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Archive for the ‘Laura Marling’ Category

SOUNDTRACK: ANDREA CRUZ-Tiny Desk Concert #836 (March 27, 2019).

I was really surprised by the music that Andrea Cruz played, especially when I learned she is from Puerto Rico.  It felt very folk-music, in the way she strummed and the trombone (Jomar Santana) was used more as a solo instrument rather than a dance-accompaniment.  That’s certainly reductive, and yet the blurb backs me up:

It’s important to note that the instrumentation of the band that traveled with her (keyboard, two percussionists and trombone) hardly fits what you’d expect music from the island to sound like these days. But Cruz is part of a movement in Puerto Rico that emphasizes largely acoustic instruments and a folk-based approach to interpreting life before and after the hurricane of 2017. It’s a bold creative statement in a land of reggaeton and salsa.

I was very pleased to see that Cruz’s live performance is very much like the stripped-down sound on her album and the handful of singles she’s released. In fact, I would say her music is a perfect soundtrack to a growing, back-to-nature movement in Puerto Rico that encourages local farming and a careful stewardship of the environment.

Cruz sings three songs, all from her first album, 2017’s Tejido de Laurel.

“No Toquemos Tierra,” opens with a lone trombone and Cruz’ guitar.  I love the delicate keyboard accents from Antony Granados. It looks funny that there are two of them playing the tiny percussion kit, but that changes later.  The way Cruz plays her guitar here I almost expected her to bust out into something like Laura Marling a few times.  The coda at the end is really pretty, too.

The emotion of the lyrics of the first song, “No Toquemos Tierra,” is evident in her angelic voice as she makes a declaration of love for the earth as a metaphor for a lover. The beauty of the song is in her poetic lyrics set to a melody that defies language.

“Santas Flores” is a prayer to the flowers.  I love in the middle that everything drops away except for the percussion and her voice.  I’m very curious how that trombone is so quiet.

“Canción de Amargura” begins with a martial beat from Francisco Marrero but when Ángel Rafael Rivera plays the cuatro venezolano, the mood lightens.  Despite the fact that this is an intense song

there was no mistaking the intense feeling behind her song about femicide on the island in the song, “Canción de Amargura.”

Their voices raised in harmony at the end are really powerful and the way her own voice just soars in the last few seconds is really lovely.

“Contigo” is listed as a fourth song but she doesn’t play it, I don’t think.

[READ: March 31, 2019] “The Match”

This is an excerpt from Whitehead’s not-yet-released book The Nickel Boys, which is set around 1964.

This part is about a boxing match at The Nickel Academy, a reform school for boys.  The main competitor is a black boy named Griff.   He is a miserable bully most of the time and the other boys really hate him.  But if he has the chance to defeat a white boy, they are all for him.

The “colored boys” had held the boxing title for fifteen years.  “Old hands on the staff still remembered the last white champion [Terry (Doc) Burns] and talked him up.”

Griff arrived at Nickel just after the last champ turned eighteen and was released back in to the free world.  Griff pulverized his opponents.  At the end of the school year, they would pit the dorm’s best fighters against each other and then in the finale, the best black fighter fought “whatever chump the white guys put up.”

Obviously, racism is inherent in this system.  Indeed, Trevor Nickel who opened the Academy was a member of the Klan.  During one of the brief asides, Turner, brought Elwood to the two trees in the back.  There were rings embedded in the trees, part of the trunk now: “Human bones would break before it came loose.”  This was where the black boys who disobeyed were brought.  The official word was that they escaped, obviously they did not. (more…)

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SOUNDTRACK: BEDOUINE-Tiny Desk Concert #737 (April 30, 2018).

Bedouine has a lovely clear voice.  She’s a genuine folk throwback treasure, without being retro.  Her songs are remarkably simple and yet they are rich and almost enchanting.  There is something about the way she sings that makes you want to listen, to lean in and hear what she has to say.

Her guitar playing is also very pretty.  Again, a reasonably simple finger-picking style.  but it is simultaneously precise and warm.

I saw her live recently and she held an entire club rapt despite being an opening act for two much louder bands.  So who is Bedouine?

