return to cookie mountain (tv on the radio)
I originally listened to this album two summers ago, but I figured it would be good to reacquaint myself. My overall sense of this album remains the same… it’s well produced, there’s a lot of interesting stuff happening in the backgrounds. This is a fun album to listen to slowly- repeat a song, focus on the details. The buzz, the overlap of instruments, that symphonic sound- and Tunde Adebimpe’s voice, which I can’t even quite describe- I just love his versatility, that Bowiesque bark and howl. Melodically though, the album is a little bit boring. The effect of this record is to reinforce my appreciation for Dear Science, because nothing on Return to Cookie Mountain matches the rich, melodic highs of “Family Tree” or “Golden Age.”
That said, my favorite tracks were "I was a Lover," which is really defined and carried by that fascinatingly strange, haunting opening sample- as the avclub called it, it "could have been a warped orchestral blast, the mellifluous din of a building collapse, or the mating call of a brontosaurus"- also "Hours," a song with an exciting, stumblingly intense rhythm, and generally a fine example of a TVotR song that mixes their usual background intrigue with a good, interesting melody in the foreground. Also I really enjoyed the dark drive and the intensity of "Blues From Down Here," which also includes particularly varied, cool, squealy/low vocals by Tunde.
Overall I didn't love this record but it's grown on me- I feel like this is one of those albums where the album is a little bit exhausting, but many of the individual songs are good for relistening and studying. The biggest compliment I can give this record is, I want to keep listening to it because I'm still trying to figure it out.
Friday, May 29, 2009
Tuesday, May 26, 2009
album #53
keep it like a secret (built to spill)
This record was a disappointment, somewhat. My favorite song, I first heard a few months ago- "Carry the Zero," a magnificent, passionate, melodic song with a glowing, cascading guitar sound. That's the song that made me want to hear the album, and I expected the rest of this record to approach that height- I expected to fall in love with this record. Instead, I got a pretty pleasant date from it, but not much more.
I like their general sound- bright, banging guitars, nasally, semishouted vocals, melodic and twisty. But I found most of the songs kinda forgettable. Good, across the board- not unenjoyable. But nothing came at all close to the crackle of that star song. Except for "Temporarily Blind"- that song really put it all together in a way I like, a lot. Strong, melodic guitar lines, lots of different currents and variations that collectively add up to a great song. Also I love the start of "Sidewalk," but it sadly fades eventually into the same unmemorable territory.
Not bad, I will maybe enjoy this album more once I do some more listening, but in general, I wasn't in love with it.
This record was a disappointment, somewhat. My favorite song, I first heard a few months ago- "Carry the Zero," a magnificent, passionate, melodic song with a glowing, cascading guitar sound. That's the song that made me want to hear the album, and I expected the rest of this record to approach that height- I expected to fall in love with this record. Instead, I got a pretty pleasant date from it, but not much more.
I like their general sound- bright, banging guitars, nasally, semishouted vocals, melodic and twisty. But I found most of the songs kinda forgettable. Good, across the board- not unenjoyable. But nothing came at all close to the crackle of that star song. Except for "Temporarily Blind"- that song really put it all together in a way I like, a lot. Strong, melodic guitar lines, lots of different currents and variations that collectively add up to a great song. Also I love the start of "Sidewalk," but it sadly fades eventually into the same unmemorable territory.
Not bad, I will maybe enjoy this album more once I do some more listening, but in general, I wasn't in love with it.
book # 4
The Old Man and the Sea (Ernest Hemingway)
I liked this. A good read. This is the first Hemingway I've read, other than a couple short stories. I like that style- simple and clear, the deeper reading is very open to interpretation. There are the obvious points- Hemingway's elevation of manhood, as mentioned by most of the other reflections I read.
Santiago was a charming character. There was something about "dreaming of the Lions" that really struck a chord with me. It seemed so poignant and sweet and powerful. It seemed startlingly appropriate that Hemingway closes by calling that back- he knows what I was thinking!
An interesting point is that, I always thought that this book was about a struggle- that the great fish was a combatant that the old man triumphs against. But increasingly it becomes clear that the man feels really a love and a brotherhood with the fish. This point is made quite clearly with the discussion of "El Mar" vs "La Mar"- the masculine, combative use as used by other fishermen; and the feminine, as Santiago uses, treating the ocean with affection and understanding. In retrospect it feels so appropriate that this is called The Old Man and the Sea.
The last section is really fascinating, and particularly captivating. When Santiago slays the fish, it feels almost anticlimactic- it really was indeed a long, exhausting, tense struggle, but never that moment of epic confrontation. But upon tying the fish to the side of the skiff, the sadness and poignancy that Santiago had to kill him, it really hits. And then when the sharks come… damn, then it gets both exhilarating and brutal. I also found the epilogue pretty stirring, the fisherman excitedly measuring the skeleton of the marlin, the old man lying in bed, the boy in tears.
There were a few times when I should have stopped and looked up some of the terminology- some of the boat and fishing specifics, I had trouble visualizing.
Some other moments that really caught me:
"I would rather be exact [than lucky]. Then when luck comes you are ready."
beautiful line: "But she can be so cruel and it comes so suddenly and such birds that fly, dipping and hunting, with their small sad voices are made too delicately for the sea."
I liked this. A good read. This is the first Hemingway I've read, other than a couple short stories. I like that style- simple and clear, the deeper reading is very open to interpretation. There are the obvious points- Hemingway's elevation of manhood, as mentioned by most of the other reflections I read.
