Modest Mouse: We Were Dead Before The Ship Even Sank--the band's last two albums are among my favorites of the last 10 years so this one's a medium-sized disappointment. I didn't take to it at all at first, but it pays back repeated listening if you let the groove go to work on you.
This is probably the nearest thing to a pop album that Modest Mouse are going to make, and about as far away from the intimacy of The Moon And Antarctica as you can get. The songs are surprisingly direct and accessible (if weird as usual), whether it's the single "Dashboard" or the slow and slightly bombastic "Little Motel" (the first MoMo song suitable for the accompaniment of swaying lighters). In terms of sound it's much more of a "band" record than the orchestrated, all-over-the-place Good News For People Who Love Bad News, and the current lineup features, surprisingly, journeyman ex-Smiths guitarist Johnny Marr as well as original drummer Jeremiah Green--not that I would really have noticed. The guitars sound great and drive most of the songs, usually in combination with a stomping groove a la some variation of "Float On." It's a very groove heavy album in fact. Mainman Isaac Brock's cracker vocal delivery is familiar, as are his long lyric sheets and tendency to write in a wry and generalised way about our hapless state, using specifics to paint big pictures.
Ship has a lot of guts and features a number of really good and addictive tracks, but it's too comfortable with itself. It's very self-referential music and doesn't play around with influences as much as previous albums. A number of tracks, like the opener "March Into The Sea," "Parting Of The Sensory," and "Invisible" tread decidedly old ground. The best stuff, like "Florida," "We've Got Everything" and "Fire It Up" bore into your brain like a brain-eating vole on amphetamines. Like their '90s albums, it's an endurance contest getting through the whole thing in one listen and some of the stuff at the back end like "Spitting Venom" I could have done without.
I give huge props to MM for being able to make chart-topping albums when they're such a weirdo band at heart. I just wished this one showed a little more development and a little more intimacy.
Modest Mouse--"Florida" (from We Were Dead Before The Ship Even Sank)
Modest Mouse--"Missed The Boat" (from We Were Dead Before The Ship Even Sank)
Deerhoof: Friend Opportunity--this is the first album I've ever heard by the weirdie Frisco three-piece (the drummer plays keyboards), so thank you very much Pitchfork--you make me feel so young (mid-30s). This is one of the most enjoyable discs I've heard in a good while. My three-year-old daughter likes it as well, and even makes up her own nonsense lyrics instead of accurately singing the, er, nonsense lyrics.
The first couple of tracks on Friend Opportunity might make you think that Deerhoof's sound could be summed up, in one sentence, as Stereolab crossed with an art-punk-garage band. But there's more to them than that. I can hear indications that they've listened to Larks' Tongues In Aspic as well as any number of jazz-rock-prog outfits. And I think it's fair to say that there are very few bands out there who can fit as much into a three-minute song as these guys; I mean, who writes idiotically catchy melodic pop tunes ("Matchbook Seeks Maniac") with a song structure of Ai-Aii-Aiii-chorus-B-C-chorus?
Stylistically, it's all over the place but held together by an incredible vibrancy and fun. It's arty music, but with very little pretense (quasi-naive ESL lyrics and squeaky-voiced Japanese singer Satomi Matzusaki add to the bounce and approachability). Apart from the Stereolab/post-punk inflected pop of "The Perfect Me" and "Believe E.S.P.", there's one track based around close-mic'ed piano that sounds like the gentler side of Peter Hammill ("Whither The Invisible Birds"), another one that leads off with a folky-prog acoustic guitar ("The Galaxist") and yet another that's mostly chopped-up samples over a drumline rhythm ("Kidz Are So Small"). The playing is great, and just loose enough to kick some major backside where necessary.
The one caveat with FO is that it's fairly brief and capped off with a 12-minute more abstract and drawn-out sectional piece (based around John Dieterich's clangy chromatic guitar work), which some people might find jarring after 9 tightly-packed short songs. Otherwise, the album is a highly-recommendable pile 0' fun.
Life is good. For 35 minutes anyway.
Deerhoof--"The Perfect Me" (from Friend Opportunity)
Deerhoof--"Whither The Invisible Birds?" (from Friend Opportunity)
Deerhoof--"Matchbook Seeks Maniac" (from Friend Opportunity)
Menomena: Friend And Foe--very impressive second cd from this Portland, Oregon multi-instrumental three-piece (with two singers). I meant to go see them last month but I don't have the stamina for midnight (scheduled) sets anymore. Damn you, 2am closing time!
Menomena's sound-world is rooted in Tortoise-like post-rock (foregrounded, crunchy cymbals and hi-hat, boomy bass), but they also very good at--heaven forfend--writing actual songs. You can hear a little bit of The Flaming Lips (without the requisite dumbness), too, in the general grandeur and in the singer with the nasal voice. Pacings are slow, rhythms dug-in, and orchestrations, which are very "orchestral," feature the three-piece with sax, piano, organ and synth excellent--a very appealing sounding record in fact. How they do most of this stuff live is beyond me (their first album was apparently written almost entirely on Mr. Computer). Some songs sound churchy, some chunky/funky, and some electronic. You'd think you'd that the deliberate pace of the album would wear after a while but there's so much wit, good songwriting and arrangement that you don't care. Menomena make every note and beat count.
There isn't a great deal of fat on the album--it's maybe one song longer than it needed to be--and even the less inventive tracks like "Evil Bee" veer off in interesting directions and/or have interesting things to listen to. It's hard to pick favorites as many of the songs are complementary and there's a lot of ebb and flow. "The Pelican," which sounds like raging stoners playing post-rock, is pretty cool, as are the bass grooves of "Muscle 'n' Flo" and "Air Aid." I hear the Flaming Lips influence most in songs like "Wet And Rusting" and one of my faves, the sombre organ-drone "My My."
Oh, just listen to the samples. Writing about music is like sculpting about ballet after all.
Menomena--"Muscle 'n' Flo" (from Friend And Foe)
Menomena--"My My" (from Friend And Foe)
Tuesday, May 22, 2007
Friday, May 18, 2007
Thursday, May 17, 2007
Day Late And (AU) Dollar Short
I'm a little late, but I've been meaning to write something about Brisbane's Go-Betweens on the anniversary of Grant McLennan's far too early passing.
I was a latecomer to the Go-Bs, but they've rapidly become one of my very favorite bands. Hard to put into words why; suffice it to say that I hear art, craft and the pursuit of something beautiful in just about everything they did, from their early '80s jerky and sparse post-punk/folk to the brainy jingle-jangle of 16 Lovers Lane. Their second incarnation in the new century wasn't half bad either, and, while I'm not keen on the overuse of the word "tragic," McLennan was one of those artists who clearly had a lot more to give.
The songwriting partnership of McLennan and Robert Forster, formed during their university days, is among the most productive and interesting in the annals of pop music. They've been referred to as the Aussie Lennon & McCartney, which was both a touch of flattery and accurate in that there was a certain yin-yang quality to the musical relationship--the tall, lean Forster as the literate one and McLennan as Mr. Solid and Dependable. Unlike L&M, though, they habitually worked and wrote co-operatively. And, if you care to peruse Forster's lovely and heartfelt tribute to his friend and collaborator, you'll see that their musical personae stood in many ways in stark contrast to their personalities.
McLennan's the one who seems to get the majority of the critical kudos (his solo stuff during the '90s Go-Betweens hiatus was certainly better received than Forster's), but I don't have a preference in terms of songwriting. Relative quality varies from album to album. I usually prefer Forster's lyrics, which are more observational and acerbic; McLellan deals more with basic elements and when he hits the mark, it's stark and poignant, but when he doesn't it can be a tad banal. Neither of them are great natural singers--which is obvious from live recordings--but they learned how to use their voices better and better with each successive album.
For an appreciation of the band's studio albums, you could do worse than flip through allmusic. I'm in general agreement with their assessments, with the exception of their being way too hard on Tallulah and slightly too easy on The Friends Of Rachel Worth. But anyway, here's my quick run-down:
Send Me A Lullaby (1981)--would be better considered if it were by a lesser band. Not a lot of great songs but a lot of interesting impressions poking their heads above the battlements. The execution isn't quite there yet--the vocals (majority by Forster on this one) are thin, the arrangements a little insecure ("Midnight To Neon"), and there's too much weird for the sake of weird [hey, this is an early-'80s Oz band, fergawdsake!--ed]. But for all of the stop-start jerkiness of songs like "Arrow In A Bow" and the abbreviated rhythms and 4-bar phrases ("The Girls Have Moved"), there's a counterbalancing gentleness ("One Thing Can Hold Us"). I think a lot of this is down to the guitars, which burst all bright and jangly-like to the surface during the middle-eights and breaks. "Your Turn, My Turn" sounds like a mellow version of The Birthday Party. "Eight Pictures" is a poorly-realized hamfest, lyrically and musically.
"One Thing Can Hold Us" (from Send Me A Lullaby)
"People Know" (from Send Me A Lullaby)
Before Hollywood (1983)--the great leap forward and the best of the early-period albums. Manages to sound both tougher and more lyrical than its predecessor, not to mention more concise and more melodic. McLellan's contribution shines through; his vocals are much more relaxed, and he delivers the goods big time with standout tunes "Two Steps Step Out" and the much lauded "Cattle And Cane," among others. Forster provides the spiky Tom Verlaine-like counterpart with the title track and "Ask." A few of the songs ("By Chance") tread similar ground to Lullaby but are better realized. The band vibe is wonderful, with drummer Lindy Morrison in particular sounding much more comfortable. Not an inch of fat on this one.
"Two Steps Step Out" (from Before Hollywood)
"Ask" (from Before Hollywood)
Spring Hill Fair (1984)--a transitional album in many ways. A number of excellent tunes but somewhat all over the place in terms of style and production. The addition of the more traditional bass player Robert Vickers and GM's move to guitar full-time (and the use of more acoustic guitar in general) changes the rhythm section balance and makes for a much warmer band sound, shown particularly in standouts like "Five Words." A few of McLellan's songs ("Bachelor Kisses," "Slow Slow Music") date themselves with the constrained "eighties" production and drum machines, and are an uncomfortable fit with Forster's bluesy-pop contributions (the very good "Draining The Pool" and "You've Never Lived"). McLellan's spoken-word "River Of Money" doesn't really fly, but "Unkind And Unwise" is a particularly sweet offering. I've never taken to Forster's melodramatic "Man O' Sand To Girl O' Sea," try as I might.
