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Archive for the ‘Philip Glass’ Category

SOUNDTRACK: ANNA MEREDITH-Tiny Desk Concert #713 (March 2, 2018).

I have never heard anything like this.  From sound to melody, to intensity, to instrumentation, this whole thing just rocked my world.

The melody for “Nautilus” is just so unexpected.  It opens with an echoed horn sound repeating.  And then the melody progresses up a scale, but not a scale, a kind of modified scale that seems off kilter just as it seems familiar.  The cello plays it, the guitar plays it, the sousaphone (!) plays it.  And it continues on in like fashion until only the high notes remain and then a menacing low riff on sousaphone cello and guitar breaks through–a great villain soundtrack if ever there was.  While everyone plays this riff, Anna returns to the keys to play the modified scale.

Meanwhile, the drummer has looked like he’s asleep behind his small kit.  And then 3 anda half minutes in he wakes up and starts playing a loud but slow rhythm.  The guitar begins soloing and as it fades out that main riff begins, now with a simple drum beat–not matching what anyone else is playing, mind you.  The sousaphone (which must have an echo on it or something and the cello pick up the low menace and it seems like everybody is doing his and her own thing.  But it all works amazingly.

So just who is Anna Meredith?

Anna Meredith was a former BBC Scottish Symphony Orchestra Composer in Residence. Two of the three songs performed here come from her 2016 release called Varmints.

Bob Boilen was also impressed when he first saw Anna Meredith live:

I first saw this British composer a year ago, in a stunning performance at the SXSW musical festival. It was one of the best concerts of my life. The music I heard sent me into a state of reverie. If music could levitate my body, this is how it would sound. It carried me away and thrilled my soul. I was giddy for days.

Now, I know this isn’t music for everyone. … But if you know and love the music of Philip Glass, King Crimson or Steve Reich — music that’s electrifying, challenging and sonically soars and ripples through your body — then crank this up.

Lest you worry that she couldn’t translate it to the Tiny Desk (she says they normally have 23 suitcases full of crap so this has been an exciting challenge to squeeze in here)

Out of nearly 700 performances at the Tiny Desk, this is simply the most exhilarating one I’ve experienced. The instrumentation is unusual, with pulsing bass sounds produced by a wonderful combination of cello, tuba and electronics. It’s all rhythmically propelled by an astonishing drummer and Meredith pounding a pair of floor toms. And much of the repetitive melody is keyboard-and-guitar-driven that morphs and erupt with earth-shaking fervor.

The second song, “Ribbons” is quieter.  It’s and new song and it has vocals.  Her vocals aren’t great (“hard when you’ve got the voice of a five-year old boy”) but the melody she builds around it shows that her  voice is just one more instrument (albeit saying interesting words).  Actually, that’s not fair, they are just so different from the noise of the other two songs that it feels very faint in comparison.

It opens with a quiet guitar and electronic drum.  And slowly everyone else joins in.  A nice string accompaniment from the cello (Maddie Cutter), bass notes on the sousaphone (Tom Kelly) and even backing vocals from everyone.  By the third go around the drummer (Sam Wilson) is playing the glockenspiel.  By that time the song has built into a beautiful round and the quietness of her voice makes complete sense.  As the song nears its end, Sam has switches to a very fast but quiet rhythm on the floor tom.

She introduces the band and wishes a happy birthday to guitarist Jack Ross.  She says this is a great present as “so far all we’ve gotten him is an apple corer, the gifts have been a bit low grade.”

They make some gear switches, “we have a bit of a logistics problem with all our gear we can’t quite afford to bring enough glockenspiels, we pass the pure crap glockenspiel  around ans everyone gets to go ‘my turn!'”

“The Vapours” opens with a wonderfully wild guitar riff–fast and high-pitched and repeated over and over.  Anna Meredith adds waves of synths and then in comes the sousaphone and plucked cello.  Then fast thumping on the floor tom propels the song along.  The song slows a bit a Anna plays the clarinet (!).  The song dramatically shifts to some complicated time signature while Anna plays glockenspiel.  After a few rounds, while this complex guitar riff continues the drum and sousaphone start playing a pretty standard beat the contradicts everything else that’s going on and then Anna just starts pounding the crap out of some more toms.

All through this there are electronic sounds adding to the chaos and I have no idea who is triggering them, but it’s really cool.

The end is almost circusy with the big sousaphone notes and yet it’s like no circus anyone has every heard.  When the camera pulls back and you can see everyone working so hard and yet smiling ear to ear (especially Maddie), you know this is some great stuff.

The end of the song winds up with a hugely complicated tapping melody on the guitar and everyone else working up a huge sweat.

I couldn’t get over how much I loved this.  I immediately ordered Varmints and checked her touring schedule.

