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Archive for the ‘Godspeed You Black Emperor’ Category

[ATTENDED: March 14, 2018] Godspeed You! Black Emperor

Back in 2000, I saw Godspeed You Black Emperor at Maxwell’s in Hoboken.  My friend Lar was in from Ireland and he went to the show with me, which was pretty awesome.

It is one of the most memorable shows of my early concert-going experience.  Which is possibly why I waited 18 years to see them again.

Even though my friends Liz and Eleanor (who have seen them many times) told me to join them in the balcony, to close my eyes and drift to the music, I’m a close-up guy and I wanted to be a part of the show.

The band had a semicircle of chairs on stage.  I should have realized from the get-go that as soon as someone sat in one of them he would basically be blocking everything for me, but I didn’t think it through.

So the show began with “Hope Drone,” which is, as suggested, a drone.  (more…)

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[ATTENDED: March 14, 2018] Liberty / Tashi Dorji Duo

I had never heard of Liberty / Tashi Dorji Duo when I saw they were opening for Godspeed You Black Emperor.   I also didn’t know if Liberty was a part of the duo or even if Liberty was a second opening act.

Well, it turns out that Tashi Dorji is a guitarist who often plays by himself.  But for this show he was with “the elusive Danish saxophonist LIBERTY (Mette Rasmussen).”

So what did this mean for the show?  Well, a brief search on Dorji revealed:

Tashi Dorji was born and raised in Bhutan, on the eastern side of the Himalayas. Residing in Asheville since 2000 and soaking up a vast array of music. Along the way, Dorji developed a playing style unbound by tradition, yet with a direct line to intuitive artistry. All references break loose during his playing, as Dorji keys into his own inner world.

and that

Liberty is a saxophone player whose music is defining a unique balance of uproar and beauty. Her ability to move between the often strict confines of genres and explore the elements makes her presence highly powerful. She has encapsulated her own personal vision of acoustic music, by amplification expanding her range in dynamics and rocketing a more prosaic stem.

So. (more…)

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landSOUNDTRACK: SONG OF THE SILENT LAND [CST2 COMP] (2004).

silentlandThis is a great compilation of Constellation artists from 2004 and earlier.  What makes it so good is that 13 of the 14 songs are released here for the first time.  So it works not only as a sampler of the labels artists, it also works as a great rarities collection.

ELIZABETH ANKA VAJAGIC-“The Sky Lay Still” [stripped down version of album song].  This song starts with slow echoing guitars and Elizabeth’s voice which sounds a bit like Carla Bozulich (but cleaner).  Two minutes in, it shifts tones to an awesomely catchy section with great vocals.

DO MAKE SAY THINK-“Winter Hymn Winter Hymn Winter Hymn”   This is the entire Winter Hymn … album remixed into a 5 minute track.  I’ve often complained that I dislike remixes but this one is great.  It includes some big guitar chords, some quiet drums, some notes and maybe gives you a feel of the album, but maybe not.  The end of the track plays some very fast heavy chords and then gets sped up out of existence.

EXHAUST-“Wool Fever Dub” [from their self-released cassette]  This song has a big thumping beat and some cool echoed harmonics on the guitar. This basic song structure runs through a 3 minute instrumental with a different “chorus” and some intense drumming at the end.

HANGEDUP-“(Re)View From The Ground (remix)”  This is a very catchy, fun remix.  Noisy clattering drums and all kinds of feedback squalls keep this propulsive track moving—this is my kind of dance remix.

BLACK OX ORKESTAR-“Toyte Goyes In Shineln”  This track comes from their album Ver Tanzt? And is one of my favorite of their songs from this disc.  An Acoustic guitar and bass play a simple melody over what I assume is quiet Hebrew singing.

SACKVILLE-“This Machine”  This is an unreleased track from the band.  It is a simple downbeat folk song with a really catchy chorus.  I like Sackville a lot but haven’t mentioned their full length yet–coming soon.

SILVER MT. ZION-“Iron Bridge To Thunder Bay” This is an unreleased track from the Rusted Satellites session, it begins with squealing feedback that slowly changes pitch until the thudding drums and bass come in.  They play a rumbling rhythm underneath the otherwise noisy sounds.  After 6 minutes, the song ends in squalls of feedback until the last minute just echoes until the end.