Santiago was a charming character. There was something about "dreaming of the Lions" that really struck a chord with me. It seemed so poignant and sweet and powerful. It seemed startlingly appropriate that Hemingway closes by calling that back- he knows what I was thinking!
An interesting point is that, I always thought that this book was about a struggle- that the great fish was a combatant that the old man triumphs against. But increasingly it becomes clear that the man feels really a love and a brotherhood with the fish. This point is made quite clearly with the discussion of "El Mar" vs "La Mar"- the masculine, combative use as used by other fishermen; and the feminine, as Santiago uses, treating the ocean with affection and understanding. In retrospect it feels so appropriate that this is called The Old Man and the Sea.
The last section is really fascinating, and particularly captivating. When Santiago slays the fish, it feels almost anticlimactic- it really was indeed a long, exhausting, tense struggle, but never that moment of epic confrontation. But upon tying the fish to the side of the skiff, the sadness and poignancy that Santiago had to kill him, it really hits. And then when the sharks come… damn, then it gets both exhilarating and brutal. I also found the epilogue pretty stirring, the fisherman excitedly measuring the skeleton of the marlin, the old man lying in bed, the boy in tears.
There were a few times when I should have stopped and looked up some of the terminology- some of the boat and fishing specifics, I had trouble visualizing.
Some other moments that really caught me:
"I would rather be exact [than lucky]. Then when luck comes you are ready."
beautiful line: "But she can be so cruel and it comes so suddenly and such birds that fly, dipping and hunting, with their small sad voices are made too delicately for the sea."
album #52
third (portishead)
I am not a big fan of this album. Maybe I just need to give it more time, I only listened to it today, a few times. But generally I found it unnerving and mopey. Maybe that's what they're going for. But I didn't like it; in fact, I felt genuinely a little relieved when it was done. Very few of the songs are really memorable, it's pretty much in one ear and out the other. Sorry if that sounds bitter- really, I didn't hate it- but I'm tired.
This record has a cool sound- an eerie, intense, buzzing sound- but the vocals I found frail and anxious and sad to the point of becoming annoying. This is the sort of record that, listening to it one song at a time, I can appreciate the song. But the intensity of the album is exhausting and discouraging. "Silence" is a good example- a nice, anxious, driven beat; it's a good, dark, buzzing jam- until the vocals come in, and then it gets less likable. But overall this song is salvaged, I think. "The Rip" starts acoustic and grows in some cool, electric/synth directions. "Machine Gun," with its brutal industrial sound, grew on me. Individually it's interesting but deep inside an already dreary album, it becomes crushing. And "Nylon Smile" has a pulsing, mysterious energy to it that lends a certain appeal.
Overall: nervy, creepy… not my thing. I liked their first album much much more.
I am not a big fan of this album. Maybe I just need to give it more time, I only listened to it today, a few times. But generally I found it unnerving and mopey. Maybe that's what they're going for. But I didn't like it; in fact, I felt genuinely a little relieved when it was done. Very few of the songs are really memorable, it's pretty much in one ear and out the other. Sorry if that sounds bitter- really, I didn't hate it- but I'm tired.
This record has a cool sound- an eerie, intense, buzzing sound- but the vocals I found frail and anxious and sad to the point of becoming annoying. This is the sort of record that, listening to it one song at a time, I can appreciate the song. But the intensity of the album is exhausting and discouraging. "Silence" is a good example- a nice, anxious, driven beat; it's a good, dark, buzzing jam- until the vocals come in, and then it gets less likable. But overall this song is salvaged, I think. "The Rip" starts acoustic and grows in some cool, electric/synth directions. "Machine Gun," with its brutal industrial sound, grew on me. Individually it's interesting but deep inside an already dreary album, it becomes crushing. And "Nylon Smile" has a pulsing, mysterious energy to it that lends a certain appeal.
Overall: nervy, creepy… not my thing. I liked their first album much much more.
Monday, May 25, 2009
exhibit #3
Picasso: Mosqueteros (Gagosian)
The opening pieces are all pretty magnificent- “L’homme au casque d’or”- white, blue and gold, a stern, imperious, angular face. “Couple”- rich grays and blues, the mosquetero and his woman, the black bird on her arm, a very Guston texture. “Homme a la Pipe”- I love the bright colors, the strong clear lines. Reds, yellows, blues, greens, whites.
The foggier but still rich colors of “Femme nue” are likewise appealing. I wonder why so many of the titles are in French… perhaps Picasso was living in France at this time. The exhibit is mostly portrait themed, variations on the classic Picasso face. The big, sharp, sideways nose, the bright almond eyes. His palette is a little more subtle than his peak works- a lot of gray, some blue, white. I like the blue-gray palette of “Peinte, buste de profil.”
A particularly rich, strong series of works, all next to each other on the wall- “Homme”- love the long, clean angularity of the face. “Portrait de l’homme a l’epee et a la fleur”- bright colors, green, red, yellow, blue and white. The figure seems delightfully childish, a stupid Prince playing on the floor with his sword. “Buste d’homme”- a round, bearded, blue face, noticeably of a different shape and design than most of the other portraits. “Homme assis,” a very nice, gently positive portrait, richly composed in bright blue, maroon and cream.
“Femme assise dans un fauteuil”- beautiful shading, excellent definition. A palette of dark blue, gray, white and a burnt orange/red. Classic Picasso beauty and concern in the woman’s face.
His ink drawings are really nice… There’s a set of six that feel like they’re unfolding on a stage, the brightly lit center stage, the darkness of the audience surrounding. The first drawing is reasonably detailed and clear, depiction of a bull/man in amorous embrace with a nude woman- the others get shadowy and sketchier, until the sixth one, which seems to be the woman dreaming of a King or some other gallant figure. Collectively they feel like the story of a woman, her loves and battles.