"Five Words" (from Spring Hill Fair)
"The Old Way Out" (from Spring Hill Fair)
Liberty Belle And The Black Diamond Express (1986)--the first "middle-period" record and the first with "that" Go-Betweens sound. Simpler music, with a much gentler and janglier sound, fleshed out effectively with strings on tracks like "The Wrong Road." It's not all high art by any means ("In The Core Of A Flame"), but the material hangs together extremely well and the production is never obtrusive. The abbreviated three-time "The Ghost And The Black Hat" is my favorite of the McLellan-sung tracks, and Forster's "To Reach Me" and the dreamy "Bow Down" are particular good ones. "Twin Layers Of Lightning" is a bit of a throwback but the arrangement with mallet percussion is very nice.
"The Wrong Road" (from Liberty Belle And The Black Diamond Express)
"Bow Down" (from Liberty Belle And The Black Diamond Express)
Tallulah (1987)--a particular favorite of mine and I think their most underappreciated album. Its pleasingly muscular sound is very much an anomaly, sandwiched as this one is between Liberty Belle and 16 Lovers Lane. The production is a common complaint with Tallulah, and although I'm not as bothered by so-called '80s "big drum" production as some, parts of the album, like the single "Right Here," could have used a remix to mitigate the worst effects of the jack-hammer drum machine. On the songwriting front, though, this is as strong a showing from both GM and RS as there is in the Go-Betweens catalogue. Forster's "You Tell Me" and "The Clarke Sisters" are unimpeachable, and all these years later you're left wondering how in the hell McLellan's "Right Here," "Cut It Out" and the brilliant "Bye Bye Pride" weren't huge hits. "Someone Else's Wife" is the one track that sounds out of place, with GM seemingly channelling Hunters & Collectors.
"You Tell Me" (from Tallulah)
"Bye Bye Pride" (from Tallulah)
16 Lovers Lane (1988)--you can't really argue agin this one as the Go-Betweens' best. A friend of mine once said that this was one of the easiest albums to like that you could ever come across and I know exactly what he meant; music, lyric, arrangement and sound mesh together seamlessly. I suppose a cynic might complain that it doesn't demand enough from the listener, but 16 Lovers Lane certainly isn't slick; it's just lush and lovely. Listen to the lovely string arrangements on the opening tracks "Love Goes On!" and "Quiet Heart" and you'll see what I mean. "Love Is A Sign" and "Clouds" are two of my favorite Forster songs and lyrics, the latter being great for drunken sing-alongs. "Streets Of Your Town" is another lovely McLellan hit-that-should-have-been. An album of its time but not imprisoned by it.
"Clouds" (from 16 Lovers Lane)
"Quiet Heart" (from 16 Lovers Lane)
more to follow...
I was a latecomer to the Go-Bs, but they've rapidly become one of my very favorite bands. Hard to put into words why; suffice it to say that I hear art, craft and the pursuit of something beautiful in just about everything they did, from their early '80s jerky and sparse post-punk/folk to the brainy jingle-jangle of 16 Lovers Lane. Their second incarnation in the new century wasn't half bad either, and, while I'm not keen on the overuse of the word "tragic," McLennan was one of those artists who clearly had a lot more to give.
The songwriting partnership of McLennan and Robert Forster, formed during their university days, is among the most productive and interesting in the annals of pop music. They've been referred to as the Aussie Lennon & McCartney, which was both a touch of flattery and accurate in that there was a certain yin-yang quality to the musical relationship--the tall, lean Forster as the literate one and McLennan as Mr. Solid and Dependable. Unlike L&M, though, they habitually worked and wrote co-operatively. And, if you care to peruse Forster's lovely and heartfelt tribute to his friend and collaborator, you'll see that their musical personae stood in many ways in stark contrast to their personalities.
McLennan's the one who seems to get the majority of the critical kudos (his solo stuff during the '90s Go-Betweens hiatus was certainly better received than Forster's), but I don't have a preference in terms of songwriting. Relative quality varies from album to album. I usually prefer Forster's lyrics, which are more observational and acerbic; McLellan deals more with basic elements and when he hits the mark, it's stark and poignant, but when he doesn't it can be a tad banal. Neither of them are great natural singers--which is obvious from live recordings--but they learned how to use their voices better and better with each successive album.
For an appreciation of the band's studio albums, you could do worse than flip through allmusic. I'm in general agreement with their assessments, with the exception of their being way too hard on Tallulah and slightly too easy on The Friends Of Rachel Worth. But anyway, here's my quick run-down:
Send Me A Lullaby (1981)--would be better considered if it were by a lesser band. Not a lot of great songs but a lot of interesting impressions poking their heads above the battlements. The execution isn't quite there yet--the vocals (majority by Forster on this one) are thin, the arrangements a little insecure ("Midnight To Neon"), and there's too much weird for the sake of weird [hey, this is an early-'80s Oz band, fergawdsake!--ed]. But for all of the stop-start jerkiness of songs like "Arrow In A Bow" and the abbreviated rhythms and 4-bar phrases ("The Girls Have Moved"), there's a counterbalancing gentleness ("One Thing Can Hold Us"). I think a lot of this is down to the guitars, which burst all bright and jangly-like to the surface during the middle-eights and breaks. "Your Turn, My Turn" sounds like a mellow version of The Birthday Party. "Eight Pictures" is a poorly-realized hamfest, lyrically and musically.
"One Thing Can Hold Us" (from Send Me A Lullaby)
"People Know" (from Send Me A Lullaby)
Before Hollywood (1983)--the great leap forward and the best of the early-period albums. Manages to sound both tougher and more lyrical than its predecessor, not to mention more concise and more melodic. McLellan's contribution shines through; his vocals are much more relaxed, and he delivers the goods big time with standout tunes "Two Steps Step Out" and the much lauded "Cattle And Cane," among others. Forster provides the spiky Tom Verlaine-like counterpart with the title track and "Ask." A few of the songs ("By Chance") tread similar ground to Lullaby but are better realized. The band vibe is wonderful, with drummer Lindy Morrison in particular sounding much more comfortable. Not an inch of fat on this one.
"Two Steps Step Out" (from Before Hollywood)
"Ask" (from Before Hollywood)
Spring Hill Fair (1984)--a transitional album in many ways. A number of excellent tunes but somewhat all over the place in terms of style and production. The addition of the more traditional bass player Robert Vickers and GM's move to guitar full-time (and the use of more acoustic guitar in general) changes the rhythm section balance and makes for a much warmer band sound, shown particularly in standouts like "Five Words." A few of McLellan's songs ("Bachelor Kisses," "Slow Slow Music") date themselves with the constrained "eighties" production and drum machines, and are an uncomfortable fit with Forster's bluesy-pop contributions (the very good "Draining The Pool" and "You've Never Lived"). McLellan's spoken-word "River Of Money" doesn't really fly, but "Unkind And Unwise" is a particularly sweet offering. I've never taken to Forster's melodramatic "Man O' Sand To Girl O' Sea," try as I might.
"Five Words" (from Spring Hill Fair)
"The Old Way Out" (from Spring Hill Fair)
Liberty Belle And The Black Diamond Express (1986)--the first "middle-period" record and the first with "that" Go-Betweens sound. Simpler music, with a much gentler and janglier sound, fleshed out effectively with strings on tracks like "The Wrong Road." It's not all high art by any means ("In The Core Of A Flame"), but the material hangs together extremely well and the production is never obtrusive. The abbreviated three-time "The Ghost And The Black Hat" is my favorite of the McLellan-sung tracks, and Forster's "To Reach Me" and the dreamy "Bow Down" are particular good ones. "Twin Layers Of Lightning" is a bit of a throwback but the arrangement with mallet percussion is very nice.
"The Wrong Road" (from Liberty Belle And The Black Diamond Express)
"Bow Down" (from Liberty Belle And The Black Diamond Express)
Tallulah (1987)--a particular favorite of mine and I think their most underappreciated album. Its pleasingly muscular sound is very much an anomaly, sandwiched as this one is between Liberty Belle and 16 Lovers Lane. The production is a common complaint with Tallulah, and although I'm not as bothered by so-called '80s "big drum" production as some, parts of the album, like the single "Right Here," could have used a remix to mitigate the worst effects of the jack-hammer drum machine. On the songwriting front, though, this is as strong a showing from both GM and RS as there is in the Go-Betweens catalogue. Forster's "You Tell Me" and "The Clarke Sisters" are unimpeachable, and all these years later you're left wondering how in the hell McLellan's "Right Here," "Cut It Out" and the brilliant "Bye Bye Pride" weren't huge hits. "Someone Else's Wife" is the one track that sounds out of place, with GM seemingly channelling Hunters & Collectors.
"You Tell Me" (from Tallulah)
"Bye Bye Pride" (from Tallulah)
16 Lovers Lane (1988)--you can't really argue agin this one as the Go-Betweens' best. A friend of mine once said that this was one of the easiest albums to like that you could ever come across and I know exactly what he meant; music, lyric, arrangement and sound mesh together seamlessly. I suppose a cynic might complain that it doesn't demand enough from the listener, but 16 Lovers Lane certainly isn't slick; it's just lush and lovely. Listen to the lovely string arrangements on the opening tracks "Love Goes On!" and "Quiet Heart" and you'll see what I mean. "Love Is A Sign" and "Clouds" are two of my favorite Forster songs and lyrics, the latter being great for drunken sing-alongs. "Streets Of Your Town" is another lovely McLellan hit-that-should-have-been. An album of its time but not imprisoned by it.
"Clouds" (from 16 Lovers Lane)
"Quiet Heart" (from 16 Lovers Lane)
more to follow...
Tuesday, May 15, 2007
Monday, May 14, 2007
Thursday, May 10, 2007
Oh Giorgio!
Fancy a quality hummer? Take the 10pm ferry to Centre Island.
Make sure you don't dilly-dally though--last one back to the mainland is at 11:45.
Make sure you don't dilly-dally though--last one back to the mainland is at 11:45.
Monday, May 7, 2007
Technically, They're "Humps", But Be That As It May
A leetle Ward 32 humour:
Maybe Sandra Bussin can take some of the tar from those speed bumps she so likes spending our tax money on and fill some of the pot holes on Willow Avenue.
