the aggressive “Hunted” which prominently features Stetson’s “voice” (he has a microphone on his throat or something to pick up his grunts), making an almost growling noise as he plays.   It’s worth repeating that Stetson does circular breathing, is able to play nonstop and can somehow to play different things at the same time (no overdubs) as well as vocalize in interesting ways.  You can also hear him taking breaths while he platys—the breaths are part of the percussive nature of his playing. It’s pretty amazing.  About four minutes in, the tone changes a bit, becoming a little sharper which seems to make the growl even more pronounced.

“High Above A Grey Green Sea” is a quieter song with more vocalizing, but this one feels mournful and lonely as opposed to intense and scary.  “In Mirrors” opens with a deep breath as he plays a slow quiet 90 second song full of unexpected high notes.

“Brute” is appropriately named as it sounds like he is forcing the song out of his sax.  He places mics on his sax so you can hear the clacking of the keys.  And that is readily apparent on this song which is full of clacking and clicking and grunting all the way.  After about a minute, a discordant melody comes in and establishes a tone that plays or a few bars until Justin Vernon returns, but this time with growled words.  It’s a pretty intense and rather scary track—and nothing like Bon Iver at all.

“Among The Sef (Righteous II)” is a brighter song—higher notes played in a very fast style.  There are some vocalized melodies as well.  But the main song is a rolling series of high notes.  “Who The Waves Are Roaring For (Hunted II)” opens with an interesting vocalized melody—he is really using that technique a lot on this record.  It also featured Justin Vernon.  “To See More Light” opens with slow echoed notes as he begins to build a melody out of a four note string.  He starts adding more and more notes.  The melody grows faster and faster until about five minutes when it starts to really slow down—dramatically so.  Around 7 minutes in, the song slows to a crawl, almost drunkenly it seems.  And the song feels like it has ended.  But Stetson has more on his mind.  The notes are held longer and shift more slowly.   Then the song starts to build up again with a different 4-note pattern that adds some squeaky feedback notes and then a catchy melody.  All 15 minute of this song done nonstop, pretty impressive.

“What Are They Doing In Heaven Today?” begins with voices from Vernon (in a softer voice than we’ve come to expect) as he sings a verse before the sax comes in.  “Bed” features some loud key clacking a great rhythmic pattern and some quiet notes from both the sax and his voice.

The final song is “Part Of Me Apart From You.” It really emphasize his “singing” the melody in his throat while playing the repeating lines on the sax.   The song seems to emphasize the lower notes in this song even as he “sings” higher notes.

[READ:October 20, 2016] The Creepy Case Files of Margo Maloo

The title of this book implies that it is a series, and I rather hope it is.  I loved the premise of this book.  Most of the characters were interesting and the mystery behind Margo herself was really cool.

I didn’t love Weing’s drawing style, though.  It really never resonated with me at all, and at times I found it off-putting.  Which is a shame since the story is so fun.

Charles is moving to Echo City and he hates it.  His mom tries to convince him that big cities are fun.  Plus, his dad is fixing up a big old hotel and they get to live there for free (suspension of disbelief there).  There are already some people living there, too.

Charles’ dad is hip and cool (he is seen with Dead Kennedys and Black Flag logo tattoos).  All of the things that Charles finds creepy about the place, his dad calls “character.”   Like the giant chandelier that was in a closet.  Whatever his dad says, Charles’s comment is simply, “This place is definitely haunted.” (more…)

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hhftSOUNDTRACK: G.L.O.B.E. & WHIZ KID-“Play that Beat Mr DJ” (Double Dee & Steinski Payoff Mix) (1985).

doubledeeThe original of this song (1983) was simply the drums and simple keyboard riff.  The “Payoff Mix” done by Double Dee & Steinski added the incredibly dense layer of samples that really make this song interesting (actually the samples are more interesting than the rap).