Next to these is a set of drawings I really love, a recurring theme of old, very spanish men examining or meeting or illustrating beautiful women. I feel like I’ve seen, if not these particular drawings, ones like them. I remember a lot of Picasso’s minotaur drawings from the Met’s spanish exhibit, about 2 years ago. I really enjoy the fluidity of his line drawings.
“Le baiser” is fantastic. Like puzzle pieces, the PIcasso man and Picasso woman, locked in embrace as they fall back on the bed. There is something forceful, mean in the man’s eyes- something submissively ugly about the woman, but collectively it is still passionate, still romantic and dramatic. Pale gray and yellow skin, thick and vibrant despite the unexciting colors. A dark and gleaming yellow consuming the left side of the canvas. This is my overall favorite work in the exhibit. “Torero”- lovely, bright color and yet somehow sad- the bright figure on the black background, with his ugly, somewhat idiotic face- he is clownish, rather pathetic.
Overall- in many ways, his colors and brush strokes evoke Philip Guston. It’s strangely appropriate that this is in a Chelsea gallery and not a museum- these works come from an era, the late sixties, the early seventies, that I associate more with gallery shows than museum exhibits- it’s somewhat “post museum” work. I wonder how often this work was showed, or if these were mostly in his studio, or sold privately? Hm, well- “Picasso believes that works of art are meaningless unless seen and enjoyed by many people”- the narrator of a film playing in the back corner. He’s directly quoting Picasso, not projecting. Interesting to know.
When I see marks of other artists in these works, I wonder- was Picasso still influencing new artists, or were new artists influencing him? “Buste”- stately, dramatic, a dark yet brightly toned portrait. Imposingly regal and dignified. It would be helpful, interesting to know how representative this exhibit is- as in, are these primarily the works Picasso made in his last years, or are these a selection specifically of the portraits he was making in his last years?
The gallery guide makes a poignant point about his race against death- in a way this helps explain some of the rawer, less complete vision of many of the works. They also make an interesting point about the influence of the old masters on Picasso- the noblemen and gentlemen and mosqueteros throughout the portraiture certainly evoke Rembrandt.
Some of the works feel a little flat, incomplete, but the best are thoroughly beautiful and interesting. My overall favorite is “Le baiser.” I also found his drawings quite impressive and undiminished. The show vaguely reminds me of an athlete past his prime. Collectively less impressive than his best work, but still brilliant in spurts- still able to pull out a masterpiece now and then.
The opening pieces are all pretty magnificent- “L’homme au casque d’or”- white, blue and gold, a stern, imperious, angular face. “Couple”- rich grays and blues, the mosquetero and his woman, the black bird on her arm, a very Guston texture. “Homme a la Pipe”- I love the bright colors, the strong clear lines. Reds, yellows, blues, greens, whites.
The foggier but still rich colors of “Femme nue” are likewise appealing. I wonder why so many of the titles are in French… perhaps Picasso was living in France at this time. The exhibit is mostly portrait themed, variations on the classic Picasso face. The big, sharp, sideways nose, the bright almond eyes. His palette is a little more subtle than his peak works- a lot of gray, some blue, white. I like the blue-gray palette of “Peinte, buste de profil.”
A particularly rich, strong series of works, all next to each other on the wall- “Homme”- love the long, clean angularity of the face. “Portrait de l’homme a l’epee et a la fleur”- bright colors, green, red, yellow, blue and white. The figure seems delightfully childish, a stupid Prince playing on the floor with his sword. “Buste d’homme”- a round, bearded, blue face, noticeably of a different shape and design than most of the other portraits. “Homme assis,” a very nice, gently positive portrait, richly composed in bright blue, maroon and cream.
“Femme assise dans un fauteuil”- beautiful shading, excellent definition. A palette of dark blue, gray, white and a burnt orange/red. Classic Picasso beauty and concern in the woman’s face.
His ink drawings are really nice… There’s a set of six that feel like they’re unfolding on a stage, the brightly lit center stage, the darkness of the audience surrounding. The first drawing is reasonably detailed and clear, depiction of a bull/man in amorous embrace with a nude woman- the others get shadowy and sketchier, until the sixth one, which seems to be the woman dreaming of a King or some other gallant figure. Collectively they feel like the story of a woman, her loves and battles.
Next to these is a set of drawings I really love, a recurring theme of old, very spanish men examining or meeting or illustrating beautiful women. I feel like I’ve seen, if not these particular drawings, ones like them. I remember a lot of Picasso’s minotaur drawings from the Met’s spanish exhibit, about 2 years ago. I really enjoy the fluidity of his line drawings.
“Le baiser” is fantastic. Like puzzle pieces, the PIcasso man and Picasso woman, locked in embrace as they fall back on the bed. There is something forceful, mean in the man’s eyes- something submissively ugly about the woman, but collectively it is still passionate, still romantic and dramatic. Pale gray and yellow skin, thick and vibrant despite the unexciting colors. A dark and gleaming yellow consuming the left side of the canvas. This is my overall favorite work in the exhibit. “Torero”- lovely, bright color and yet somehow sad- the bright figure on the black background, with his ugly, somewhat idiotic face- he is clownish, rather pathetic.