Azniv Korkejian is Bedouine, a singer and acoustic guitarist who echoes sounds from the 1960’s North American folk songwriters, but with vocal inflections that feel closer to Leonard Cohen than to Joni Mitchell or Joan Baez.  This is as spare as music can be – songs stripped to their essence and just gorgeous.

Azniv Korkejian was born in Aleppo Syria. Her parents were Armenian and she spent her childhood in Saudi Arabia. But a green card lottery win found her family moving to Boston and Houston. Eventually she made her way to Los Angeles with important time spent in Austin, Texas and Savannah, Ga. The name she chose, Bedouine, reflects the traveler, the wanderer in her.

She plays three songs, just her and her guitar.  The songs don’t diverge that much from each other.  She even jokes that the second song is a different song than the first one, she promises.

“One of These Days” is a pretty song that seems so optimistic because you can feel the smile in her voice as she sings.  But as with much of what she plays, there is a kind of melancholy to it.

“Solitary Daughter” opens with the same chord (and picking) but soon shifts textures. I love her delivery on this song in which she lets her voice drop a register and adds a kind of Laura Marling spoken word style to part of it.

The middle third is just stunning

I don’t need the walls
to bury my grave
I don’t need your company
to feel saved
I don’t need the sunlight
My curtains don’t draw
I don’t need objects
to keep or to pawn
I don’t want your pity
Concern or your scorn
I’m calm by my lonesome
I feel right at home
And when the wind blows
I get to dancing
My fun is the rhythm of air
When it’s prancing

“Nice and Quiet” is an intimate love song, but one tinged with sadness.  It has such a charming and sweet melody, which really sums up her music pretty well.

[READ: March 5, 2018] The Prince and the Dressmaker

Jen Wang is back with an outstanding book.  I absolutely love her drawing style.  The look of her dressmaker, Frances, is just adorable.  I love her clothes, I especially love her face, which is cartoony but not caricature-y.  The prince’s nose is huge but not overtly comical and adds a distinctive element to the story.

But what makes this book stand out even more than the art is the story.

The Prince is holding a ball.  When the scene pans back we see horse-drawn carriages.  In other words, the time is sort of nebulously olde.  The women are dressed fancy, with petticoats.  There is much stress around town because all the young women wish to go to the ball.

A woman storms into a couture shop with a mud-covered dress.  Her daughter decided to play in the dress and it is ruined.  Can then makes something for her in time?  Frances is available and the owner gives her the job. (more…)

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[ATTENDED: January 31, 2018] Jen Cloher

Sarah and I saw Jen Cloher open for Courtney Barnett and Kurt Vile.  But because of traffic and parking, we saw barely two songs by her.  Her set (like Barnett & Vile’s) was acoustic.  She announced that she would be playing at Johnny Brenda’s in January and that her set would be much more rocking.  She also teased out that Courtney would be playing lead guitar for her.  Those two details made me want to see the show.  And I’m really glad I went.

I hadn’t been to Johnny Brenda’s before.  I heard it was small and sight lines could be tough if you got there late.  This show was sold out but I must have gotten there early because I was almost right in front of the stage (I was behind a woman who basically took up three spots with how often she moved around).

After being pretty far from Courtney at the previous set I made sure to set up on her side of the stage.  And it was pretty electric when she came out to tune up he guitar.  I saw that Kurt Vile was hanging around off to the side of the stage too, although he didn’t come out or anything. (more…)

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SOUNDTRACK: THE WEATHER STATION-Tiny Desk Concert #689 (January 8, 2017).

The Weather Station played a show in Philly a while back.  I knew that Bob Boilen really liked the album, and I thought about checking them out live.  But things came up and I didn’t.  And now here they are at a Tiny Desk.

It was the first song here, that Bob especially liked:

It’s called “Thirty” and in less than four minutes and nearly 400 words, singer Tamara Lindeman paints images of joy intertwined with the awaking jolt of turning thirty.

The dollar was down
But my friends opened businesses
There were new children
And again, I didn’t get married
I wasn’t close to my family
And my dad was raising a child in Nairobi
She was three now, he told me

The song is a pretty, shuffling song (spare drums from Ian Kehoewith a speedy rhythm guitar (from Lindeman), a roaming bassline (Ben Whiteleyand some cool guitar licks (William Kidman) over the top (both of which are really lovely).