John Zimnoch
Remax/Hallmark
Maybe Sandra Bussin can take some of the tar from those speed bumps she so likes spending our tax money on and fill some of the pot holes on Willow Avenue.
John Zimnoch
Remax/Hallmark
King For Several Hundred Days
Rocket Roger takes self-deprecation into uncharted territory:
The seventh-inning stretch was ending when the low, familiar voice of public-address announcer Bob Sheppard told fans at Yankee Stadium to direct their attention to the owner's box behind home plate.
Standing there, microphone in hand, was Roger Clemens to personally announce his return to New York.
[edit]
He agreed to a one-year contract for US$28,000,022 - the last two digits matching his uniform number...Saturday, May 5, 2007
Monday, April 30, 2007
Mackem Chainsaw Massacre
Leatherface: a very good band I've just recently been introduced to. And not my usual cup of chai which should tell you something. This tune is a scorcher:
Leatherface--"Evo Pop" (from the album Horsebox)
Here are the handsome devils on Utube.
Very pure. Unadulterated. Nothing between you and it, if you know what I mean.
And they're from Sunderland which should piss him off.
Leatherface--"Evo Pop" (from the album Horsebox)
Here are the handsome devils on Utube.
Very pure. Unadulterated. Nothing between you and it, if you know what I mean.
And they're from Sunderland which should piss him off.
The (Number) One About The Irishman
Our next-door neighbour has decided to opt out of indoor plumbing.
Probably got mad when he couldn't figure out how it works.
Thursday, April 26, 2007
Not Necessarily Dangerous
In the wake of The Event, the University of Northern Colorado is taking no chances when it comes to security.
Cuz you never know when an anorexic is going to go off.
P.S. I'm guessing Ken Chan is a peeper. Just a hunch.
Cuz you never know when an anorexic is going to go off.
P.S. I'm guessing Ken Chan is a peeper. Just a hunch.
There may be a leetle delay
If anyone's been wondering about this camp saga (which I doubt), I will be seeing some of the camp founders this weekend. I plan to pepper them with questions to get more info about the early days. Then I'll be able to do another post on the story with greater accuracy and detail.
Wednesday, April 25, 2007
Monday, April 23, 2007
But, But...What If My Kids Suck?
He should do a post about the weirdies spoken of here, since he's the one with the professional interest. What do I care about the environment?
Choice r-tarded quote:
Choice r-tarded quote:
Vincent Ciaccio and his wife, Laura -- both 29 -- grew up passively assuming that they would have children one day. However, after the couple met in college and embarked on a life together, they realized they did not want to become parents, a decision informed in large part by environmental concerns.
While the Ciaccios would not describe themselves as hard-core environmentalists, they are both ethical vegetarians who eat locally grown food, drive a compact car and regulate their energy consumption.
"There are a lot of reasons to be vegetarian and a lot of those translate into reasons to be child-free -- choices like not supporting clear-cutting the rain forests to raise cattle," says Mr. Ciaccio, who currently lives in Boston, where his wife is at law school. "Being child-free means we don't run the risk of having children who won't be vegetarians and undo all the good choices we've made."Monday, April 16, 2007
Why Camp Three Arrows?
So, there are our young idealists, wandering around southern Ontario, looking for a cheap piece of land. We'll leave them to wander for a little longer. Let's take a quick side-trip to look at Camp Three Arrows' name and symbol:
The arrows point to the LEFT -- by design, not by accident. They stand for three socialist principles: bread, peace, and freedom. This was a slogan adopted by the International Free Trade Unionists in the 1940s, but I found references to it earlier than that. (But don't politicos of all stripes yearn for these things?) As far as I know, the symbol was always green.
There is one theory that the design originated during Nazi-era Germany. If one saw a swastika, one negated it by drawing three diagonal lines or arrows through it. I'll have to investigate this one day.
Next up: Camp buys some land.
The arrows point to the LEFT -- by design, not by accident. They stand for three socialist principles: bread, peace, and freedom. This was a slogan adopted by the International Free Trade Unionists in the 1940s, but I found references to it earlier than that. (But don't politicos of all stripes yearn for these things?) As far as I know, the symbol was always green.
There is one theory that the design originated during Nazi-era Germany. If one saw a swastika, one negated it by drawing three diagonal lines or arrows through it. I'll have to investigate this one day.
Next up: Camp buys some land.
Tuesday, April 10, 2007
The Story Of Camp Three Arrows
This is the first in an irregular series about Camp Three Arrows--a failed socialist experiment in Ontario. My father started to write a history, but never finished it, I'm not sure why. But given that his health is failing rapidly, I thought I'd better take up the story now. Some of this will be a bit sketchy on historical facts and details; I will try to go back and fill them in as I find things out. If anyone out there can correct me on dates, etc., please feel free. But this outline will do for a start. Most of this history I've heard, since I was a kid, from my parents, aunts, uncles, and cousins, and the other founding members of Camp.
In 1932, the Co-operative Commonwealth Federation (the CCF) was started in Alberta. It had an offshoot, the CCYM (Co-operative Commonwealth Youth Movement). My parents were members; in fact, that's where they met. As with any political party's youth branch, it was part political, part social. Lots of singing, baseball games, and drinking interspersed with earnest debates about socialism.
In Toronto, the CCYM branch organized camping trips, the better to have those earnest debates 'round the campfire. These outings were usually to provincial parks. After a while, the membership decided it might be good to have a permanent site to hold these get-togethers, the better to organize and plan the new socialist Canada. So they started to scout out southern Ontario to find a suitable piece of land.
To be continued...
In 1932, the Co-operative Commonwealth Federation (the CCF) was started in Alberta. It had an offshoot, the CCYM (Co-operative Commonwealth Youth Movement). My parents were members; in fact, that's where they met. As with any political party's youth branch, it was part political, part social. Lots of singing, baseball games, and drinking interspersed with earnest debates about socialism.
In Toronto, the CCYM branch organized camping trips, the better to have those earnest debates 'round the campfire. These outings were usually to provincial parks. After a while, the membership decided it might be good to have a permanent site to hold these get-togethers, the better to organize and plan the new socialist Canada. So they started to scout out southern Ontario to find a suitable piece of land.
To be continued...
Tuesday, April 3, 2007
Ice Follies
Always important to keep a level head during divorce proceedings, and put the kids first.
* * * * * * * *
Coaches are hired to be fired these days, but wtf..?
Claude Julien had no comment, other than to remark: "Why is everything I love taken from me?!"
* * * * * * * *
Like most people, I expect to be asked the preferred variant of my given name--Rob, Robert or (the spaghetti monster forbid) Bob. So, why do sports networks assume that everyone named Martin just loves being called "Marty" on-air, whether they're French-Canadian, Swiss or Czech? Did they take a poll?
* * * * * * * *
I'm glad to find out I'm not the only one who's rubbed the wrong way by Sportsnet analyst Nick Kypreos.
As a sports "personality" and member of said network's obligatory panel o' blowhards, The Kipper's speciality is making snarky, dismissive comments about other players. At the trade deadline, for example, and if memory serves me correctly, he joined in the general piling-on against the Leafs' re-acquisition of oft-undervalued veteran centreman Yanic Perrault. Not what the team needed, will add nothing, etc.
Fair enough. This is analysis, after all.
But, just for comparison's sake, here are Perrault's career stats, and those of a certain former middle-market heavy and fourth-line spear-carrier who was lucky enough to play for a cup winner.
* * * * * * * *
Coaches are hired to be fired these days, but wtf..?
Claude Julien had no comment, other than to remark: "Why is everything I love taken from me?!"
* * * * * * * *
Like most people, I expect to be asked the preferred variant of my given name--Rob, Robert or (the spaghetti monster forbid) Bob. So, why do sports networks assume that everyone named Martin just loves being called "Marty" on-air, whether they're French-Canadian, Swiss or Czech? Did they take a poll?
* * * * * * * *
I'm glad to find out I'm not the only one who's rubbed the wrong way by Sportsnet analyst Nick Kypreos.
As a sports "personality" and member of said network's obligatory panel o' blowhards, The Kipper's speciality is making snarky, dismissive comments about other players. At the trade deadline, for example, and if memory serves me correctly, he joined in the general piling-on against the Leafs' re-acquisition of oft-undervalued veteran centreman Yanic Perrault. Not what the team needed, will add nothing, etc.
Fair enough. This is analysis, after all.
But, just for comparison's sake, here are Perrault's career stats, and those of a certain former middle-market heavy and fourth-line spear-carrier who was lucky enough to play for a cup winner.
Monday, April 2, 2007
Voting For The Hall
Sunday, April 1, 2007
Score One For Pitch-Correction Technology
Nelly cleans up at the Junos.
Even I gotta admit her mid-rent dance music's a lot easier to take than her godawful teenage-girl folk-pop.
Even I gotta admit her mid-rent dance music's a lot easier to take than her godawful teenage-girl folk-pop.
Thursday, March 29, 2007
Misc.
Apologies for the lack of posting. Busy, unfocused and tired in equal measure.
* * * * * * * *
I meant to go to the Don Mills Heritage Celebration thingy at the Don Mills library a few weeks back but I was busy coughing up phlegm. The Don Mills Centre campaign people have a photo album up, as well as a number of other updates. Original DM planner Macklin Hancock is now on board, as well as architects Henry Fliess and Douglas Lee.
This fellah has also signed up and has a number of posts on topic, including this particularly interesting one re Don Mills architecture.
* * * * * * * *
A Jesus sighting. Well I'll be.
* * * * * * * *
If you want to call King Bhumibol a humourless asshole, don't do it in Thailand.
* * * * * * * *
I meant to go to the Don Mills Heritage Celebration thingy at the Don Mills library a few weeks back but I was busy coughing up phlegm. The Don Mills Centre campaign people have a photo album up, as well as a number of other updates. Original DM planner Macklin Hancock is now on board, as well as architects Henry Fliess and Douglas Lee.
This fellah has also signed up and has a number of posts on topic, including this particularly interesting one re Don Mills architecture.
* * * * * * * *
A Jesus sighting. Well I'll be.
* * * * * * * *
If you want to call King Bhumibol a humourless asshole, don't do it in Thailand.
Tuesday, March 27, 2007
It's A Good Thing That We're Mac-ing
I'll figure out how to work it eventually. Still at the caressing and sweet-talking stage.
Thursday, March 22, 2007
Big, Steaming Pile Of Accomodation
...and, I'm assuming, paid for by your Student Council fees.