How disappointed was I to see that Anna Meredith had played Philly just last month and has now gone back to Europe!  I do hope she comes back soon.

[READ: August 30, 2017] McSweeney’s 48

For some reason, I find the prospect of reading McSweeney’s daunting.  I think it’s because I like to post about every story in them, so I know I’m in for a lot of work when I undertake it.

And yet I pretty much always enjoy every piece in each issue.  Well, that explains why it took me some three years to read this issue (although I did read Boots Riley’s screenplay in under a year).

This issue promised: “dazzling new work; a screenplay from Boots Riley with a septet of stories from Croatia.”

LETTERS

GARY RUDOREN writes about using the Giellete Fusion Platinum Razor every day for 18 days and how things were good but have gotten a little ugly.  On day 24 he had a four-inch gash under his nose.  Later on Day 38 it was even worse–a face full of bloody tissue squares.  By day 67 he is writing to thank McSweeney’s for whatever they did perhaps it was the medical marijuana but now his face is baby butt smooth even without shaving.  He wants to change the slogan to Gilette Fusion the shave that lasts forever. (more…)

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[LISTENED TO: March 2017] The Organist

organistAfter really enjoying The Organist in 2015, the season ended and I hadn’t heard that there were going to be anymore.  So I stopped looking for them.  And then the other day I got an email reminding me about recent episodes.  Well, sure enough there had been an entire season last year and they were already part way through this year’s season.

So I’m playing some catch up here.  But they are timeless, so it’s okay.

Each cast has a section in brackets–this text comes from the Organist’s own site.  The rest is my own commentary.

The Organist is a free podcast from KCRW & McSweeney’s.  As of this writing, they are up to episode 82. (more…)

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2016-12-05-21-06-09SOUNDTRACK: RUFUS WAINWRIGHT-Tiny Desk Concert #237 (August 20, 2012).

I’d published these posts without Soundtracks while I was reading the calendars.  But I decided to add Tiny Desk Concerts to them when I realized that I’d love to post about all of the remaining 100 or shows and this was a good way to knock out 25 of them.

rufusPreceding his sister by a few months at the Tiny Desk was Rufus Wainwright.  I love Rufus’ delivery and style.  I really like his voice too.  The problem is I don’t really like his music all that much.  I wish I did, because I love hearing him sing.  But for some reason it doesn’t do anything for me.  We even saw him live (on a bill with Guster and Ben Folds) and left half way through his set because it’s such a different energy than the other two.

But I love this little bit of information about this show:

We’d never tried to squeeze a piano behind the Tiny Desk, but when I saw a chance to have Rufus Wainwright play here, I wouldn’t — and he probably wouldn’t — have had it any other way

That’s particularly funny because now some five years later they have had all kinds of things behind his desk.

He plays three songs on the piano.

“The Art Teacher”is a sad story about, yes an art teacher.  Really listening to the lyrics (full of art references) makes the song come alive.

Before the second song, he says I’m promoting my new album Out of the Game…yes, you may applaud if you wish.  Covers a lot of genres of music, one is, briefly, country.  Today is a lazy hazy day in the South–while we’re near the South.

“Respectable Dive”is a slow song (the country song, but not sounding country here) and again, the lyrics are great.

“Montauk” is about several people.  His daughter Viva Katherine Wainwright Cohen and his fiance.  Viva’s bilogical mother is Lorca Cohen who is Leonard Cohen’s daughter.  The last verse is about “my mother, the great Kate McGarrigle” (Rufus’ father is Loudon Wainwright III).

This song is, as the blurb says:

Wainwright at his best. The piano lines flow with forward motion in a Philip Glass way, and there’s also a hauntingly beautiful story. Wainwright sings to his daughter Viva, [imagining her] grown up and visiting her two fathers in Montauk, a small community on the eastern tip of Long Island.

So I am torn between really liking his voice but feeling that his delivery is a little too slow to fully understand the great lyrics.  There’s so much greatness in his stuff, and yet I can’t find my way in.

[READ: December 20, 2016] “Defamer”

Near the end of November, I found out about The Short Story Advent Calendar.  Which is what exactly?  Well…

The Short Story Advent Calendar returns, not a moment too soon, to spice up your holidays with another collection of 24 stories that readers open one by one on the mornings leading up to Christmas.  This year’s stories once again come from some of your favourite writers across the continent—plus a couple of new crushes you haven’t met yet. Most of the stories have never appeared in a book before. Some have never been published, period.

I already had plans for what to post about in December, but since this arrived I’ve decided to post about every story on each day.

I really liked yesterday’s story and I really liked this one as well, even though it is very different.

This is a the sad story of a woman named Birdie.  Boy oh boy everything goes wrong in her life.  She works at an office.