Overall- in many ways, his colors and brush strokes evoke Philip Guston. It’s strangely appropriate that this is in a Chelsea gallery and not a museum- these works come from an era, the late sixties, the early seventies, that I associate more with gallery shows than museum exhibits- it’s somewhat “post museum” work. I wonder how often this work was showed, or if these were mostly in his studio, or sold privately? Hm, well- “Picasso believes that works of art are meaningless unless seen and enjoyed by many people”- the narrator of a film playing in the back corner. He’s directly quoting Picasso, not projecting. Interesting to know.
When I see marks of other artists in these works, I wonder- was Picasso still influencing new artists, or were new artists influencing him? “Buste”- stately, dramatic, a dark yet brightly toned portrait. Imposingly regal and dignified. It would be helpful, interesting to know how representative this exhibit is- as in, are these primarily the works Picasso made in his last years, or are these a selection specifically of the portraits he was making in his last years?
The gallery guide makes a poignant point about his race against death- in a way this helps explain some of the rawer, less complete vision of many of the works. They also make an interesting point about the influence of the old masters on Picasso- the noblemen and gentlemen and mosqueteros throughout the portraiture certainly evoke Rembrandt.
Some of the works feel a little flat, incomplete, but the best are thoroughly beautiful and interesting. My overall favorite is “Le baiser.” I also found his drawings quite impressive and undiminished. The show vaguely reminds me of an athlete past his prime. Collectively less impressive than his best work, but still brilliant in spurts- still able to pull out a masterpiece now and then.
Tuesday, May 19, 2009
album #51
bachelor no. 2 (aimee mann)
This is an extremely pleasant album. Chill, melodic, altogether lovely. Most of the songs give this vibe of, the weary lover, moving on. Sometimes it veers on sleepy, but generally I liked this album's sound. I listened to it off of youtube but I'd love to get it for itunes and be able to revisit my favorites with ease.
One fault of the music, or maybe of my imagination, is it's hard to think up adjectives or descriptions to differentiate the songs. Generally, the ones I loved can all be described as swellingly melodic. These include "Nothing is Good Enough," my overall favorite "Satellites," the more rocking "Ghost World" and "Susan," and the Portishead-ish, mellow strangeness of "Calling it Quits."
Again, this is the sort of record where even the songs I don't mention are plenty good and listenable. I love Aimee Mann's voice and would happily listen to some more of her work this year.
This is an extremely pleasant album. Chill, melodic, altogether lovely. Most of the songs give this vibe of, the weary lover, moving on. Sometimes it veers on sleepy, but generally I liked this album's sound. I listened to it off of youtube but I'd love to get it for itunes and be able to revisit my favorites with ease.
One fault of the music, or maybe of my imagination, is it's hard to think up adjectives or descriptions to differentiate the songs. Generally, the ones I loved can all be described as swellingly melodic. These include "Nothing is Good Enough," my overall favorite "Satellites," the more rocking "Ghost World" and "Susan," and the Portishead-ish, mellow strangeness of "Calling it Quits."
Again, this is the sort of record where even the songs I don't mention are plenty good and listenable. I love Aimee Mann's voice and would happily listen to some more of her work this year.
Saturday, May 16, 2009
album #50
weezer (weezer)
This is an easy album to review because it's not exactly new. I wasn't sure if I'd heard it before, but I definitely have; I've known this album for years, back when my roommate played it a lot freshman year.
Sometimes I find Weezer's garage rock sound a little bland- on a couple tracks the rhythm is rather predictable and uninspired. And sometimes the lyrics are a little too dark, too unnerving for my tastes- "No One Else," for example, is one of the few songs I've heard this year that I flat-out dislike. But the good songs are pretty darn good. My favorite is "The World Has Turned and Left Me Here"- lovely melody, nice guitar, relatable sentiment. Weezer seems to have a fuck of a lot of, (if I was in high school, I would feel somehow cooler and special for nodding my head with a group of people and being like, 'fuck yes, this is for real') songs. "Say It Ain't So" is the best of these- "Undone" and "Buddy Holly" are also pretty good and fit into that category.
Many of the songs are memorable and unique- strange lyrics, nice melodies. Like Ted Leo, my maximum ability to enjoy this album is a little hindered by emotional connotations. It's a solid record altogether, but nothing that really excites me, nothing I love.
This is an easy album to review because it's not exactly new. I wasn't sure if I'd heard it before, but I definitely have; I've known this album for years, back when my roommate played it a lot freshman year.
Sometimes I find Weezer's garage rock sound a little bland- on a couple tracks the rhythm is rather predictable and uninspired. And sometimes the lyrics are a little too dark, too unnerving for my tastes- "No One Else," for example, is one of the few songs I've heard this year that I flat-out dislike. But the good songs are pretty darn good. My favorite is "The World Has Turned and Left Me Here"- lovely melody, nice guitar, relatable sentiment. Weezer seems to have a fuck of a lot of, (if I was in high school, I would feel somehow cooler and special for nodding my head with a group of people and being like, 'fuck yes, this is for real') songs. "Say It Ain't So" is the best of these- "Undone" and "Buddy Holly" are also pretty good and fit into that category.
Many of the songs are memorable and unique- strange lyrics, nice melodies. Like Ted Leo, my maximum ability to enjoy this album is a little hindered by emotional connotations. It's a solid record altogether, but nothing that really excites me, nothing I love.
Friday, May 15, 2009
album #49
sound of silver (lcd soundsystem)
I liked this album. Solid. It's a little too long and not quite my-tastes enough to listen to it all the way through. But on shuffle, mixed in with other music, it provides a nice flavor. A nice, easy, buzzing, synth/pop/dance sound.