Full report here.
I found page 19 particularly insightful. I'd always understood that income-contingent loan repayment schemes were incompatible with the ends of social justice, but apparently, it's a freedom of religious practice issue!
One of the Task Force panelists is Wahida Chisht Valiante, National Veep of the Canadian Islamic Congress, who are headed up as you may recall by Mohamed "Electric Jello/Legitimate Targets" Elmasry.
The Muslim Canadian Congress wasn't represented, but then they might have had other things on their plate.
Update: a moderate Irish-Catholic reader rightly chides me for my cynicism:
Actually, I have no problem with the recommendations of the Task Force on Muslim Students. So long as certain other measures are taken, in the interests of diversity and equity, as in:
A shebeen and an adjoining chapel on every floor of every building, which is to say multiple shebeens "for easy access from all points" on campus where I can drink myself into a stupor with my mates and listen to the Dropkick Murphys at maximum volume and never be more than 50 paces from a confession booth staffed by a Franciscan, round the clock, and never be more than 100 paces from a properly-consecrated building where I can pray the stations of the cross whenever I fucking want.
Gigantic murals of JFK and the Pope and the Blessed Virgin and Gerry Adams on every wall of every university building. A no-Protestant rule in the gym from 9 a.m. to 9 p.m. Tuesdays. A no-Protestant rule in the pool from 9 a.m. to 9 p.m. Thursdays. The abolition of all pro-choice propaganda from campus and any other such material or activity that could be construed as creating a "chilly climate" for my people and a regularly-audited campus-wide plan to ensure that every course and every book on campus is expunged of any content that might be perceived as giving offence to the magisterium of Rome.
Full report here.
I found page 19 particularly insightful. I'd always understood that income-contingent loan repayment schemes were incompatible with the ends of social justice, but apparently, it's a freedom of religious practice issue!
One of the Task Force panelists is Wahida Chisht Valiante, National Veep of the Canadian Islamic Congress, who are headed up as you may recall by Mohamed "Electric Jello/Legitimate Targets" Elmasry.
The Muslim Canadian Congress wasn't represented, but then they might have had other things on their plate.
Update: a moderate Irish-Catholic reader rightly chides me for my cynicism:
Actually, I have no problem with the recommendations of the Task Force on Muslim Students. So long as certain other measures are taken, in the interests of diversity and equity, as in:
A shebeen and an adjoining chapel on every floor of every building, which is to say multiple shebeens "for easy access from all points" on campus where I can drink myself into a stupor with my mates and listen to the Dropkick Murphys at maximum volume and never be more than 50 paces from a confession booth staffed by a Franciscan, round the clock, and never be more than 100 paces from a properly-consecrated building where I can pray the stations of the cross whenever I fucking want.
Gigantic murals of JFK and the Pope and the Blessed Virgin and Gerry Adams on every wall of every university building. A no-Protestant rule in the gym from 9 a.m. to 9 p.m. Tuesdays. A no-Protestant rule in the pool from 9 a.m. to 9 p.m. Thursdays. The abolition of all pro-choice propaganda from campus and any other such material or activity that could be construed as creating a "chilly climate" for my people and a regularly-audited campus-wide plan to ensure that every course and every book on campus is expunged of any content that might be perceived as giving offence to the magisterium of Rome.
Wednesday, March 21, 2007
Professional Pride
Tuesday, March 20, 2007
When You Care Enough To Send The Very Tasteless
I'd like to find a birthday card that is NOT about:
- Aging
- Farts
- Golf
- Obese women sitting on Chihuahuas
- Sex
- Limp dicks/Saggy tits (arguably, this is a sub-genre of sex jokes)
Is it really so much to ask--a birthday card that's not tasteless? You wouldn't think it would be difficult to find, but increasingly, it is. It would be nice if the card were witty too. Hell, even a corny pun would suffice.
Furthermore, I don't want to have to fall back on Hallmark-type "you're a special person" cards, complete with blurry photographs of ponds and copperplate script. The other option is blank art cards, which means I have to write the message myself. These will do in a pinch, except it's hard to think of anything creative to say, so the card usually reads: "Ted, Happy Birthday." (Even when it's not for Ted.)
For A Certain Sweary Geordie
The Whooper Swan Ascending.
For a warm, lazy, sunny morning. Relatively speaking, of course.
mp3: Aulis Sallinen--"Sunrise Serenade" (Harjanne, Valimaki; Avanti CO/Saraste)
For a warm, lazy, sunny morning. Relatively speaking, of course.
mp3: Aulis Sallinen--"Sunrise Serenade" (Harjanne, Valimaki; Avanti CO/Saraste)
Monday, March 19, 2007
Short-Winded
If I could pad everything out to six long paragraphs, I'd do this for a living, wouldn't I?
The Memory Band: Apron Strings-- the first proper-band album from the mellow Brit folkies led by one Stephen Cracknell, erstwhile electronic-folk artist, Badly Drawn Boy touring bassist and Brian Eno sound-alike. The influence of electronica is there more in the ambiance than the instrumentation, which is predominantly acoustic guitars, bass and violin/viola, with some gentle metronomic percussion throw in. The Pogues this ain't: I counted one proper crescendo on the entire disc (on the traditional "I Wish I Wish," which not coincidentally is also the only instance of the drums being hit with any force). Dynamically, Apron Strings is about as static as you can get. Some of the cover material, including one quite nice track that I assume is by Chic, and another, a zombified rendering of "Want You To Know" by psych-soul band Rotary Connection, is decidedly non-traditional.
Like Cracknell's former paycheque, this is stuff that's very underwritten and underpowered, but very listenable, coming as it does with an undeniably nice vibe, a gentle earnestness and no grandiose pretensions. Instrumentally, the bowed strings take centre stage most often, and get to cut loose on traditionals "Blackwaterside" and, particularly, "I Wish I Wish." Female lead Nancy Wallace has a very attractive, slightly fragile voice which features nicely on both the presumed Chic cover "Why" and the traditional "Green Grows The Laurel." Cracknell original "Come Write Me Down" is pretty in a '70s folk-pop kind of way. His instrumental pieces are pleasant but don't light the house on fire.
A decent disc for after-dinner listening. 7.2 blissed-out beardie weirdos out of 10.
mp3: The Memory Band--"Come Write Me Down" (from Apron Strings)
mp3: The Memory Band--"Why" (from Apron Strings)
The Fratellis: Costello Music--debut album by the jock-rock three-piece. Franz Ferdinand ("Henrietta") and/or The Strokes ("Flathead") without any arty pretensions, The Fratellis (the band members have all taken the last name, Ramones-like) are unabashedly retro-reactionary, not to mention kitschy, with foot-stomps 'n' hand-claps, obvious Beatleisms ("Baby Fratelli") and Music Hall aesthetics ("Whistle For The Choir") all making their appearances, but they're also energetic, up-tempo and for the most part fun. The lyrical persona is a cartoonish working-class, featuring a curious mixture of antique rock templates and vulgarity.
It's not an album that you're going to listen to for the finer points. The playing gets the job done but no more, the production's pretty non-descript, and the songwriting, which works about 3/4 of the time, gets you from A to B with minimal diversion. Better tracks include "Henrietta," the single "Flathead," the twangy "Vince The Loveable Stoner" and the Beatley "Everybody Knows You Cried Last Night." "Chelsea Dagger" is a bit silly, and the last few songs aren't so hot, but by then The Fratellis have said about all that they're going to say. Frankly, once you hit track six or seven on Costello Music, you won't be expecting any subsequent reinventions of the wheel.
The wife likes it 'cos they play tunes.
Good for parties and drunken sing-alongs when you can only remember 1/4 of the words. 7.5 pieces of greasy haddock out of 10.
mp3: The Fratellis--"Henrietta" (from Costello Music)
mp3: The Fratellis--"Whistle For The Choir" (from Costello Music)
Deerhunter: Cryptograms--not coming soon to a chart near you is the second long-play by these Atlanta noise-sculptors, and their first for Kranky, the label that brought you Montreal's masters of the melodramatic (de)crescendo Godspeed You Black Emperor!
Here is Pitchfork's near-fellation of the record. Here's what the band, on its MySpace page, has wittily put in its "Sounds Like" blurb:
Actual Testimony: "Tonight I saw your group in Nashville. Please, STOP MAKING (what might be concieved as) MUSIC! You have no melodies, there was no songwriting skills involved, lack of chord structures, AND your songs are pathetically too long.
It doesn't get better.
Naturally, The Truth (copyright me, 2007) lies somewhere between these two views, but I have to admit I do kinda like this one despite some initial misgivings. But I can understand why some people wouldn't. The album's actually a combination of two separate and quite different-sounding sessions.
The second is comprised of self-contained songs and is considerably more upbeat. The Velvets inheritance predominates through its intermediaries, in this case the drone-like pulsing of early Stereolab and the aural screeching of Sonic Youth. "Heatherwood" and "Strange Lights" are very sunny, "Hazel Street" pretty lame and "Spring Hall Convert," a succession of deliberate gear-changes of rising intensity, probably the best. And that is apparently a guy singing on that one.
The first and longer part, which predates the second, is basically a continuous alternation between ambient/experimental tracks and "songs" and is to my ear more interesting. Others may well find it more annoying. The song side of things, particularly as exemplified by the title track, owes a big debt to Joy Division and often features distorted and monotone vocals (can't find a lyrics sheet anywhere, so no clue what they're on about). The experimental pieces are usually built up from tape-loops and are quite varied. "Providence" is all guitars (backwards and forwards, acoustic and electric) and sounds almost pastoral in its big rich chord build-up, but others like "Intro" and "White Ink" use whatever instrumentation to create pulses, swells and urban-environmental-type sounds. I walked by a condo construction site the other day while listening to the album and honestly couldn't tell which sounds were coming from the headphones. Cool.
The playing is rudimentary to say the least, which lets the side down here and there ("Octet"), and there's a couple of duff bits, like the aforementioned "Hazel Street" and the charmless "Lake Somerset," but otherwise I found Cryptograms' overall vibe very appealing. 8.0 industrial boring tools out of 10 (margin of error +/- 0.5).