Big boss takes a four-hour lunch.  He has suffered no major disasters in his life.  [He and his wife plan] their vacation to Maine a year in advance.  This is one way to live.

Birdie works in a corner cubicle near Bog Boss’ office… [She] makes $20,000 a year forwarding emails to people who make $15,000 a year.

Birdie assumes that her boss is having an affair on his four-hour lunches.  But one day she see him during his lunch break working at a deli, frantically making sandwiches for customers.  Nothing makes sense. (more…)

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town-boy SOUNDTRACK: DUBLIN GUITAR QUARTET-Tiny Desk Concert #409 (May 15, 2015).

dgqWhen I first listened to this brief concert for some reason I didn’t realize that the quartet were playing Philip Glass.  Of course, once he stated that that’s who they were playing, it became quite obvious–but having Glass played on acoustic guitars instead of synths or violins, is quite an unusual experience.

The music is still rigidly repetitive, but there is a great deal of warmth added with the guitars (and the human element as well).

The Dublin Guitar Quarter has been around since 2002 and they play pretty much only contemporary and new pieces (despite being dressed in suits and playing on “classical” guitars).

They play two pieces, with two and three movements of each piece respectively.  They were originally recorded for strings, so these guitar transcriptions change things quite a lot (especially in Mishima).

The first piece is called “Company.”  They play Movements 2 and 3. What’s most impressive about the first piece is that you can hear all of the musical lines.  Glass often interweaves line up line of music ad you can see each guitarist playing these lines on high guitar notes and low notes while the other play accompaniment–transcribing these must have been a real challenge.

The loud chords are practically heavy metal chords on the guitar as opposed to what the strings might sound like.  And for all of the repetition, these two movements of clock in at less than four-minutes total.

It’s interesting to listen to the original after this and hear how it’s clearly the same piece but it sounds so very different.  From tone to drama, everything is changed.

The final pieces are three movements from Mishima.  In Mvt 3 there is some fast picking while the other three play chords.  It’s also fun to watch them all doing similar but distinct things through the middle of the movement.  This doesn’t have the fast lines that Glass is known for but it has a lot of loud repetitive notes.

What’s so interesting is that original is full of drums–and parts of only drums.  Obviously these aren’t present here, but the music resonates in a similar (but again, distinct) way.

Mt 2 is a slow meditative piece, and is far shorter than the original (which is also full of drums).

The final piece opens with some chords and then grows very beautiful as the Glass riff takes on an almost prog rock feel because of the guitar and the way the bass notes contrast so wonderfully with it.  It is short in this and the original and is great excerpt to listen to.

  • Glass: String Quartet No. 2, “Company,” Mvts. II & III
  • Glass: String Quartet No. 3, “Mishima,” Mvt. III, “1934: Grandmother & Kimitake”
  • Glass: String Quartet No. 3, “Mishima,” Mvt. II, “November 25: Ichigaya”
  • Glass: String Quartet No. 3, “Mishima,” Mvt. XI, “1962: Body Building”

[READ: March 24, 2015] Town Boy

This book was written (and drawn) in 1980.  First Second books had it translated and published in 2007.

I found Lat’s first book, Kampung Boy to be quite charming.  It was about a boy growing up in a small village in Malaysia in the 1950s.  This is the sequel and it is about moving from the village into the town and being a teenager.

This book is a little less episodic than the first.  Most of the story is laid out as text on one page and a drawing on the next.  But the drawings also have speech bubbles, so there’s a lot of different things going on. (more…)

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boilenSOUNDTRACK: ANGEL OLSEN-Tiny Desk Concert #333 (January 27, 2014).

angelBob Boilen has liked Angel Olsen for some time, so when she did her Tiny Desk and most of us had never heard of her, he was already a fan.

Olsen plays a long set but with four songs.

She sits very still, strumming with her thumb and singing kind of low–not unlike Sharon van Etten.  The first song, “Unfucktheworld” is only two ans a half minutes.  The second song, “Iota,” is a little longer.  She sings in an affected almost falsetto style, although the guitar remains very spare.

Between these songs, she is coy about the title of the new record although she is quick to say the first word of the title “burn.”  Later she admits that the final song contains the title of the album, if we wanted to spend time figuring it out.

I marvelled at how high the chords were that she played on “Enemy,”  She seems to eschew any bass for this song.  This one is five and a half minutes long and is just as slow as the others.

Before the final song they talk about whether this is the most awkward show she has done.  She says everyone is very alert–and indeed you can hear utter silence between songs.  But then they talk about the storm outside (and potential tornado) and how this show may never air if the storm is really bad.

“White Fire” is an 8 minute story song.  She does use the whole guitar for this one, which has many many verses.   Since I don’t really know Olsen’s stuff that well, I don’t know if this was a good example of her show or a fun treat to hear her in such an intimate way.