"Someone Great" is my very favorite track, with a startlingly perfect blend of three elements- the crackling synth pop with a nice low buzz and lovely, low, melancholy vocals; very Depecehe Mode-esque. "North American Scum" is pretty funny and fun; upbeat, assertive, a real party. "Get Innocuous" sounds like it could come straight from Station to Station. "New York I Love You" is good, I enjoy the lyrics even if I don't totally agree with them. "Sound of Silver" is funny, and it's a good, pulsing song.
This is a good, solid record. Likable. I never really fell in love with it, but I would definitely love it on the dance floor.
I liked this album. Solid. It's a little too long and not quite my-tastes enough to listen to it all the way through. But on shuffle, mixed in with other music, it provides a nice flavor. A nice, easy, buzzing, synth/pop/dance sound.
"Someone Great" is my very favorite track, with a startlingly perfect blend of three elements- the crackling synth pop with a nice low buzz and lovely, low, melancholy vocals; very Depecehe Mode-esque. "North American Scum" is pretty funny and fun; upbeat, assertive, a real party. "Get Innocuous" sounds like it could come straight from Station to Station. "New York I Love You" is good, I enjoy the lyrics even if I don't totally agree with them. "Sound of Silver" is funny, and it's a good, pulsing song.
This is a good, solid record. Likable. I never really fell in love with it, but I would definitely love it on the dance floor.
Tuesday, May 12, 2009
album #48
yankee hotel foxtrot (wilco)
This was a really good album. The really eclectic instrumentation stood out- this band combines instruments unlike anything I’ve quite heard. Much of this record feels like discoveries in the attic… the nostalgic, contemplative tone of several songs, the quiet buzzing, the creaks, the audible slap of the guitar strings, the lowness. Very chill.
My favorite tracks: the opener, “I Am Trying to Break Your Heart” is fantastic. Exploratory, kindof epic, strangely beautiful instrument choices, sweetly sad lyrics- this feels like one of the songs that really defines this band. I barely know Wilco but I bet this is considered one of their masterpieces. “Kamera” is decently catchy, uptempo, likable, and always deserves another listen. “Jesus, Etc.” is another instant favorite. Catchy, contemplative, subdued. Really nice guitar. “Heavy Metal Drummer” is more straightforward than a lot of the other songs. Simply good, fun, funny pop. “I’m the Man Who Loves You” is a nice, sharper, more rocking song, and for whatever reason it really reminds me of Elliot Smith.
This is one of those records in which the songs are decent, and the collective power of the album comes from the tone and the wholeness of what they’ve accomplished- a dark, lovely, eclectic work.
This was a really good album. The really eclectic instrumentation stood out- this band combines instruments unlike anything I’ve quite heard. Much of this record feels like discoveries in the attic… the nostalgic, contemplative tone of several songs, the quiet buzzing, the creaks, the audible slap of the guitar strings, the lowness. Very chill.
My favorite tracks: the opener, “I Am Trying to Break Your Heart” is fantastic. Exploratory, kindof epic, strangely beautiful instrument choices, sweetly sad lyrics- this feels like one of the songs that really defines this band. I barely know Wilco but I bet this is considered one of their masterpieces. “Kamera” is decently catchy, uptempo, likable, and always deserves another listen. “Jesus, Etc.” is another instant favorite. Catchy, contemplative, subdued. Really nice guitar. “Heavy Metal Drummer” is more straightforward than a lot of the other songs. Simply good, fun, funny pop. “I’m the Man Who Loves You” is a nice, sharper, more rocking song, and for whatever reason it really reminds me of Elliot Smith.
This is one of those records in which the songs are decent, and the collective power of the album comes from the tone and the wholeness of what they’ve accomplished- a dark, lovely, eclectic work.
Saturday, May 9, 2009
album #47
something else by the kinks (the kinks)
This is a cool record, it really grew on me. Generally it's a catchy, charming album, and there were two or three characteristics that stood out. First, the englishness- many of the songs, particularly "Harry Rag," "Two Sisters" and "Afternoon Tea" give a classic English vibe, reflections on different elements of English society. Second, the playfulness- there's an interesting mix between more standard rock songs, and songs that sound almost like novelty songs. Not that they're silly, but nearly half the album includes songs that use pretty unconventional instruments and melodies. And above all, this album stands out for the diversity and synchronicity- the Kinks repeatedly match their varied lyrical themes with the music, perfectly, on track after track. Their words truly feel like part of the music, more than most of the bands I've listened to.
Each song, because they're so interesting and playful, is worth mentioning. "David Watts" is a pretty straightforward song, until you read through the lyrics, and then it's pretty funny- very clear hints about homosexuality. "No Return" is really cool. A nice, chill, acoustic guitar sound. Seductive. "Harry Rag" is like an old sea chanty. "Tin Soldier" is one of my favorites. Even though it's pretty silly and childish, I just really enjoy it. The vaguely sarcastic, cheerful brass. "Till the Sun Shines" is one of the most straightforward rock songs on the album, and I really like it. Low, rocking, lyrically intriguing, sensual. "Lazy Old Sun" is low, slow, strange- it's the trippiest song on the album, with strange instruments sneaking in and out. "Afternoon Tea" is perfectly pleasant and relistenable. "End of the Season" is another favorite- it's got a low sway to it, a strange, haunting echo. I could see this song used in a really dark, tongue-in-cheek way, like on the soundtrack of a semi-comedic apocalyptic indie film. Kind of like this.
This is one of the albums that I listened to via youtube playlist, but I liked it so much that I might try and find a copy for itunes. This is a really, really good record and I'd like to have regular access to it. Well done, the Kinks!