SOFA-“String Of Lights” [from the self released cassette].  I really like Sofa and wish they’d released more music.  This song actually sounds a bit like the Black Ox Orkestar song above-a- slow broody acoustic piece, but I love the way the chorus brightens the song.

POLMO POLPO-“Dreaming (…Again)”  This track is described as “constructed of materials from the Like Hearts Swelling sessions”  It’s a pretty, upbeat song with some slide guitars and a groovy rhythm.

RE: “Slippage” [unreleased track from the Mnant sessions]  This song has clanging percussion and oscillating keyboards which make this soundscape interesting and compelling.

FLY PAN AM-“Tres Tres ‘Avant'” is an improvisation with Tim Hecker and Christof Migone.  There’s a funky bass and drums with some groovy keyboards.

1-SPEED BIKE-“Fair Warning” [ remix of “New Blue Monday” from their album].  The track starts with a person saying “Okay we’ll call this one Fair Warning.”  You can hear the music (primarily the guitar echoed) and the riff from New Order’s “Blue Monday” and then he starts reciting passages in a great Canadian accent: “heroin crop in Afghanistan is 3 times higher this year than last year because the Taliban got taken out and replaced with the Americans.”  “We don’t want funerals because people like to party too much, Capice?”  The second half of the song is a lot of swirling statics and noise with repeated notes.

FRANKIE SPARO-“See My Film” [working mix of an unreleased song].  This song has a sprinkling of guitar notes and Sparo’s mellow but rough voice singing a cool melody.  The addition of a violin melody really elevates the song.  The end is even better as he adds another vocal line and some da das making it even catchier.

GODSPEED YOU! BLACK EMPEROR-“Outro” This is a live performance of a concert finale recorded in France on 14 May 2003.  This slow song opens with glockenspiel and strings–a slow, pretty melody that evolves over 7 minutes to add a bigger string section.  The last 2 minutes include a very nice violin solo that plays over the top of the rest of the band.  GYBE has never officially released a live album, so this is a good opportunity to hear what they can do live.

[READ: August 20, 2016] Land

This is a book about Anthony Gormley’s five statues on Landmark Trust Property.

The five statues in this book are life-sized cast iron sculptures installed in five Landmark Trust sites across the British Isles from May 2015 to May 2016.  Saddell Bay, Mull of Kintyre; South West Point, Lundy; Clavell Tower, Kimmeridge Bay; Martello Tower, Aldeburgh, and Lengthsman’s Cottage, Lowsonford.

The sculptures are by Antony Gormley, the photos of the sculptures are by Clare Richardson and the text is by Jeanette Winterson.  Winterson is the only person I’d heard of in this book but as soon as I flipped through the pages, I was instantly struck by the sculptures.

Gormley works with the human form in very heavy sculptural designs.  There’s another book about his work called Human that shows even more of his sculptures. (more…)

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c28SOUNDTRACK: HISS TRACKS-Shortwave Nights [CST104] (2014).

hissThe Hiss Tracks album begins with a rumbling roiling and yes a kind of hissing sound.  There was a moment of concern that this would be literally 40 minutes of static . But no, there are some interesting electronic blips and phrases amidst he roiling rumble.

Some context about this band from the Constellation site:

Hiss Tracts is an ongoing collaboration between “sound sculptors” David Bryant and Kevin Doria. Both players are known for their work within various strains of drone-inflected and experimental music: Bryant as a member of Godspeed You! Black Emperor and Set Fire To Flames, Doria as a member of Growing and for his solo work as Total Life.

Hiss Tracts opens new collaborative, procedural and narrative pathways for these fine musicians to continue exploring soundscape-based composition and production. Both are guitar players, and the electric guitar figures as both recognizable and unrecognizable source instrument on Shortwave Nights, but the deployment of a wide range of additional analog sources and signals ensures that there is no confusing this for a guitar-based drone, noise or post-rock record.

So there you have it.  Once the rumble of that first song, ‘…shortwave nights,” dissipates there are some ringing guitar sounds quietly repeating amid a low static and other sounds.   The song ends with some dissonant guitar notes.  It’s eight minutes in total and has the feeling of an ambient soundtrack, but not a relaxing one or of background music.

“half-speed addict starts with broken wollensak” does indeed begin slowly, at about half-speed, with more rumbling sounds.  The song speeds up at the end, with muffled sounds keeping a very fast pace and a keyboard note rings out as the song finishes.  “slowed rugs” has a kind of one note drone while some vibrating drones continue over it—it’s a gentle electronic sound manipulation.   The oscillating notes fold in on themselves and mutate into some thing else.  As the song nears its end, a repeated series of unusual notes seems to rise from the din.