The wife doesn't like it 'cos they don't play tunes.
mp3: Deerhunter--"Cryptograms" (from Cryptograms)
mp3: Deerhunter--"Providence" (from Cryptograms)
mp3: Deerhunter--"Spring Hall Convert" (from Cryptograms)
The Memory Band: Apron Strings-- the first proper-band album from the mellow Brit folkies led by one Stephen Cracknell, erstwhile electronic-folk artist, Badly Drawn Boy touring bassist and Brian Eno sound-alike. The influence of electronica is there more in the ambiance than the instrumentation, which is predominantly acoustic guitars, bass and violin/viola, with some gentle metronomic percussion throw in. The Pogues this ain't: I counted one proper crescendo on the entire disc (on the traditional "I Wish I Wish," which not coincidentally is also the only instance of the drums being hit with any force). Dynamically, Apron Strings is about as static as you can get. Some of the cover material, including one quite nice track that I assume is by Chic, and another, a zombified rendering of "Want You To Know" by psych-soul band Rotary Connection, is decidedly non-traditional.
Like Cracknell's former paycheque, this is stuff that's very underwritten and underpowered, but very listenable, coming as it does with an undeniably nice vibe, a gentle earnestness and no grandiose pretensions. Instrumentally, the bowed strings take centre stage most often, and get to cut loose on traditionals "Blackwaterside" and, particularly, "I Wish I Wish." Female lead Nancy Wallace has a very attractive, slightly fragile voice which features nicely on both the presumed Chic cover "Why" and the traditional "Green Grows The Laurel." Cracknell original "Come Write Me Down" is pretty in a '70s folk-pop kind of way. His instrumental pieces are pleasant but don't light the house on fire.
A decent disc for after-dinner listening. 7.2 blissed-out beardie weirdos out of 10.
mp3: The Memory Band--"Come Write Me Down" (from Apron Strings)
mp3: The Memory Band--"Why" (from Apron Strings)
The Fratellis: Costello Music--debut album by the jock-rock three-piece. Franz Ferdinand ("Henrietta") and/or The Strokes ("Flathead") without any arty pretensions, The Fratellis (the band members have all taken the last name, Ramones-like) are unabashedly retro-reactionary, not to mention kitschy, with foot-stomps 'n' hand-claps, obvious Beatleisms ("Baby Fratelli") and Music Hall aesthetics ("Whistle For The Choir") all making their appearances, but they're also energetic, up-tempo and for the most part fun. The lyrical persona is a cartoonish working-class, featuring a curious mixture of antique rock templates and vulgarity.
It's not an album that you're going to listen to for the finer points. The playing gets the job done but no more, the production's pretty non-descript, and the songwriting, which works about 3/4 of the time, gets you from A to B with minimal diversion. Better tracks include "Henrietta," the single "Flathead," the twangy "Vince The Loveable Stoner" and the Beatley "Everybody Knows You Cried Last Night." "Chelsea Dagger" is a bit silly, and the last few songs aren't so hot, but by then The Fratellis have said about all that they're going to say. Frankly, once you hit track six or seven on Costello Music, you won't be expecting any subsequent reinventions of the wheel.
The wife likes it 'cos they play tunes.
Good for parties and drunken sing-alongs when you can only remember 1/4 of the words. 7.5 pieces of greasy haddock out of 10.
mp3: The Fratellis--"Henrietta" (from Costello Music)
mp3: The Fratellis--"Whistle For The Choir" (from Costello Music)
Deerhunter: Cryptograms--not coming soon to a chart near you is the second long-play by these Atlanta noise-sculptors, and their first for Kranky, the label that brought you Montreal's masters of the melodramatic (de)crescendo Godspeed You Black Emperor!
Here is Pitchfork's near-fellation of the record. Here's what the band, on its MySpace page, has wittily put in its "Sounds Like" blurb:
Actual Testimony: "Tonight I saw your group in Nashville. Please, STOP MAKING (what might be concieved as) MUSIC! You have no melodies, there was no songwriting skills involved, lack of chord structures, AND your songs are pathetically too long.
It doesn't get better.
Naturally, The Truth (copyright me, 2007) lies somewhere between these two views, but I have to admit I do kinda like this one despite some initial misgivings. But I can understand why some people wouldn't. The album's actually a combination of two separate and quite different-sounding sessions.
The second is comprised of self-contained songs and is considerably more upbeat. The Velvets inheritance predominates through its intermediaries, in this case the drone-like pulsing of early Stereolab and the aural screeching of Sonic Youth. "Heatherwood" and "Strange Lights" are very sunny, "Hazel Street" pretty lame and "Spring Hall Convert," a succession of deliberate gear-changes of rising intensity, probably the best. And that is apparently a guy singing on that one.
The first and longer part, which predates the second, is basically a continuous alternation between ambient/experimental tracks and "songs" and is to my ear more interesting. Others may well find it more annoying. The song side of things, particularly as exemplified by the title track, owes a big debt to Joy Division and often features distorted and monotone vocals (can't find a lyrics sheet anywhere, so no clue what they're on about). The experimental pieces are usually built up from tape-loops and are quite varied. "Providence" is all guitars (backwards and forwards, acoustic and electric) and sounds almost pastoral in its big rich chord build-up, but others like "Intro" and "White Ink" use whatever instrumentation to create pulses, swells and urban-environmental-type sounds. I walked by a condo construction site the other day while listening to the album and honestly couldn't tell which sounds were coming from the headphones. Cool.
The playing is rudimentary to say the least, which lets the side down here and there ("Octet"), and there's a couple of duff bits, like the aforementioned "Hazel Street" and the charmless "Lake Somerset," but otherwise I found Cryptograms' overall vibe very appealing. 8.0 industrial boring tools out of 10 (margin of error +/- 0.5).
The wife doesn't like it 'cos they don't play tunes.
mp3: Deerhunter--"Cryptograms" (from Cryptograms)
mp3: Deerhunter--"Providence" (from Cryptograms)
mp3: Deerhunter--"Spring Hall Convert" (from Cryptograms)
Saturday, March 17, 2007
This Morning
It was 15 degrees 48 hours ago, and now...
Nice day though.
She don't care one way or t'other. Long as there's a teeter-totter.
Nice day though.
She don't care one way or t'other. Long as there's a teeter-totter.
Thursday, March 15, 2007
Assumptions
Mostly obvious:
- Good art is very hard to do.
- Great art is splendooferously hard to do.
- An artistic failure or partial-failure isn't a crime, nor does it necessarily produce uninteresting results.
- Good/great art requires, by definition, a good/great, engaged and knowledgeable audience.
- Any music, e.g., that requires you be a scenester or "club member" in order to fully appreciate its brilliance and/or fiendishly clever intricacies isn't worth bothering with.
- Following on from 5, any music, e.g., that relies too heavily on extra-musical concerns should be treated with suspicion.
- allmusic has it bang-on correct re EJ, 1968-1976.
Wednesday, March 14, 2007
Records In Review: Of Montreal--Hissing Fauna, Are You The Destroyer?
Weirdo bands are doing surprisingly well in the charts these days--what gives?
Hissing Fauna, Are You The Destoyer? is the nth album by Of Montreal, the vehicle of Athens, Georgia pop eccentric Kevin Barnes, who seldom manages to go a calendar year without an album release. Barnes is an incredibly hyperactive musical personality—allmusic refers to his style as “euphoric pop,” which is as good a single-word description as any—with a particular obsession with '60s stuff: Beatles obviously, but there’s other things in there as well, often filtered through early-'80s electronic sounds and aesthetics. He’s magpie-like rather than organic in his songwriting methods, but weirdly enough it does seem to translate into a quick-witted style all his own. Lyrics are often laugh-out-loud funny, even as they are here painfully autobiographical. Some of OM’s albums have been full- or partial-band, but this one’s pretty much Barnes with some added help.
I’ve never heard more than bits and pieces of the band previously, but the miracle of modern technology means that even the physically and intellectually laziest of us can easily do a little background research. My impressions: Hissing Fauna is pretty outlandish, even for an Of Montreal album. Its general sound-world certainly has similarities to that of 2005's Sunlandic Twins, but it's a much more extreme version of, with lots of weird synth sounds and samples, jarring, oddly-produced and mixed drum beats, and garish multi-part backing vocals. Sonic contrast and disturbance, more than ever before, is at the heart of the thing. Perhaps fittingly, HF lurches all over the place on the songwriting front, drawing ironic inspiration not only from the usual '60s sources but also disco, funk and electronics-heavy new wave. The overall impression is very different from that of the highly-regarded The Gay Parade (1999), a fluid, whimsical, Beatley concept album, or even the tougher, straight-ahead pop of 2004's Satanic Panic In The Attic. If I had to generalize, I'd describe the overall atmosphere as one of benign claustrophobia.
Hardcore fans of the band are of course welcome to set me straight, but I get the feeling that Hissing Fauna, while impressively put together, isn't OM's finest hour. As the album progresses, it loses the plot somewhat in a tangle of self-indulgence and plain weirdness. Barnes has always been extremely clever and no mistake, but it's the kind of cleverness that hits you over the head with a spiked club rather than sidling up beside you. And during those times when his self-restraint is lacking, well, let's just put it this way: you're glad for his sake that he's not in the room.
The first half of the album is extremely good in terms of both material and flow, the latter being no mean feat with songs as diverse as this lot. "Heimdalsgate Like A Promethean Curse" channels early OMD (manic version) and is the most immediately appealing of the outright pop songs; it's all keyboards, drum machine and sudden changes. Opener "Suffer For Fashion" is also extremely catchy and one of the few guitar-based songs on the record. "A Sentence Of Sorts in Konigsvinger" (yes, Barnes' ex-wife is Norwegian) has a ridiculous funky-disco chorus that reminds me of "Rock The Boat"--one of those songs that would surely suck if it wasn't so charming. "Sink The Seine" and "Cato As A Pun" are effective chorus-free asides that help to lend the album an episodic feel.
It's the latter half where things start to come unglued. The spoken-sung "The Past Is A Grotesque Animal" starts out very well, like a faster-paced New Order, but the thing goes on as a repetitive dance groove for 12 frickin' minutes, the last 6 or 7 with tres irritating ooh-ooh-ooh backing vocals. Listen to the first 2:45, then fast-forward. "Faberge Falls For Shuggie" and "Labyrinthian Pomp" are both cases where Barnes' genre-quotational style sounds more like a piss-take, the sort of thing you'd expect from someone like Ween (admittedly, this isn't the first time similarities between the two bands have arisen: see, e.g., the arch "Forecast Fascist Future" from Sunlandic Twins). The same kind of thing can be heard in the vocal delivery on the much better death-disco-ey "She's a Rejecter" as well as "Bunny Ain't No Kind Of Rider," the album's hilarious comic highlight.