This is a cool record, it really grew on me. Generally it's a catchy, charming album, and there were two or three characteristics that stood out. First, the englishness- many of the songs, particularly "Harry Rag," "Two Sisters" and "Afternoon Tea" give a classic English vibe, reflections on different elements of English society. Second, the playfulness- there's an interesting mix between more standard rock songs, and songs that sound almost like novelty songs. Not that they're silly, but nearly half the album includes songs that use pretty unconventional instruments and melodies. And above all, this album stands out for the diversity and synchronicity- the Kinks repeatedly match their varied lyrical themes with the music, perfectly, on track after track. Their words truly feel like part of the music, more than most of the bands I've listened to.
Each song, because they're so interesting and playful, is worth mentioning. "David Watts" is a pretty straightforward song, until you read through the lyrics, and then it's pretty funny- very clear hints about homosexuality. "No Return" is really cool. A nice, chill, acoustic guitar sound. Seductive. "Harry Rag" is like an old sea chanty. "Tin Soldier" is one of my favorites. Even though it's pretty silly and childish, I just really enjoy it. The vaguely sarcastic, cheerful brass. "Till the Sun Shines" is one of the most straightforward rock songs on the album, and I really like it. Low, rocking, lyrically intriguing, sensual. "Lazy Old Sun" is low, slow, strange- it's the trippiest song on the album, with strange instruments sneaking in and out. "Afternoon Tea" is perfectly pleasant and relistenable. "End of the Season" is another favorite- it's got a low sway to it, a strange, haunting echo. I could see this song used in a really dark, tongue-in-cheek way, like on the soundtrack of a semi-comedic apocalyptic indie film. Kind of like this.
This is one of the albums that I listened to via youtube playlist, but I liked it so much that I might try and find a copy for itunes. This is a really, really good record and I'd like to have regular access to it. Well done, the Kinks!
Thursday, May 7, 2009
essay #2
kipling (george orwell)
EKipling is sadistic and jingoistic but he is not a fascist, because he writes from a pre-fascist perspective. He still believes in God punishing hubris, he cannot imagine the world in which pure power battles pure power- he believes in a world of Law. Essentially, Kipling is this pitiful character… cornily in love with Empire, annoyingly patriotic, and yet condescending- he looks down at the working class (even if it undercuts his own verse), his vision of the common soldier is a doe-eyed cartoony caricature of a stupid but devoted servant of the Empire. He's basically a horrible square that nobody could possibly like- but because he speaks in platitudes, he still communicates realities about the world on a "good bad poet[ic]" level that makes him memorable and accessible. He is mostly awful, but occasionally a guilty pleasure. And he's the only written resource we have of a certain time and place in British Imperial history, because other people who would be gifted or 'civilized' enough to write strongly avoided service.
Some raw observations, that might not be touched on in that synopsis:
• " There is no 'Law', there is only power."
• " All left-wing parties in the highly industrialized countries are at bottom a sham, because they make it their business to fight against something which they do not really wish to destroy."
• Kipling "sees clearly that men can only be highly civilized while other men, inevitably less civilized, are there to guard and feed them. "
• poetry is "the least tolerated of the arts." Heh, agreed.
• "A good bad poem is a graceful monument to the obvious."
• look up E.M. Forster
This was a good, interesting read. Interesting reflections on Imperial power, on political and class distinctions, on populist poetry. Kipling would be great to read if you're interested in getting a stuffy caricature of Victorian Imperialist ambition.
EKipling is sadistic and jingoistic but he is not a fascist, because he writes from a pre-fascist perspective. He still believes in God punishing hubris, he cannot imagine the world in which pure power battles pure power- he believes in a world of Law. Essentially, Kipling is this pitiful character… cornily in love with Empire, annoyingly patriotic, and yet condescending- he looks down at the working class (even if it undercuts his own verse), his vision of the common soldier is a doe-eyed cartoony caricature of a stupid but devoted servant of the Empire. He's basically a horrible square that nobody could possibly like- but because he speaks in platitudes, he still communicates realities about the world on a "good bad poet[ic]" level that makes him memorable and accessible. He is mostly awful, but occasionally a guilty pleasure. And he's the only written resource we have of a certain time and place in British Imperial history, because other people who would be gifted or 'civilized' enough to write strongly avoided service.
Some raw observations, that might not be touched on in that synopsis:
• " There is no 'Law', there is only power."
• " All left-wing parties in the highly industrialized countries are at bottom a sham, because they make it their business to fight against something which they do not really wish to destroy."
• Kipling "sees clearly that men can only be highly civilized while other men, inevitably less civilized, are there to guard and feed them. "
• poetry is "the least tolerated of the arts." Heh, agreed.
• "A good bad poem is a graceful monument to the obvious."
• look up E.M. Forster
This was a good, interesting read. Interesting reflections on Imperial power, on political and class distinctions, on populist poetry. Kipling would be great to read if you're interested in getting a stuffy caricature of Victorian Imperialist ambition.
Tuesday, May 5, 2009
album #46
blonde on blonde (bob dylan)
I really liked this one. It certainly fits my tastes, overall, better than Highway 61 Revisited. This album has got some of that thin, hard bluesy sound, and it's also very melodic. Makes for really good listening on the musical level, and it's also pretty terrific on the lyrical level. Lots of relationship issues, infidelity implications, and so on. Dylan's love life was pretty complicated around this time, and it definitely shows in the lyrics.