“drake motel / “9 gold cadillacs”” is a one minute interstitial that opens and closes with someone playing a harmonica.  The player offers it to someone else and then the rest is a series of statements from an unnamed person:

I would never put my mouth on something that you had put your mouth on.
The more you love people the worse they treat you I am so tired of it.
My daddy spent million of dollars trying to by a friend and he died without one.
You can give a sumbitch a million dollars cash tax-free and tomorrow they wouldn’t give you a cracker if you were starving to death.  That is a bible prophecy.

“windpipe gtrs.” sounds like a bunch of didgeridoos trying to overtake each other.  “halo getters” is an ominous piece, with more of that rumbling static and some portentous chords over the top.  The five-minute song doesn’t change much although about a minute in some guitars ring out sounding very outer spacey.  The song repeats and eventually warbles to and end which somehow feels warmer than the rest, like little explosions of quiet sound which almost sound like car horns.

“for the transient projectionist” opens with ringing bells/gongs.  After a few minutes of this peaceful sound, some music bubbles up—waves of warm keyboards and washes of mild static.  It seems to have a natural progression before ending.

“ahhh-weee dictaphone” is a 41 second interstitial of what sounds like vocal goofing around.  “test recording at trembling city” has mechanical ringing tones coming on in waves.  The song builds in intensity as it sounds almost like a high-speed-something about to crash, or a siren going off.  It is rather unsettling.  “beijing bullhorn / dopplered light” is mostly staticy radio and voices muttering under some gentle washes of chords.   It is a relatively pretty ending to a somewhat unsettling disc.

The instruments included on the disc include: guitar, tape machine, piano, mellotron, portasound, bowls, field recordings, oscillators, sampler, synthesizer

This is a pretty esoteric disc that many people won’t enjoy, but if you like experimental ambient textures, it’s worth a listen.

[READ: March 10, 2016]  “Undecided”

After last night’s debate, in which evidently there are some 36% of the population undecided about whom to vote for, here’s a political piece from the 2008 election.  What I especially loved about this one was just how relevant it all seemed 8 years later.  The “undecided” voters aren’t getting as much airtime yet, but one wonders how poll numbers can shift when the candidates are so radially different.  I recall in the 2008 election how people seemed genuinely undecided about the two candidates and Sedaris (and myself and many others) just ask: HUH?.

Sedaris notes how the undecideds get interviewed about being undecided and they all look “very happy to be on TV.” And oh dear, they just can’t make up their minds.

“I look at these people and can’t quite believe that they exist.  Are they professional actors? I wonder or are they simply laymen who want a lot of attention?”

And then he says to imagine their perspective as if you were on an airplane.  The attendant brings the food cart over and in what may have been the most apt analogy:

Can I interest you in the chicken? she asks.  Or would you prefer the platter of shit with bits of broken glass in it?

To follow through he says that being undecided is to “pause for a moment and then ask how the chicken is cooked.” (more…)

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breachSOUNDTRACK: THE SILVER MT. ZION ORCHESTRA & TRA-LA-LA BAND (WITH CHOIR)-“This Is Our Punk-Rock,” Thee Rusted Satellites Gather + Sing, [CST027] (2003).

MtzionthisisourThis album is a pretty massive change for A Silver Mt Zion.  It both brings this band closer to their alter ego GYBE but also pushes them further away at the same time.  How?  Well, musically, this album sounds a lot more like GYBE–epic songs all over ten minutes with lots of strings and soaring moments.  But the big difference now is that every song has vocals (hence the new title of the band).  The line up has stayed the same although they have many guests for the choir.  The choir is referred to on the album as Thee Rusted Satellite Choir.

“Sow Some Lonesome Corner So Many Flowers Bloom” opens the disc with someone counting of “1234… 12345678.”   And then a simple guitar and bass melody starts up.  The song sounds fairly conventional, in fact.  And then the choir kicks in.  Many many voices singing, “Ahhhh.”  And then a solo voice continues the “Ahhhs” in another pitch while the choir continues.   I love this whole introduction–the various keys the voices are in, how the bass voices start singing “fa fa fa la la so” and on and on in varying formats.  The choir (a bunch of friends and bandmates) sounds great–not perfect but perfect for this song.  This lasts for about 7 minutes before the choir fades and the rest of the song begins with a swelling of droning music.  Strings come in and the song stays quiet for a couple of minutes before the guitar riff from the beginning returns this time with string accompaniment instead of voices.   Around 12 minutes the strings change to something else–more grandiose music which sounds amazing.  About a minute later the drums begin and the song takes on a whole new style.  This more rocking sound continues until the end of the song.  It’s awesome.