Despite the reservations, there's a lot to like about Hissing Fauna, and the album certainly encourages me to explore Of Montreal's back catalogue more thoroughly. An uneven but always surprising listen. Recommendation: 40% impressive, 40% fun, 20% irritating.
mp3: Of Montreal--"Heimdalsgate Like A Promethean Curse" (from Hissing Fauna, Are You The Destroyer?)
mp3: Of Montreal--"Faberge Falls For Shuggie" (from Hissing Fauna, Are You The Destroyer?)
Hissing Fauna, Are You The Destoyer? is the nth album by Of Montreal, the vehicle of Athens, Georgia pop eccentric Kevin Barnes, who seldom manages to go a calendar year without an album release. Barnes is an incredibly hyperactive musical personality—allmusic refers to his style as “euphoric pop,” which is as good a single-word description as any—with a particular obsession with '60s stuff: Beatles obviously, but there’s other things in there as well, often filtered through early-'80s electronic sounds and aesthetics. He’s magpie-like rather than organic in his songwriting methods, but weirdly enough it does seem to translate into a quick-witted style all his own. Lyrics are often laugh-out-loud funny, even as they are here painfully autobiographical. Some of OM’s albums have been full- or partial-band, but this one’s pretty much Barnes with some added help.
I’ve never heard more than bits and pieces of the band previously, but the miracle of modern technology means that even the physically and intellectually laziest of us can easily do a little background research. My impressions: Hissing Fauna is pretty outlandish, even for an Of Montreal album. Its general sound-world certainly has similarities to that of 2005's Sunlandic Twins, but it's a much more extreme version of, with lots of weird synth sounds and samples, jarring, oddly-produced and mixed drum beats, and garish multi-part backing vocals. Sonic contrast and disturbance, more than ever before, is at the heart of the thing. Perhaps fittingly, HF lurches all over the place on the songwriting front, drawing ironic inspiration not only from the usual '60s sources but also disco, funk and electronics-heavy new wave. The overall impression is very different from that of the highly-regarded The Gay Parade (1999), a fluid, whimsical, Beatley concept album, or even the tougher, straight-ahead pop of 2004's Satanic Panic In The Attic. If I had to generalize, I'd describe the overall atmosphere as one of benign claustrophobia.
Hardcore fans of the band are of course welcome to set me straight, but I get the feeling that Hissing Fauna, while impressively put together, isn't OM's finest hour. As the album progresses, it loses the plot somewhat in a tangle of self-indulgence and plain weirdness. Barnes has always been extremely clever and no mistake, but it's the kind of cleverness that hits you over the head with a spiked club rather than sidling up beside you. And during those times when his self-restraint is lacking, well, let's just put it this way: you're glad for his sake that he's not in the room.
The first half of the album is extremely good in terms of both material and flow, the latter being no mean feat with songs as diverse as this lot. "Heimdalsgate Like A Promethean Curse" channels early OMD (manic version) and is the most immediately appealing of the outright pop songs; it's all keyboards, drum machine and sudden changes. Opener "Suffer For Fashion" is also extremely catchy and one of the few guitar-based songs on the record. "A Sentence Of Sorts in Konigsvinger" (yes, Barnes' ex-wife is Norwegian) has a ridiculous funky-disco chorus that reminds me of "Rock The Boat"--one of those songs that would surely suck if it wasn't so charming. "Sink The Seine" and "Cato As A Pun" are effective chorus-free asides that help to lend the album an episodic feel.
It's the latter half where things start to come unglued. The spoken-sung "The Past Is A Grotesque Animal" starts out very well, like a faster-paced New Order, but the thing goes on as a repetitive dance groove for 12 frickin' minutes, the last 6 or 7 with tres irritating ooh-ooh-ooh backing vocals. Listen to the first 2:45, then fast-forward. "Faberge Falls For Shuggie" and "Labyrinthian Pomp" are both cases where Barnes' genre-quotational style sounds more like a piss-take, the sort of thing you'd expect from someone like Ween (admittedly, this isn't the first time similarities between the two bands have arisen: see, e.g., the arch "Forecast Fascist Future" from Sunlandic Twins). The same kind of thing can be heard in the vocal delivery on the much better death-disco-ey "She's a Rejecter" as well as "Bunny Ain't No Kind Of Rider," the album's hilarious comic highlight.
Despite the reservations, there's a lot to like about Hissing Fauna, and the album certainly encourages me to explore Of Montreal's back catalogue more thoroughly. An uneven but always surprising listen. Recommendation: 40% impressive, 40% fun, 20% irritating.
mp3: Of Montreal--"Heimdalsgate Like A Promethean Curse" (from Hissing Fauna, Are You The Destroyer?)
mp3: Of Montreal--"Faberge Falls For Shuggie" (from Hissing Fauna, Are You The Destroyer?)
Tuesday, March 13, 2007
Rogered
O Come All Ye Tasteless: the Prayer Palace Mothership Connection
Just whose plastic palms have been getting watered? That's one of the questions being asked as the Star continues its investigative series into the doings at the Prayer Palace on Finch West:
A Toronto mega church whose spending practices were questioned in a recent Star investigation has hired a public relations firm specializing in "crisis communication" and launched an internal financial probe, a spokesman said yesterday.
[edit]
The audit launch comes one week after the Star published a story on the Prayer Palace as part of an ongoing investigation into Canadian charities. With a 3,000-member congregation, the Prayer Palace is one of the largest churches in Canada, but spends only a small fraction of its income on charitable work. Instead, some of the charity's most highly touted programs are paid for by many of the church's working class members, whose lifestyles stand in sharp contrast to those led by church leaders.
Head pastor Paul Melnichuk and his twin sons, junior pastors Tom and Tim Melnichuk, each own multi-million dollar estates north of the city, they share a waterfront vacation villa in Florida and drive luxurious cars, including Porsches, a Lexus, a Mercedes-Benz and BMWs. The pastors have refused repeated requests for comment. Reporters were told that written questions submitted to the pastors via the church regarding their properties and other possessions were "not related to charities."
No further explanation was given.
I'm shocked. Truly.
The Star's digging isn't going down so well with some of the hardcore parishioners:
"You have touched God's anointed! Be careful! Be careful that you don't drop dead one of these days," shouted one caller who identified himself as Roger.
Other callers said that to ignore their warnings would be to invite tragedy into reporters' lives, including leprosy and possible physical harm.
Leprosy?
One caller issued a death threat; another called a reporter a "Mormon ... a racist."
Monday, March 12, 2007
Earn Enough For Us?
Andy P.'s stomping ground of Swindon is also home to this brave/mad/masochistic couple.
The missus ran the house like a time-and-motion professional, which I guess is what you'd have to do. Why you'd want your home life to be exactly like a for-pay job is beyond me.
I'm suspicious that the doc tarted things up a bit (we saw a version repackaged for U.S. tv, sans the presence of an interviewer). The father is only a modest earner, so it's hard to understand how they can afford grocery bills of 200+ pounds/week and a family vacation that cost over 5000; at least, not without supplementary income or going massively into debt. Their decent-sized house also looked extremely well decked out, with high-end kitchen apps, and furnishings that appeared to be umlaut-free.
The missus ran the house like a time-and-motion professional, which I guess is what you'd have to do. Why you'd want your home life to be exactly like a for-pay job is beyond me.
I'm suspicious that the doc tarted things up a bit (we saw a version repackaged for U.S. tv, sans the presence of an interviewer). The father is only a modest earner, so it's hard to understand how they can afford grocery bills of 200+ pounds/week and a family vacation that cost over 5000; at least, not without supplementary income or going massively into debt. Their decent-sized house also looked extremely well decked out, with high-end kitchen apps, and furnishings that appeared to be umlaut-free.
No More Doors
I'm sick of The Doors. "Light My Fire" was playing in Starbucks this morning. Jesus Christ, what a way to start the day--having to listen to pop music's most overblown talent droning away.
Morrison would have been nothing without the other three to back him up. He wins the award for worst lyrics ever (check out "Riders on the Storm" to see what I mean; I cannot bring myself to reproduce such lame words).
Of all the pompous, self-important '60s bands--and there are many--The Doors win. Please, no more Doors!
Morrison would have been nothing without the other three to back him up. He wins the award for worst lyrics ever (check out "Riders on the Storm" to see what I mean; I cannot bring myself to reproduce such lame words).
Of all the pompous, self-important '60s bands--and there are many--The Doors win. Please, no more Doors!
Sunday, March 11, 2007
More On Free Crap
The RogePost mp3 hoster has been temporarily(?) disappearing links again, so I'll be trying different outfits until I find one that's reliable.
I'll try to update the old links...unless of course they reappear again.
I'll try to update the old links...unless of course they reappear again.
That's It?
A let-down of Page 71-sized proportions.
We took a trip on the Bloor-Danforth line yesterday in order to have a glimpse at the famed Lower Bay station, visible for a couple of months due to a ttc rerouting. It wasn't spooky-ass or interesting, and looked like a dirty version of its upper-level namesake.
No C.H.U.D., subterranean dirt people or giant lizards either.
Pah.
Guess we should have watched the vid first.
Some info on "secret" ttc stations here.
mp3: Robyn Hitchcock--"I Often Dream Of Trains" (from album of that title)
We took a trip on the Bloor-Danforth line yesterday in order to have a glimpse at the famed Lower Bay station, visible for a couple of months due to a ttc rerouting. It wasn't spooky-ass or interesting, and looked like a dirty version of its upper-level namesake.
No C.H.U.D., subterranean dirt people or giant lizards either.
Pah.
Guess we should have watched the vid first.
Some info on "secret" ttc stations here.
mp3: Robyn Hitchcock--"I Often Dream Of Trains" (from album of that title)
Saturday, March 10, 2007
Our Very Own Spartans
Gen. Rick Hillier: soulless cradle-to-grave warrior culture personified?
Watching 300, the new stylized blood-'n'-guts film retelling of the Battle of Thermopylae (based on a graphic novel by Frank Miller), causes the usually reliable Globe reviewer Rick Groen to blow a headpipe.