This is an example of an album where I can list highlights, but they're not the only highlights- virtually every song is relistenable and enjoyable, even the ones that sound like pretty standard, generic blues numbers. The album flows well too, it's good for relistening in entirety. "Rainy Day Women #12 & 35" is a classic- great, raucous atmosphere, the warbling piano, the lurching brass, the barroom hoots and hollers. "Visions of Johanna" is another all time great. Fascinating lyrics of life with one girl and yearning for another- a nice, chill sound, subdued acoustic ramble. "Stuck Inside of Mobile With the Memphis Blues Again" gets a little redundant, but it still has a great melody, great pop instincts, and lyrically it's very entertaining- a vivid illustration of several different characters in this miserable town. "Leopard Skin Pill-Box Hat," I just really liked it. Such a strange, sarcastic little song, with a classic blues sound. "Just Like a Woman" is quite pretty, and nicely ambiguous- is he loving or condescending? Also I particularly loved the sound of "4th Time Around"- it's like an autumn drive. Belongs in a good indie movie.
Even after that big paragraph there are still good songs to mention. Really good listening all the way through. JD tells me that another one of Dylan's albums is even more melodic and I look forward to hearing it. In the meantime, Blonde on Blonde is my official favorite Dylan record.
I really liked this one. It certainly fits my tastes, overall, better than Highway 61 Revisited. This album has got some of that thin, hard bluesy sound, and it's also very melodic. Makes for really good listening on the musical level, and it's also pretty terrific on the lyrical level. Lots of relationship issues, infidelity implications, and so on. Dylan's love life was pretty complicated around this time, and it definitely shows in the lyrics.
This is an example of an album where I can list highlights, but they're not the only highlights- virtually every song is relistenable and enjoyable, even the ones that sound like pretty standard, generic blues numbers. The album flows well too, it's good for relistening in entirety. "Rainy Day Women #12 & 35" is a classic- great, raucous atmosphere, the warbling piano, the lurching brass, the barroom hoots and hollers. "Visions of Johanna" is another all time great. Fascinating lyrics of life with one girl and yearning for another- a nice, chill sound, subdued acoustic ramble. "Stuck Inside of Mobile With the Memphis Blues Again" gets a little redundant, but it still has a great melody, great pop instincts, and lyrically it's very entertaining- a vivid illustration of several different characters in this miserable town. "Leopard Skin Pill-Box Hat," I just really liked it. Such a strange, sarcastic little song, with a classic blues sound. "Just Like a Woman" is quite pretty, and nicely ambiguous- is he loving or condescending? Also I particularly loved the sound of "4th Time Around"- it's like an autumn drive. Belongs in a good indie movie.
Even after that big paragraph there are still good songs to mention. Really good listening all the way through. JD tells me that another one of Dylan's albums is even more melodic and I look forward to hearing it. In the meantime, Blonde on Blonde is my official favorite Dylan record.
Sunday, May 3, 2009
album #45
that's the way of the world (earth, wind & fire)
This album is pretty easy. Pretty easy to listen to and easy to explain. It's a sublimely optimistic album- these guys are just having a good time in any situation. There's an equal mix of fast, brassy, funk songs, and slow, soulful, swellingly romantic ballads. Basically I found the slow songs good but a little dull; the more uptempo, funk songs were great.
It's all pretty good, but the tracks I really loved: "Shining Star," a classic, a great funky jam; "Yearnin' Learnin" is awesome- exciting, forceful brass, great voice, great pace. "Africano" follows an interesting musical evolution, starting with woodwinds, then tribal drums, swelling with brass and eventually exploding into a contemporary funk instrumental- with a nice Coltrane reference making a cameo. And "Help Them See the Light" makes for a really cool closer- it starts in a typically funky, cool place, but transforms on the choruses into this soaring, epiphanous chant.
Fun listening. Good record.
This album is pretty easy. Pretty easy to listen to and easy to explain. It's a sublimely optimistic album- these guys are just having a good time in any situation. There's an equal mix of fast, brassy, funk songs, and slow, soulful, swellingly romantic ballads. Basically I found the slow songs good but a little dull; the more uptempo, funk songs were great.
It's all pretty good, but the tracks I really loved: "Shining Star," a classic, a great funky jam; "Yearnin' Learnin" is awesome- exciting, forceful brass, great voice, great pace. "Africano" follows an interesting musical evolution, starting with woodwinds, then tribal drums, swelling with brass and eventually exploding into a contemporary funk instrumental- with a nice Coltrane reference making a cameo. And "Help Them See the Light" makes for a really cool closer- it starts in a typically funky, cool place, but transforms on the choruses into this soaring, epiphanous chant.
Fun listening. Good record.
Saturday, May 2, 2009
essay #1
consider the lobster (david foster wallace)
raw reflections on this essay:
Maine Lobster Promotion Council- Orwellian name
calm, matter of fact language, well-paced progression through the festival, then the lobster...
hah, "irksome little downers"- he's quietly cutting down the festival
Professor Paddywhack- hilarious
footnote 6: "disappointed in a way you can never admit…" damn…
pulling on the antennae, if it comes out of the head easily you're ready to eat… ooh. damn.
nicely mixes matter of fact with subtle distaste.
Jesus, de-beaking.
"Is it all right to boil a sentient creature alive?…" the key question arrives.
footnote 10 about the parade- hilarious
"we do not have access to anyone or anything's pain but our own"- a fascinating, powerful truth delivered quite matter of factly.
haha, so great when you remember that this is an article in a culinary magazine. damn.
footnote 14, very interesting point.
"prepared" which means killing them there in our kitchens…
talking about the lobster struggling to get out of the boiling pot and the cowardice of leaving the room, can't bear to witness what you're doing, tuning it out.
it generally takes lobsters 35-45 seconds to die in boiling water.