The musicians in The Weather Station underpin these words with delicate playing and by sitting quietly but poignantly under Tamara Lindeman’s beautiful voice. Her soft voice shifts pitch with a rapid flow in a Joni Mitchell-sort of way, never coming up in volume more than a quiet, table conversation level.

There’s a great (relatively) wailing solo that really pushes the song forward and which ends perfectly when Tamara starts singing again.

“You and I (On the Other Side of the World)” has a slow slinkiness that I rather like.  There’s also some nice, understated backing vocals (deep male voices under Tamara’s higher register).  I love the bass work at the end of the song, too.

Tamara’s voice sounds very much like someone else or maybe a number of people: I hear Laura Marling and yes, Joni Mitchell, but maybe Margo Timmins as well.  In other words, all good benchmarks.

In fact, the final song, “Free” has a real Cowboy Junkies feel with the big slow echoing rhythm guitar that opens it.

On “Free,” there’s some great lead guitar work once again as well as a wonderful bass line.

a song Lindeman describes as about being both free and not free at the same time, there’s restraint in the voice and a release in the powerful guitar chords. That tension and release is an essential element to The Weather Station’s sound and one of the joys I’ve found listening to their enchanting music.

Initially I wasn’t blown away by this concert, but I found myself hitting replay over and over, enjoying it more each time.

[READ: August 20, 2017] Fierce Kingdom

I read about this story on Skimm, a daily news digest that I have since read is geared to women (and according to some criticism, treats women like they are dumb.  I have recently stopped subscribing to it because I do find it rather dumb and subtly right-wing (how could a site for women not be pissed that Hillary lost? #RESIST).  But whatever, the book sounded interesting so I put it on hold.

The premise is fairly simple: a woman and her young child (4 perhaps), are in a zoo.  Right around closing time two gunmen enter the zoo and start killing people.  What will she do?

For some reason, the blurbs didn’t reveal that there were gunmen, just that “something” happened. Well, honestly what else could it have been but gunmen. So, perhaps I spoiled that part but it came out pretty early anyway.

The story begins with a time stamp 4:55 PM. The zoo closes at 5:30 and Joan and her boy Lincoln are sitting in their favorite spot waiting to leave the zoo.  As they head toward the exit around 5:30, she notices bodies on the ground.  She had heard explosions earlier but didn’t think much of it,  But when she sees the bodies, she quickly puts things together and takes off.

Now the blurb for the book on the inside cover says “an electrifying novel about the primal and unyielding bond between a mother and her son, and the lengths she’ll go to protect him.”  That’s not wrong exactly but I feel like that puts a weird focus on it being about mother hood instead of survival.  Must be some kind of marketing thing.  I didn’t get the sense in the book that it has anything to do with motherhood–I mean frankly any parent would do that for his or her child and I’m sure any person would do the same for anyone they loved.  The fact that the child is younger and doesn’t have the same cognitive skills make the story more compelling.

Because, frankly, as she hides in an abandoned animal enclosure, there’s no reason she would ever have to leave such an enclosure–she can’t be seen, she is well protected, and it is dark.  She even has her cell phone and she talks to her husband (I find it a bit hard to believe that the police wouldn’t listen to him if he has a text from his wife in the zoo, but that’s what happens).  The bad guys even come into where she is and don’t see her.

So, end of story right?  At least I couldn’t imagine why there would be more story when she is safe and the police are coming. (more…)

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SOUNDTRACK: MARGARET GLASPY-Live at the Newport Folk Festival (July 30, 2017).

Every year, NPR goes to the Newport Folk Festival so we don’t have to.  A little while afterwards, they post some streams of the shows (you used to be able to download them, but now it’s just a stream).  Here’s a link to the Margaret Glaspy set; stream it while it’s still active.

Margaret Glaspy has been making music professionally since 2010, but she released her solo debut last year and it’s really good.  She plays a rocking guitar, although she seems to play a lot on the higher strings.  Her sound isn’t tinny, but it’s a much more treble than bass.  But she’s got a two piece backing band to pick up and complement the low end.