Off-put by the gorefest's "neocon message" and its "peddl[ing] the gospel of freedom in the garb of the warrior," RG concludes the piece with deep thoughts on the History of Empire, or something:
On it goes, then, as the ferocious band of Spartan brothers, with their unflagging camaraderie and their Marine Corps bellowing, hack through vast chunks of the Persian millions. This prompts an annoyed appearance from Xerxes himself (Rodrigo Santoro), looking rather charismatic in his multiple body-piercings and acres of bling (think of a cross between Mr. T and a back-alley fetishist). In a one-on-one powwow with his opposite number, Xerxes offers our beleaguered hero a final chance to cut-and-run, which gives Leonidas a golden chance to steal a line from the Little Bush book of inflated rhetoric: “The world will know that free men stood against a tyrant.”
Of course, thanks to Herodotus, the world also knows that these particular free men were eventually done in by the traitor Ephialtes, personified here as a wickedly deformed hunchback — his breach of national security rendered literally ugly. Happily, back on the home front, the Queen has successfully lobbied for a troop surge, and the rest, more or less, is history. Athenian democracy gets preserved, safe to give birth to its many worthy successors — you know, those shining examples in Rome, in France, in Britain, in America; all with their same warrior codes and their shared trail of blood; all fighting heroically to keep themselves free, even when it meant keeping others enslaved.
Yes, as visual extravaganza go, 300 is woefully stingy, but there's no denying the timeliness of its pro patria mori sermonette. I'm half expecting a still shot of Leonidas to show up on Coach's Corner, with the pugnacious Don fighting a quiver in his voice to extol “such a fine broth of a lad.” A second of hushed silence, then cut to a commercial — preferably that slick recruitment ad for our very own Spartans.
mp3: The Fall--"Theme From Sparta F.C." (from The Real New Fall L.P.)
Thursday, March 8, 2007
International Women's Day
(from here)
Kind of insulting of their clientele, implying that their product is enjoyed by d***s of all shapes and sizes.
(ducks)
A Three-Length Lead On The Vatican
Office efficiencies: the diocese upgrades its phone systemDon't rush us, we're Anglicans. Reform-minded B.C. bishop Michael Ingham:
"Today we have a better understanding of homosexuality as a basic and natural orientation experienced by some members of the human community, just as we find the same thing among some animal species, and in Christian terms we must come to think of this as not only natural but also God-given and good.
"But these developments in the social sciences and therefore in popular understanding are still relatively new -- since about the 19th century. They have not yet penetrated the church's thinking except at the edges of its consciousness and greatly against its will."
Tuesday, March 6, 2007
Compensating
Remember the snake man? Well, apparently, his poor shlub defense isn't the whole story:
Claro, 39, has pleaded not guilty to two counts of sex assault and one of sexual exploitation against [an] underage teen, and not guilty to three counts of sex assault against an 18-year-old female.
The two teens have testified that he caressed and groped them on several occasions in 2005. Claro did not testify.
In that trial, which is in its final stages at Old City Hall provincial court, Crown prosecutor Kim Walker has argued that one of the ways Claro exercised control over the 16-year-old girl was by telling her that he wanted to let cobras loose in houses.
A "trouser snake" joke at this point would be too obvious, even for me.
Or would it?
Claro, 39, has pleaded not guilty to two counts of sex assault and one of sexual exploitation against [an] underage teen, and not guilty to three counts of sex assault against an 18-year-old female.
The two teens have testified that he caressed and groped them on several occasions in 2005. Claro did not testify.
In that trial, which is in its final stages at Old City Hall provincial court, Crown prosecutor Kim Walker has argued that one of the ways Claro exercised control over the 16-year-old girl was by telling her that he wanted to let cobras loose in houses.
A "trouser snake" joke at this point would be too obvious, even for me.
Or would it?
Monday, March 5, 2007
Saturday, March 3, 2007
"This One Might Have Been A Late Hit"
The only way it could have been any later is if it had happened during the flight home.
Janssen received a piddling three-game suspension.
Both Don Cherry and Sportsnet analyst/former crap goaltender John Garrett opined today that Kaberle had plenty of time to prepare to take the hit. Classy.
Friday, March 2, 2007
Gangs Need Safe Place To Fight, Dance, Sing: Union
Local student production of WSS runs into a few roadblocks:
A high school in The Beach's production of West Side Story is back on after a drama teacher briefly pulled the plug, citing roadblocks levelled by the board and a trades' union over safety concerns and the fact that students -- not union workers --constructed a stage.
The musical's potential cancellation prompted more than 100 Malvern Collegiate Institute students to demand the show be resurrected during an emotional, impromptu assembly in the school's auditorium yesterday.
[edit]
The musical's near-death experience began when the play's director, drama teacher Erich Lehrer, decided to build an ambitious new stage from scratch in the centre of the auditorium for three shows March 29, 30 and 31.
The idea, Mr. Lehrer said, was to create a "theatre-in-the-round" experience with the audience circling the stage.
A crew of student volunteers led by a former-student-turned-carpenter came into the school on a recent Saturday to unfasten 174 chairs bolted to the auditorium floor and to construct most of the stage.
Shortly afterward, a member of the Maintenance, Construction & Skilled Trades' Council -- which represents plumbers, electricians, carpenters and other tradespeople contracted by the Toronto District School Board -- came into Malvern to do some work and noticed the new stage. The worker reported it to his union.
Jimmy Hazel, the council's president, said his chief concern was that the stage had been built without a permit, proper designs or the supervision of a union carpenter.
A high school in The Beach's production of West Side Story is back on after a drama teacher briefly pulled the plug, citing roadblocks levelled by the board and a trades' union over safety concerns and the fact that students -- not union workers --constructed a stage.
The musical's potential cancellation prompted more than 100 Malvern Collegiate Institute students to demand the show be resurrected during an emotional, impromptu assembly in the school's auditorium yesterday.
[edit]
The musical's near-death experience began when the play's director, drama teacher Erich Lehrer, decided to build an ambitious new stage from scratch in the centre of the auditorium for three shows March 29, 30 and 31.
The idea, Mr. Lehrer said, was to create a "theatre-in-the-round" experience with the audience circling the stage.
A crew of student volunteers led by a former-student-turned-carpenter came into the school on a recent Saturday to unfasten 174 chairs bolted to the auditorium floor and to construct most of the stage.
Shortly afterward, a member of the Maintenance, Construction & Skilled Trades' Council -- which represents plumbers, electricians, carpenters and other tradespeople contracted by the Toronto District School Board -- came into Malvern to do some work and noticed the new stage. The worker reported it to his union.
Jimmy Hazel, the council's president, said his chief concern was that the stage had been built without a permit, proper designs or the supervision of a union carpenter.
Tuesday, February 27, 2007
Not Professional, Just Foul
Short version: the teams were sent memos explaining the rules beforehand, but said rules were never previously enforced with any consistency, the international governing body from which the rules are sourced is not unequivocal on the matter, and the local bods are now forcing the issue, i.e., passing the buck.
And the Premier feels the need to comment, thus turning the whole thing (like it wasn't already) into the latest round in Quebec's "reasonable accomodation" debate.
And a little kid from Nepean gets to be the centre of an international media storm.
All in all, a red-letter day for complete fucking idiocy.
Update: TG, as usual, finds the positive bits.
And the Premier feels the need to comment, thus turning the whole thing (like it wasn't already) into the latest round in Quebec's "reasonable accomodation" debate.
And a little kid from Nepean gets to be the centre of an international media storm.
All in all, a red-letter day for complete fucking idiocy.
Update: TG, as usual, finds the positive bits.
Sunday, February 25, 2007
TTC Not Liable For C.H.U.D. Attacks
This'll be the first time I've ever ridden the subway just for fun.
Saturday, February 24, 2007
Friday, February 23, 2007
Swan Song
What kind of meany kills swans? Beyond bizarre. And in Owen Sound too! Might have to rethink the summer holiday...
Thursday, February 22, 2007
Records In Review: Bloc Party--A Weekend In The City
Third attempt at writing this. I hate second-album reviews, I do!
In many ways, A Weekend In The City is your typical second album. The instrumentalism is more restrained and contained, the production more polished (the toms don't sound like damp suitcases, and the drums in general aren't wrung through the phaser so much), and the influences worn less on-sleeve. Speaking of influences, the usual suspects are present, albeit with the dubby P.I.L. thang dialled back appreciably, and my ears can detect a smidgen of stadium-era P. Furs on a track or two ("I Still Remember"), which isn't surprising given that Weekend's a record that speaks much more to an arena environment than did its predecessor. More space and sweep, less grunt, scratch and skronk. About half of the record I'd describe as Coldplay for people who have a pulse.
I can't say I'm particularly enamoured of the bigged-up sound. To each his own, perhaps, but one of the things I found most interesting about Silent Alarm was the juxtaposition of the occasional emo/grandiose tendency with an attitude toward arrangement that often surprised you with sonic contrasts between sections (see "Pioneers" below) and between tracks--particularly helpful with a band like BP who aren't really "about" the finer details of songcraft. Here, a lot of that's been ironed out. The emphasis on Weekend is on less detail-driven quiet/loud/louder sectional contrasts, some of which aren't exactly subtle in their execution ("Hunting For Witches," "SRXT"). SA left itself more sonic wiggle room at the micro-level and thus avoided sounding like slush.
If Silent Alarm had a slight emo tendency, its successor has a full-blown melodramatic one that's only barely reined in. The episodic "Uniform" is a case in point and while the individual bits of it are pretty good, the whole is long-winded and not entirely convincing. I never paid much attention to the lyrics on SA, beyond twigging to a few overt political commentaries, but holy crap, Weekend sees singer Kele Okereke morphing into Morrissey v. 2.0 (the upgrade capable of throwing a couple of punches before getting beaten up). A fair amount of languor, and a hell of a lot of insecurity-borne yearning. And I can only ingest so much yearning before my body cries out for a Hives-flavoured palate cleanser. This is stuff that takes itself very seriously indeed. Too seriously.
Objectively, the material's at least as consistent as that of Silent Alarm (which admittedly ran out of gas in the last third). As with the latter, the best stuff is in the middle of the running order. Of the songs in the more reflective and atmospheric vein, "On" and "Kreuzberg" are the best, the former being particularly pretty. "Sunday" is all right but sounds too much like "Kreuzberg," from which it's only separated by one song. "I Still Remember" is currently my favourite track, very simply structured, with a simple but effective vocal melody, and a good fit with the bigger-stage production style without sounding bombastic. "Waiting For The 7.18" is also very good, and probably the most successful example of the aforementioned loud/soft contrast thing. Single "The Prayer" is pretty good and catchy, but certainly is bombastic, sounding as it does like overproduced Killing Joke. You can probably intuit from my language that I don't think there's as much a-list material on offer here as on SA.