Jesus, his descriptions of hte ways to kill lobster… pretty gruesome
"there remains the fact of the frantically clanking lid"
very sad when he talks about how their conditions in captivity (crowded, bright light) are so obviously against their preferences
the point about Roman circus/ medieval torture fest, pretty interesting
the line about "truly defensible instead of just selfishly convenient"- great, smart, honest line. yeah.
I wonder if it's worth it to organize these observations into a more coherent, paragraph format. In a way, the raw reflections speak perfectly for themself. Maybe for shorter essays I'll just leave the raw reflections and provide a final thought synopsis at the end. Anyway, I'll edit this post a tiny bit later.
raw reflections on this essay:
Maine Lobster Promotion Council- Orwellian name
calm, matter of fact language, well-paced progression through the festival, then the lobster...
hah, "irksome little downers"- he's quietly cutting down the festival
Professor Paddywhack- hilarious
footnote 6: "disappointed in a way you can never admit…" damn…
pulling on the antennae, if it comes out of the head easily you're ready to eat… ooh. damn.
nicely mixes matter of fact with subtle distaste.
Jesus, de-beaking.
"Is it all right to boil a sentient creature alive?…" the key question arrives.
footnote 10 about the parade- hilarious
"we do not have access to anyone or anything's pain but our own"- a fascinating, powerful truth delivered quite matter of factly.
haha, so great when you remember that this is an article in a culinary magazine. damn.
footnote 14, very interesting point.
"prepared" which means killing them there in our kitchens…
talking about the lobster struggling to get out of the boiling pot and the cowardice of leaving the room, can't bear to witness what you're doing, tuning it out.
it generally takes lobsters 35-45 seconds to die in boiling water.
Jesus, his descriptions of hte ways to kill lobster… pretty gruesome
"there remains the fact of the frantically clanking lid"
very sad when he talks about how their conditions in captivity (crowded, bright light) are so obviously against their preferences
the point about Roman circus/ medieval torture fest, pretty interesting
the line about "truly defensible instead of just selfishly convenient"- great, smart, honest line. yeah.
I wonder if it's worth it to organize these observations into a more coherent, paragraph format. In a way, the raw reflections speak perfectly for themself. Maybe for shorter essays I'll just leave the raw reflections and provide a final thought synopsis at the end. Anyway, I'll edit this post a tiny bit later.
Friday, May 1, 2009
april recap
-$415 +$2104 (not including rent)
april goal: $14 spent per day, hard max. and earnings that equate to $25-30 per day.
april result: $13.83 spent per day. and earnings of $70.13 per day.
This was an amazing money month for you, maybe the best you'll have all year. The tradeoff for all that work was, less time spent on your creative missions. But there was still some decent progress on a few fronts.
Music: Ten albums reviewed.
Museums: no written reflections.
Paintings: Zero progress.
Artwork: Not huge progress- still 9 complete pieces and 9 in progress, and no painting at all. But I submitted to an Austin gallery show, it'll be exciting to see how that goes.
Exercise: No progress.
Cartoons: No progress. Two packets are still out, and I'm not sure if they ever received the packets to begin with now.
Improv: Wrapped up a good class, and- my biggest goal of the year- got cast on a new H Team! 9 performances, 1 amazingly bad, 1 eh, 1 okay, 3 pretty good, 3 super fun. (1 501, 1 TB, 2 ST, 3 Z, 2 Creek mashups)
Drawings: the doodle blog is looking like a solid success, keep it up! 98 followers.
Miscellany: Spent most of the month working a steady temp day job. ER visit- splinter/fingernail. Good times with the gal. Tumblr at 98 followers.
may targets…
music: 10 albums reviewed
museums: 1 written reflection
paintings: 1 significant work completed and submitted (ali and dave portrait)
artwork: complete the catalogue of 20 illustrations.
exercise: ab workouts, every other day, until video shoot.
cartoons: 15 cartoons up to submission standards.
improv: 5 performances.
drawings: keep it up
april goal: $14 spent per day, hard max. and earnings that equate to $25-30 per day.
april result: $13.83 spent per day. and earnings of $70.13 per day.
This was an amazing money month for you, maybe the best you'll have all year. The tradeoff for all that work was, less time spent on your creative missions. But there was still some decent progress on a few fronts.
Music: Ten albums reviewed.
Museums: no written reflections.
Paintings: Zero progress.
Artwork: Not huge progress- still 9 complete pieces and 9 in progress, and no painting at all. But I submitted to an Austin gallery show, it'll be exciting to see how that goes.
Exercise: No progress.
Cartoons: No progress. Two packets are still out, and I'm not sure if they ever received the packets to begin with now.
Improv: Wrapped up a good class, and- my biggest goal of the year- got cast on a new H Team! 9 performances, 1 amazingly bad, 1 eh, 1 okay, 3 pretty good, 3 super fun. (1 501, 1 TB, 2 ST, 3 Z, 2 Creek mashups)
Drawings: the doodle blog is looking like a solid success, keep it up! 98 followers.
Miscellany: Spent most of the month working a steady temp day job. ER visit- splinter/fingernail. Good times with the gal. Tumblr at 98 followers.
may targets…
music: 10 albums reviewed
museums: 1 written reflection
paintings: 1 significant work completed and submitted (ali and dave portrait)
artwork: complete the catalogue of 20 illustrations.
exercise: ab workouts, every other day, until video shoot.
cartoons: 15 cartoons up to submission standards.
improv: 5 performances.
drawings: keep it up
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