“Babylon Was Built on Fire/StarsNoStars” opens with staccato echoed guitars (it also feels a bit like Pink Floyd).  There’s ambient washes of guitars that float around, but the whole things sounds very trippy (not a sound I associate with this band).  About six minutes in, Efrim begins singing.  This is the first time he’s sung quite so loudly and clearly.  His voice is anguished and a bit harsh, but it works pretty well with the violins and the cool bassline that walks throughout the song.  With about 4 minutes left, the music changes direction.  The guitar starts playing a single note, growing louder and louder as the strings surround the guitar and voice: “Citizens in their homes and missiles in their holes.”  Efrim (I assume) sings a round with himself as more and more lines of text fill the song.  Although his voice doesn’t sound radically different in each one, he does adjust volume and tone enough to make it sound pretty interesting.

“American Motor over Smoldered Field” is the shortest song on the disc at 12 minutes.  It begins with a simple acoustic guitar melody (quite pretty) and Efrim singing over it (I appreciate the different vocal styles in this song).  It’s really quite a compelling song as that guitar continues and the strings come in behind it.  Around four minutes in, the drums crash and the song takes off.  The strings change and the song becomes very intense–faster and louder.  This lasts about three minutes before a staccato guitar picks up and choral voices are heard way in the background.  The voices (all Efrim, I believe) build and build as the guitar maintains.  Around nine minutes the strings and guitars change and the song flows as a new vocal line joins in “this fence around your garden won’t keep the ice from falling.”

The final song, the 14 minute “Goodbye Desolate Railyard” also opens with acoustic guitar and Efrim’s vocals. The song (an elegy for a dying city) remain simple–acoustic guitar, simple violin and bass notes.   The song is repetitive, lulling the listener into as sense of contentment.  Although at around 5 minutes, the violins swell and become a little unpleasant–kind of harsh and a little staticky.  This continues for some 5 minutes until it is replaced by the rather close up sound of a freight train going slowly down a track.  After two minutes of this, the acoustic guitar returns with Efrim singing (in a very Neil Young kind of voice) “every body gets a little lost sometimes.”  The full choir joins in to sing these final words for a several rounds before fading out.

[READ: May 10, 2016] Breach Point

Steve and I are pals of Facebook.  If I may wax jealous for a minute, Steve has done everything that I’d ever wanted to do when I was younger–he’s been in a band (cuppa joe–they released several really good albums); he’s a graphic designer, something I always imagined being when I grew up; and now he has written a novel.  So, yes, basically I hate Steve.  Except that, of course, I don’t hate Steve.

I hate him even less because this book is not only really good, but it has brought back a part of my childhood that I had forgotten about.

When I (and anyone else who grew up in the New Jersey area in the 70s) was a kid, there were always commercials for Brigantine Castle in Brigantine NJ.  The commercials scared the hell out of me and I was always terrified to go to this place.  I knew it was down the shore but never exactly where.  And there were times when we drove to the shore and I was convinced we were going to the castle instead (totally false, Brigantine was way further north than any beach we would have gone to).  And then Brigantine Castle burned down.  Interestingly, after watching these commercials again coupled with The Haunted Mansion (another commercial played quite often), I learned that the Haunted Mansion was in Long Branch.  I never went to that Haunted House either, although I have since been to the convention center that now stands where the Haunted Mansion once stood before it burned down.

Yes, Both Brigantine castle and the Haunted Mansion burned down.  People know what happened in the Haunted Mansion fire, but the Brigantine Castle fire is shrouded in mystery.

This is all a long way to say that Steve has written a book that is based around this mystery.