I've dithered over this album much more than I usually do, and frankly, if someone came to me with a substantially dissenting opinion I'm not sure I'd put up much of an argument. Some of it's indeed a matter of taste. All I know is, a year and a half later and I'm still listening to Silent Alarm, and after two weeks I've already grown weary of about half of this one. Recommendation: I report, you decide.
P.S. Good review here, even if I disagree with the conclusions.
mp3: Bloc Party--"Hunting For Witches" (from A Weekend In The City)
mp3: Bloc Party--"Waiting For The 7.18" (from A Weekend In The City)
mp3: Bloc Party--"This Modern Love"(from Silent Alarm)
mp3: Bloc Party--"Pioneers" (from Silent Alarm)
In many ways, A Weekend In The City is your typical second album. The instrumentalism is more restrained and contained, the production more polished (the toms don't sound like damp suitcases, and the drums in general aren't wrung through the phaser so much), and the influences worn less on-sleeve. Speaking of influences, the usual suspects are present, albeit with the dubby P.I.L. thang dialled back appreciably, and my ears can detect a smidgen of stadium-era P. Furs on a track or two ("I Still Remember"), which isn't surprising given that Weekend's a record that speaks much more to an arena environment than did its predecessor. More space and sweep, less grunt, scratch and skronk. About half of the record I'd describe as Coldplay for people who have a pulse.
I can't say I'm particularly enamoured of the bigged-up sound. To each his own, perhaps, but one of the things I found most interesting about Silent Alarm was the juxtaposition of the occasional emo/grandiose tendency with an attitude toward arrangement that often surprised you with sonic contrasts between sections (see "Pioneers" below) and between tracks--particularly helpful with a band like BP who aren't really "about" the finer details of songcraft. Here, a lot of that's been ironed out. The emphasis on Weekend is on less detail-driven quiet/loud/louder sectional contrasts, some of which aren't exactly subtle in their execution ("Hunting For Witches," "SRXT"). SA left itself more sonic wiggle room at the micro-level and thus avoided sounding like slush.
If Silent Alarm had a slight emo tendency, its successor has a full-blown melodramatic one that's only barely reined in. The episodic "Uniform" is a case in point and while the individual bits of it are pretty good, the whole is long-winded and not entirely convincing. I never paid much attention to the lyrics on SA, beyond twigging to a few overt political commentaries, but holy crap, Weekend sees singer Kele Okereke morphing into Morrissey v. 2.0 (the upgrade capable of throwing a couple of punches before getting beaten up). A fair amount of languor, and a hell of a lot of insecurity-borne yearning. And I can only ingest so much yearning before my body cries out for a Hives-flavoured palate cleanser. This is stuff that takes itself very seriously indeed. Too seriously.
Objectively, the material's at least as consistent as that of Silent Alarm (which admittedly ran out of gas in the last third). As with the latter, the best stuff is in the middle of the running order. Of the songs in the more reflective and atmospheric vein, "On" and "Kreuzberg" are the best, the former being particularly pretty. "Sunday" is all right but sounds too much like "Kreuzberg," from which it's only separated by one song. "I Still Remember" is currently my favourite track, very simply structured, with a simple but effective vocal melody, and a good fit with the bigger-stage production style without sounding bombastic. "Waiting For The 7.18" is also very good, and probably the most successful example of the aforementioned loud/soft contrast thing. Single "The Prayer" is pretty good and catchy, but certainly is bombastic, sounding as it does like overproduced Killing Joke. You can probably intuit from my language that I don't think there's as much a-list material on offer here as on SA.
I've dithered over this album much more than I usually do, and frankly, if someone came to me with a substantially dissenting opinion I'm not sure I'd put up much of an argument. Some of it's indeed a matter of taste. All I know is, a year and a half later and I'm still listening to Silent Alarm, and after two weeks I've already grown weary of about half of this one. Recommendation: I report, you decide.
P.S. Good review here, even if I disagree with the conclusions.
mp3: Bloc Party--"Hunting For Witches" (from A Weekend In The City)
mp3: Bloc Party--"Waiting For The 7.18" (from A Weekend In The City)
mp3: Bloc Party--"This Modern Love"(from Silent Alarm)
mp3: Bloc Party--"Pioneers" (from Silent Alarm)
Wednesday, February 21, 2007
It's A Decision I'll Make With My Family
Oh, look: Roger Clemens says there's a small chance he'll come back this year. Just like last year. And the year before. And once more for luck. Perhaps we'll be fortunate enough to get another farewell tour, or at least a couple of "last start" standing ovations.
Brett Favre, it seems, is definitely coming back. A decisive fellow--good to see.
If Favre or Clemens issued a press release and nobody published it, would they immediately cease to exist?
For Hall of Fame talent sans Hall of Fame ego, turn to pitcher Greg Maddux.
Maddux after winning his 300th:
Maddux never returned to the field after the final out was made. Fans hollered as he worked his way down the hallway to a postgame interview, and Maddux practically pursed his lips to keep from reacting. It took a near mugging by a bunch of teammates at his locker to finally make him smile.
[edit]
After the final out, Cubs fans held up a large "W" banner, and a graphic recognizing Maddux's achievement was shown on the center-field scoreboard. But Maddux never came back onto the field. He didn't feel it would be right to hold a huge celebration in somebody else's ballpark...
Brett Favre, it seems, is definitely coming back. A decisive fellow--good to see.
If Favre or Clemens issued a press release and nobody published it, would they immediately cease to exist?
For Hall of Fame talent sans Hall of Fame ego, turn to pitcher Greg Maddux.
Maddux after winning his 300th:
Maddux never returned to the field after the final out was made. Fans hollered as he worked his way down the hallway to a postgame interview, and Maddux practically pursed his lips to keep from reacting. It took a near mugging by a bunch of teammates at his locker to finally make him smile.
[edit]
After the final out, Cubs fans held up a large "W" banner, and a graphic recognizing Maddux's achievement was shown on the center-field scoreboard. But Maddux never came back onto the field. He didn't feel it would be right to hold a huge celebration in somebody else's ballpark...
Saturday, February 17, 2007
Cold Fingers
Toward Hanlan's Point (more or less), before the big freeze up...
...and on a cloudy day, after the ice and snow...
...and on a sunny day...
...and again.
Birdie oasis.
Are they ticking?
Hanlan's Point ferry.
Thursday, February 15, 2007
Worth Every Penny I'm Paying For It
I've been informed that a number of my posted audio file links have been "disappeared." Don't know why. Will look into.
Update (2/18): now the damn things are back up again. I hate technology.
Update (2/18): now the damn things are back up again. I hate technology.
Wednesday, February 14, 2007
Jays Sign Bill Caudill
For reasons best left to the imagination, I'll be an occasional contributor here:
Drink-Soaked Trotskyite Popinjays For War
Drink-Soaked Trotskyite Popinjays For War
Tuesday, February 13, 2007
Wee Redhead
Daniel Cook hits the big time.
For those who don't pay attention to kids' tv, Cook is quite a remarkable kid, mostly because he's so, well, ordinary. As a junior interviewer, he's not easily fazed, but he's also guileless and unpolished--not a "bred" child star or anything like that. You can almost see the wheels spinning in his head when he's asking or responding to questions.
For those who don't pay attention to kids' tv, Cook is quite a remarkable kid, mostly because he's so, well, ordinary. As a junior interviewer, he's not easily fazed, but he's also guileless and unpolished--not a "bred" child star or anything like that. You can almost see the wheels spinning in his head when he's asking or responding to questions.
Monday, February 12, 2007
No Outback Here, Eh
Lynne Truss, author of Eats, Shoots, And Leaves, has an interesting column about the authorial search for authenticity. But she made me cringe when she said this:
...perhaps the main point of interest was that Penney had been suffering agoraphobia while working on the book (set in the 19th Century Canadian outback), so her illness would have prevented her from visiting Canada even if she'd wanted to.
Ms Truss would be well advised to brush up on a little authenticity herself: there ain't no outback here. Call it "up north", the far north, the Arctic, or any number of more colourful terms used to describe the remote parts of Canada, but don't call it the "outback"! Ouch.
...perhaps the main point of interest was that Penney had been suffering agoraphobia while working on the book (set in the 19th Century Canadian outback), so her illness would have prevented her from visiting Canada even if she'd wanted to.
Ms Truss would be well advised to brush up on a little authenticity herself: there ain't no outback here. Call it "up north", the far north, the Arctic, or any number of more colourful terms used to describe the remote parts of Canada, but don't call it the "outback"! Ouch.
Sunday, February 11, 2007
Boarded Up
Not that the news comes as a shock or anything, but XTC appear to have ceased trading for all intents and purposes. Damn, blast and bugger.
It Came From The CD Rack
Why can't we all share our pain?
1. Your 2-year-old daughter has banged her head on a table. Do you a) comfort her or b) reach for the ff button?
mp3: They Might Be Giants--"The Guitar" (from Apollo 18)
2. Persist with it, it gets worse:
mp3: Metric--"Handshakes" (from Live It Out)
3. The extra-shouty remix is better:
mp3: Modest Mouse--"Dance Hall" (from Good News For People Who Love Bad News)
4. Chipmunks are not the only sciurids:
mp3: Broken Social Scene--"Anthems For A Seventeen-Year-Old Girl" (from You Forgot It In People)
* * * * * * * *
...and for dessert...
1. Your 2-year-old daughter has banged her head on a table. Do you a) comfort her or b) reach for the ff button?
mp3: They Might Be Giants--"The Guitar" (from Apollo 18)
2. Persist with it, it gets worse:
mp3: Metric--"Handshakes" (from Live It Out)
3. The extra-shouty remix is better:
mp3: Modest Mouse--"Dance Hall" (from Good News For People Who Love Bad News)
4. Chipmunks are not the only sciurids:
mp3: Broken Social Scene--"Anthems For A Seventeen-Year-Old Girl" (from You Forgot It In People)
* * * * * * * *
...and for dessert...
Subscribe to:
Posts (Atom)