She also has a unique vocal delivery style.  She enunciates words with a strange inflection–I never would have guessed that she is from California.  And it’s that unique sound that I think makes her lyrics that much more interesting.  She’s also not afraid to throw in a curse or a graphic description in her lyrics.

Glaspy played 13 songs in total.  10 of the 12 songs from her record, two new ones and a Lucinda Williams cover.

She doesn’t speak much, she just gets right to the music, playing the first five songs faithfully to the record with just enough grace notes to make it stand out.  But she seems to let it all hang out by the time she gets to “Situation” which has a much louder, rougher guitar sound–she really lets loose and it sounds great.

She introduces the band Daniel Ryan on the bass and Tim Kuhl on the drums and then she starts the slower “Black is Blue.” I hadn’t noticed before but at times her delivery is kind of like Laura Marling’s in this song.  “You Don’t Want Me” has a spoken word section and her delivery once again reminds me of Marling’s.  They certainly don’t sound alike, but there is something similar in the style–that would be an awesome double bill.

She might explain her lack of talking when she says, “This is my first time at Newport and I don’t take it lightly.  So thank you so much for having me.”

The NPR blurb also sees a lot of strength at the end of her set, so I’ll let them sum up

She says she’s “Got some new songs for you:”

a slow-burner called “Mother/Father” and another that doesn’t yet have a title [the chorus: life was better before we were together].  A late-set highlight was “Memory Street,” which boiled over into a seething solo before a final verse that had Glaspy repeating a disjointed phrase over and over, to the point of uneasiness [it is quite long, she sings the words “Times I” with an appropriate skipping sounding drum click for over 20 seconds]— a compelling imitation of the skipping record her lyrics invoked.

She plays a cover of Lucinda Williamss’ “The Fruits of my Labor.” and then ends with “You And I” and that catchy circular guitar riff that is so wonderful and original.

Glaspy has been on my list of people to see live and I hope she comes back this way after she tours around for a while.

[READ: June 20, 2017] “The Work You Do, The Person You Are”

This issue has a section of essays called “On the Job,” with essays about working written by several different authors.

Toni Morrison (it’s hard to think of her as doing something “before” being an author) speaks of working for Her, in the 1940s in a house that had all kinds of things that she had never seen before: a hoover vacuum cleaner or an iron not heated by a fire.

She gave half of her earnings to her mother–which meant she was helping pay the rent, which made her feel good. But she also got some money to squander of junk. (more…)

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[ATTENDED: May 19, 2017] Laura Marling

I first heard about Laura Marling from All Songs Considered—they raved about her album Once I Was an Eagle.  Sarah bought it for me for Christmas, and I couldn’t get enough of it.   Since then, Laura has released two more albums, the awesome Short Movie and the newer, more introspective but equally gorgeous Semper Femina.

Normally I like to see bands that have a great stage show, but for Laura, I just wanted to hear her voice live.  I didn’t think she’d do much in terms of stage work, and she didn’t, but her voice (and her guitar) sounded fantastic.

I had checked her setlists ahead of time to see what albums she was playing most of her songs from.  It turned out she was playing almost all of Semper Femina, and then a few other songs from her other albums.  I’m glad I knew this going in or I would have been bummed not to hear some of my favorite older songs of hers.  because even though she did play songs from the other albums, she didn’t play the more obvious tracks.

But that also meant that I listened a lot to her new album and got to really appreciate it. (more…)

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[ATTENDED: May 19, 2017] Valley Queen

I recently watched Valley Queen on a Tiny Desk Concert.  Initially, I  enjoyed it but wasn’t blown away.  Although I was blown away by singer Natalie Carol’s voice.  And as I listened to their set a few more times I got really hooked by them.  So I was pretty excited that they were opening for Laura Marling.

I arrived during their first song (TLA is in the center of the city and I wound up parking about 12 blocks away–cutting it way too close).

I walked in on the right side, enjoyed the first song and then had to get water (it was a stupid hot day) and then I wended my way to the front left, where I had a great view of the band.

Valley Queen have released an EP (Destroyer) and they played about half of the songs off of it.  They played a few other songs too, but I can’t find a setlist to confirm what they were. (more…)

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