Clara is a 16-year-old girl who travels to Breach Point for the summer.  She has gotten a job at an engineering firm and she is going to live with her Aunt Maureen.  When the book first opens, we see her on the bus, happy to get away from her mother and excited but nervous about gong to this place that she vaguely remembers. (more…)

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HarpersWeb-Cover-2016-01-410SOUNDTRACK: A SILVER MT. ZION-He Has Left Us Alone but Shafts of Light Sometimes Grace the Corner of Our Rooms… [CST009] (2000).

smtzWhile working with Godspeed You Black Emperor, Efrim decided to start another band.  Ostensibly this was an attempt to “learn music” and to be able to communicate better with his fellow musicians.  Apparently, this didn’t work.  So rather he created another band A Silver Mt. Zion (whose name has changed on nearly every album).  Strangely enough, he took two other members from Godspeed with him Thierry Amar (bass and more) and Sophie Trudeau (violins).

So how different can this band sound, then?

Well, quite different, actually.  Efrim’s main instrument for this album is piano (there was no piano in Godspeed as far as I can recall).  And virtually the entire album plays like a slow modern classical piano album.

This album being made by the folks from GYBE, there’s bound to be some differences between the vinyl and the CD.  The vinyl lists two songs, while the CD breaks those two songs into four parts each.

“Lonely as the Sound of Lying on the Ground of an Airplane Going Down” is the first song.  It has four parts.

“Broken Chords Can Sing a Little” opens with some piano chords, slowly meandering through a slightly dark melody.  The song is 8 minutes long and about 3 minutes in, there’s some staticky recorded voices that speak over the melody.  A slow mournful violin comes in about 4 minutes in.  Another voice fights for dominance during the song (they may both be religious speakers, although it’s not always clear).  The last minute or so of the song is simply the two voices speaking over each other.

“Sit in the Middle of Three Galloping Dogs” introduces some drums into the mix.  It’s the only song with drums–provided by GYBE member Aidan Girt.  Those voices continue into this song.  The drums give the song momentum as they play under an echoing guitar and some cool overdubbed violin parts.  The song seems like it will continue the same, but about half way in, the music drops off except for a fast bowing violin and then it shifts tone completely, with a more intricate drumbeat and new layers of violin.

The end of the song merges with the next track’s opening piano notes.  “Stumble Then Rise on Some Awkward Morning” returns to the sound of the first track–spare piano and plaintive violin.  The song slowly builds, but in a very different way from GYBE.  The pianos grow more insistent, but don’t seem to be heading towards a cathartic conclusion, just toward a new location.  And the song ends with a series of descending piano notes.

“Movie (Never Made)”is only three minutes long and it marks yet another departure from the GYBE/SMtZ instrumental world.  Efrim sings! His singing voice is whispered and quiet (occasionally anguished) and works pretty well in this quiet song.  The beginning lyrics: “A Silver Mt. Zion / all buried in ruins / we was dancing the hora / until we vomited blood.”  (Efrim described recording the album as a “Jewish experience”).  The music is spare piano and a rather jazzy contrabass until the end when a violin is added.  But it is primarily a spare piano and vocal song.

Disc/Side Two is called “The World Is SickSICK; (So Kiss Me Quick)!” and also has four parts.

“13 Angels Standing Guard ’round the Side of Your Bed” opens with what sounds like distant voices fading in and out amid washes of guitar chords.  The bass and violin anchor the song to a melody.  The “voices” might actually be guitars, although they sound almost like angels singing amid the ambient waves.

“Long March Rocket or Doomed Airliner” is listed as being only five seconds long and is all silence.  The CD suggests that all of the songs are timed as round numbers (9:00, 3:00) which isn’t true according to the CD.

“Blown-Out Joy from Heaven’s Mercied Hole” begins with a slow jazzy bass and Efrim singing gently.  Harmony vocals (from Sophie) can be heard as well.  The song is nearly ten minutes–the longest on the disc.  And the vocals stop pretty quickly.  The rest of the song is violin over the bass with a sprinkling of piano notes as well (sometimes playing a lengthy riff or run).  This song also features two guests: Gordon Krieger on bass clarinet and Sam Shalabi on guitar (both of which come in around 8 minutes, I believe).

“For Wanda” is apparently the inspiration for the disc.  The album was born out of Efrim’s desire to record something for his dog Wanda, who died while GYBE were on tour.  This song is a slow melancholy piano with ambient sounds in the background (unclear what they are although they sound like fireworks).  Eventually, the violin comes in as well and continues the melancholia.  The song fades only to be followed by a quiet coda on the organ.

So yes, this is quite a different sound and feel from GYBE.  And, perhaps surprisingly, this would prove to be Efrim’s main musical outlet, releasing several albums and couple of EPs before GYBE would reunite.