[READ: May 10, 2016] Your Song Changed My Life

This site is all about music and books, but you may be surprised to know that I don’t really like books about music all that much.  I have read a number of them—biographies, autobiography or whatever, and I don’t love them wholesale. Some are fine, but in general musicians aren’t really as interesting as they may seem.

What I do like however, is hearing a decent interview with musicians to find out some details about them–something that will flesh out my interest in them or perhaps make me interested in someone I previously wasn’t.  Not a whole book, maybe just an article, I guess.

I also really like Bob Boilen. I think he’s a great advocate of music and new bands.  I have been listening to his shows on NPR for years and obvious I have been talking about hundreds of the Tiny Desk Concerts that he originated.  I also really like his taste in music.  So I was pretty psyched when Sarah got me this book for my birthday.

I read it really quickly–just devoured the whole thing.  And it was really enjoyable. (more…)

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5dials34SOUNDTRACK: MATT HAIMOVITZ & CHRISTOPHER O’RILEY-Tiny Desk Concert #426 (March 14, 2015).

matthThere’s no introduction or fanfare for cellist Matt Haimovitz and pianist Christopher O’Riley’s Tiny Desk set.  They just start right in with a romping Beethoven piece.   I don’t know these two, but the notes say the duo has a new album out called Shuffle.Play.Listen., in which music by Stravinsky and Astor Piazzolla mingles with Cocteau Twins and Arcade Fire.  There’s no contemporary music in this set, but it’s very cool nonetheless.

The Beethoven piece sounds alive and wild and very modern.  The Glass piece is slow and beautiful  The final piece is lively and playful (with hints of darkness).  It introduced as reminding O’Riley of a scene in The Unbearable Lightness of Being when Daniel Day-Lewis gets a quickie.

It’s especially fun to watch how animated Haimovitz is.  The set list:

  • Beethoven: Cello Sonata No. 4 in C – IV. Allegro vivace
  • Philip Glass/Foday Musa Suso: The Orchard
  • Leoš Janáček: Pohádka – II. Con moto

[READ: April 6, 2015] Five Dials 33 Part II

After several themed issues of Five Dials we get back to the ones that I really like–random things thrown together under a tenuous idea.  It’s got some great authors and a surprising amount of large scale doodles–full page scribbles and some drawings that go from one page to the next (which works better online than in print).  Some of the giant illustrations also are fun–they are of jokey images like a memory stick that states I have only memories.  The art was done by JODY BARTON.

As with a previous issue there is a page of contributors and “The Unable to Contribute Page.”  These are journalists unfairly imprisoned (see more at cpr.org).  The Table of Contents is back, along with the FAQ: (more…)

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SOUNDTRACKMcSweeney’s #6 comes with a CD.

Most of the music on the CD is performed by They Might Be Giants (a rather perfect fit for McSweeney’s).  Some other musicians who appear are: M. Doughty, Philip Glass, Michael Meredith. Roger Greenawalt & S.E. Willis

Instructions included with book:

#3. The compact disc contains music.  There are 44 discrete pieces of music –“Tracks”–on this compact disc.  Each Track corresponds to a picture, series of pictures, or story–a Piece–in this journal.  When you are reading or looking at a certain Piece, we ask that you cue your compact disc to the corresponding Track on the disc.  The appropriate track number will appear prominently, usually under the title of each Piece.  Note: The track number will no appear on subsequent pages of the Piece.

#6. Please note that you may listen to Tracks without reading their Pieces and you may read Pieces without listening to their corresponding Tracks.  But this is not recommended.  You fucking bastard.

[READ: December 8, 2009] McSweeney’s #6

I’m finally getting back to reading some older McSweeney’s issues.  This was the final issue that I received from my initial subscription.  I distinctly remember being excited by the CD and maybe reading some of the book, but clearly never finishing it.

So yes, this issue comes with a CD.  The intro note explains that each Piece in the book has an accompanying  Track on the CD, and, you are to only listen to the Track that accompanies the Piece you are reading…never read a piece while listening to the wrong track.  Ever!  It explains that each Track has been created to be as long as it would take you to read each Piece.  But there are obviously many exceptions. The first story for instance is well over ten pages but the song is about 5 seconds long.  And, the Arthur Bradford Track is 8 minutes long when anyone could read the Piece much more quickly.

The bulk of the songs are by They Might Be Giants.  Anyone who knows TMBG knows you can’t summarize their work, and this book exercise is ideal for them: there are several pieces that are just a few second long.  But they also write some nice longer pieces as well.  And, of course, they are perfectly suited for mood music that works well with the writing.  Some of the songs have words which is a bit distracting while trying to read, but that’s okay.  I did try my best to follow the prescription about only listening to the appropriate song, but I admit to getting off pace from time to time.  (more…)

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