The samples included:

  • Adventures of Grandmaster Flash on the Wheels of Steel by Grandmaster Flash and The Furious Five
  • Play It Sam…Play “As Time Goes By” (Avalon/As Time Goes By) by Humphrey Bogart (dialogue spoken from the movie Casablanca)
  • That’s the joint – Funky Four Plus One
  • Take the Country to N.Y. City by Hamilton Bohannon
  • Don’t Make Me Wait (Acapella) by Peech Boys
  • Stop! In The Name Of Love by Diana Ross and the Supremes
  • Rockit by Herbie Hancock
  • Situation 12″ by Yazoo
  • Starski Live at the Disco Fever by Lovebug Starski
  • World’s Famous, Hobo Scratch, D’Ya Like Scratchin’ and Buffalo Gals by Malcolm McLaren
  • Apache by Incredible Bongo Band
  • Tutti Frutti by Little Richard
  • Last Night A DJ Saved My Life by Indeep
  • I’ll Tumble 4 Ya by Culture Club
  • Speech by Fiorello La Guardia from Reading the Comics – July,1945

Double Dee & Steinski went on to make some other great mashups (and these sound amazing since they were done circa 1985).  I particularly like Lesson 3.

Here’s the one that made them famous:

[READ: November 23, 2014] Hip Hop Family Tree 2

This volume picks up right where the previous one left off in 1981.

First we meet Doug E. Fresh who, devoid of records, starts the trend of beatboxing.  We also see The Sugarhill Gang doing a rap over the song “Apache” (while dressed like Native Americans).

The book bounces back to California (Oakland this time) where we meet Too Short, a great high school rapper who is interested in making money from his skills.  We also see a young Ice-T doing his gangland thing

Then it jumps back to Rick Rubin whose love of punk and metal (these goings on are happening at the same time as Black Flag is trying out a young Henry Rollins, and Bad Brains are in high gear–and often times the crowds mix amiably) fuses with his love of rap.  he really wants to be able to capture the rawness of the live sounds of both types of music onto a record (enter the Beastie Boys).  And, strangely enough (although perhaps it should be expected), Malcolm McDowell enters the picture.  We also see Fab Five Freddy making “Change the Beat” which includes a since-very-heavily sampled “Freshhhhh” (more…)

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flies2SOUNDTRACK: CIAN NUGENT-Tiny Desk Concert #353 (May 3, 2014).

cianCian Nugent is from Dublin.  In this Tiny Desk Concert, he plays two guitars, including a crappy no name electric guitar with a great raw sound.  For the first song, he plays a pretty acoustic guitar instrumental called “Grass Above My Head.”   It has a slow melody that turns into a ragtime jaunt over the course of 6 and half minutes.

The next two songs are on that electric guitar and are both rather different (he says the songs comes from “incoherent range of the mess that is my musical career”).  Before playing “Hire Purchase” he tells a very funny story about getting a pencil from a garage (and that he uses it to keep his string from detuning–does that work?).  This is an electric guitar instrumental, bluesy and mellow with some great riffs.

The final song, “Nightlife” has words.  It’s a simple blues song. Nugent has a nice delicate voice.  I’m not a big fan of bluesy songs, but he does a great job with this and the other two styles.

He also wrote a song called “My War Blues” which is variations on a Black Flag song (I don’t recognize the original in his version, myself).  But you can hear that here.

[READ: June 4, 2014] King of the Flies 2. The Origin of the World

This book picks up right where Book 1 left off.  This edition was also translated only by Helge Dascher although it says she had help from Dag Dascher and Kim Thomspon (I didn’t notice any change in quality).

As this book starts, Eric’s mother is making serious advances with Francis–the man whom she just met but who she is already calling her fiance.  Eric fantasizes about killing him (his dream sequence mother says this is the 13th time he has killed Francis).  Marie and Eric are still together and, through a strange series of events, Ringo is asking Eric to hold on to a cool looking elephant bowling bag.

By the end of this first story, Eric has saved Becker from drowning.  And yet neither Becker nor Karine bothers to thank him.  Indeed, Karine seems even more angry at him.  But this blow off makes Eric want Karine even more.

In a later story we finally meet Karine’s family who are just as freaked out about her “dating” this old guy.  And, by the end of the story Becker has a heart attack and dies.  When she returns home after the funeral she sees Eric and she confides in him that she is pregnant.

The newest development in the book comes in the next story in which we learn that Damien is a ghost and that he visits everyone that he knew.  Some people who are receptive to seeing him can actually talk with him.  He’s obviously pissed about Eric and Sal, but he has come to terms with a lot of things.  He even forgives the man who killed him (by accident).  He also winds up meeting ghost Becker at some point. (more…)

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