[READ: January 19, 2016] “‘We’ve Only Just Begun'”

I was sure I had finished off all the older Harper’s stories, but here’s one that I missed.  And it is pretty peculiar.

The story is elliptical. not really having an opening and not really having an ending.

And as such, a review has to be somewhat elliptical as well.  The story opens:

“They got into our car at a stoplight. It was cold. We never lock the doors in back. There were two of them. At the apartment they terrorized us.”

One of “them” was named Grimaldi. (more…)

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2016-05SOUNDTRACK: GODSPEED YOU! BLACK EMPEROR-‘Asunder, Sweet and Other Distress’ [CST111] (2015).

Godspeed_You!_Black_Emperor_-_Asunder,_Sweet_and_Other_DistressIn 2015, GY!BE released their so far last record.  And it lasts a mere 40 minutes.

As with the previous record, there are two longer songs and two somewhat shorter ones.  The album’s four tracks are based on “Behemoth,” played live numerous times since 2012 and previously recorded onstage for the concert series We Have Signal. (Absolutely worth a viewing if you like the band–this is a good recording).

“Peasantry or ‘Light! Inside of Light!'” has perhaps my favorite opening from any GY!BE album.  After a series of drum beats, the big monolithic riff kicks in.  It begins as two notes but slowly grows and morphs into something bigger.  The bands rocks the riff for about 3 minutes, when there’s a brief guitar solo and a change in direction (with lots of chaos and noise).  And then the song turns pretty and strangely uplifting–the violin riffs that punctuate the middle of the song are quite beautiful.  For the last two or so minutes, the song really slows down, keeping that same basic melody but adding a slow guitar playing the riff.  It’s capped off with more of those soaring violin riffs.  At ten minutes total, it’s one of their shorter “epic” pieces, but I think it’s a great one.

“Lambs’ Breath” (almost ten minutes) begins as a seamless continuation of the previous part, opening with noisy static guitar sounds and droney chords.  This track is almost ten minutes long and it goes through many different waves of noise.  There’s some echoed sound effects and static that more or less drop out into a quieter drone about 3 minutes in.  The quiet (very quiet) drone is accompanied by electronic sounds.  The last nearly 3 minutes are all one note, oscillating somewhat, but feeling like it never stops.  On the vinyl, this track ends in a locked groove, so it actually does go forever.

“Asunder, Sweet” (6 minutes) continues with that same note until it is punctuated by echoed guitar notes and buzzing sounds.  Around three minutes in, more sounds start rising out of the murky noise.  It feels like a beast slowly waking.  There’s some pretty feedback as the drone grows louder….

“Piss Crowns Are Trebled” is nearly 14 minutes long. It continues of the growing drones of the previous song but immediately adds a violin.

For this album there is one minor change:

  • Thierry Amar – bass guitar, double bass
  • David Bryant – electric guitar, Portasound, organ, drones
  • Aidan Girt – drums
  • Karl Lemieux – 16mm frames artwork, photography
  • Efrim Menuck – electric guitar
  • Mike Moya – electric guitar,
  • Mauro Pezzente – bass guitar
  • Sophie Trudeau – violin, drones
  • Timothy Herzog drums, drone [replacing Bruce Cawdron]

[READ: April 11, 2016] “Witness”

I really enjoyed this story and the wonderful direction it went at the end (I’ve been worried about The Walrus’ dark stories as of late).

The story is about an older woman (she is over 70), Harriet.  Harriet is a painter.  She lives alone by the lake, despite her son’s protestations.   And as the story opens, we see her attacked by someone in her home.

What was so interesting about the way the story was constructed was that Harriet remained wonderfully calm through the whole ordeal.  She remembered to turn her head while the man (who smelled of Juicy Fruit) put his arms around her throat (this prevents you from losing oxygen).  She could tell that the boy was one of the local kids who hung out down by the 7-Eleven.

But instead of freaking out, she remains calm through it all.  She talks to him in a friendly manner.  When he asks for the money, she says it’s in the bedroom.  But he forces her down the hall to the room.  As they are about to head in, she tells him that there’s a mirror in there.  She doesn’t want to see is face or know who he is (such good thinking).

He pauses, thinks this over, then throws her to the floor and proceeds to take her money.  (So I didn’t love that part of the story). (more…)

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