It has been established that I am going to spend next year at home.
Oh well. I'm happy I got the dorm experience, but I do understand that living 10 minutes from campus, and the economic situation right now DOES mean it's impossible.
Not much will change, except I'll move my bedroom down into the basement. Fuck around, I'd write all this nostalgia shit about how I had memories, but I really don't. Other than lying in bed around 12 telling myself how much 6th grade is horrible and I can't imagine school getting any better.
What this means though, I will put my turntable in position again soon, and just buy LPs probably exclusively throughout the next few years. And it's gonna be GREAT. Ironically my parents and I talked about this a few years ago. So, it's hardly new, but it just kinda fizzled out. I'm up for it. Fuck that, actually lets do it NOW. Fuck history, it means nothing.
In other news, I'm going to try and actually start standing up straight.
Yeah, I know.
Monday, February 16, 2009
Thursday, January 8, 2009
Let's try something new and exciting
I want to start off by saying that, next to Lightning Bolt and Mahi Mahi, which hold special places in my heart for being the first Providence bands I've ever seen live, at AS220, Sweetthieves might actually surpass them in terms of being one of my favorite bands, period. Because of the lengthy history I have with the band, I will interject now and again with some ancedote I have if I see fit, but this review is meant for someone with similar tastes to my own. While trying to be as fair as possible while obviously mentioning the rights as well as the wrongs...
On the same day of their last show, Sweetthieves released the new full length "Blood & Curses", almost 3 years after their debut "View From A Glass Tower". Comprised of Dave Martinka (Baritone Guitar/vox), Hilary Jones (Bass/vox) and on this release Michael Viera (drums), the three don't offer the standard Providence, or even rock band aesthetic of trying to blow you against the backwall with the power of sound. (Which so many, while doing it very, very, very well are guilty of.) Instead, the three offer themselves as individuals in their instruments, which is ironic considering that Dave's baritone guitar (which is tuned down from a normal guitar) is in almost the same range as Hilary's bass (which is actually tuned UP). But it's pretty clear when listening who is doing what. The guitar tends to offer subtle counter-points or harmonies to the vocal lines when present, and the bass lends itself very well towards going in the upper registers for a lead line, chordal accompanies or even (gasp) playing a very nice solid bassline with the drum groove.
On first listen, the album opens with the song "Bullet". An ode to what seems like an obidient lover, the track ends with Dave and Hilary singing in unison, "I would take a bullet for you, would you take one for me?" in a hesistant phrasing, which leaves the mystery if they are both trying to decieve. The tone of the album doesn't lighten up at all. "I Am With You As Your House Burns To The Ground" (which would make a great band name) offers up a very rhythmically dyslexic feel on 4/4 time, the basis for almost all western music post-war. "Anchor" is a love song (and a fairly happy one at that), which puts a spin on the old "Dark lyrics, happy music" trick by having "Happy lyrics, dark music". It might even be the first pro-love song in a minor key I've ever heard. The song then drops the lovey-dovey lyrics and kicks into a driving rhythm like a possessed car in the middle of the Mojave desert at 100 miles an hour. "Reactant", which might be some of the best vocal work I've ever heard, is a winner. Dissonance opens the song, with twists and turns by the band which shows that the instruments are free to play as they wish, and not everything in the band has to be connected to each other. And then, that driving rhythm comes back, just as the song seems to be going nowhere. One thing I will say about this record in regards to "Glass Tower" is there seems to be less singing on this than the other, maybe it's just more instrumental sections than I've noticed before, but there seems to be a very nice niche for the vocals to lay in a song, almost like a neighborhood in a patch of woods.
But, like all things, there are some slight flaws. The production is very dry, save for a piano track on "Phantom" which really opens things up, but this is almost like a tease. The guitars and drums are panned the same throughout the entire album, with vocals in the center. It's a reproduction of their live setup, and while I can see the Albini-esque production values, they already went for that on "Glass Tower". There's nothing wrong with adding some sonic depth to some tracks, and while I understand that sometimes things get complicated and you can't really DO anything with the recordings. The songs flow together almost immediately. There is really no room to breath on the album, except for where they make you breath with them, when they tell you to. It's a nice effect on the first listen, but after 5th or 6th track, the instinct to hit the pause button and catch your breath comes over. Luckily, the band is well versed in dynamics, where you never find yourself struggling to keep up with their pace.
"Blood & Curses" is in all-likely hood the major swan song for Sweetthieves, sadly. But, the album is nothing to cry over. All the songs are ones that people will kill to write. The driving rhythms and pounding dissonances giveway to breathtaking melodies and vocal delivery. But find yourself ask for a little bit more, in everything.
Rating: B+
On the same day of their last show, Sweetthieves released the new full length "Blood & Curses", almost 3 years after their debut "View From A Glass Tower". Comprised of Dave Martinka (Baritone Guitar/vox), Hilary Jones (Bass/vox) and on this release Michael Viera (drums), the three don't offer the standard Providence, or even rock band aesthetic of trying to blow you against the backwall with the power of sound. (Which so many, while doing it very, very, very well are guilty of.) Instead, the three offer themselves as individuals in their instruments, which is ironic considering that Dave's baritone guitar (which is tuned down from a normal guitar) is in almost the same range as Hilary's bass (which is actually tuned UP). But it's pretty clear when listening who is doing what. The guitar tends to offer subtle counter-points or harmonies to the vocal lines when present, and the bass lends itself very well towards going in the upper registers for a lead line, chordal accompanies or even (gasp) playing a very nice solid bassline with the drum groove.
On first listen, the album opens with the song "Bullet". An ode to what seems like an obidient lover, the track ends with Dave and Hilary singing in unison, "I would take a bullet for you, would you take one for me?" in a hesistant phrasing, which leaves the mystery if they are both trying to decieve. The tone of the album doesn't lighten up at all. "I Am With You As Your House Burns To The Ground" (which would make a great band name) offers up a very rhythmically dyslexic feel on 4/4 time, the basis for almost all western music post-war. "Anchor" is a love song (and a fairly happy one at that), which puts a spin on the old "Dark lyrics, happy music" trick by having "Happy lyrics, dark music". It might even be the first pro-love song in a minor key I've ever heard. The song then drops the lovey-dovey lyrics and kicks into a driving rhythm like a possessed car in the middle of the Mojave desert at 100 miles an hour. "Reactant", which might be some of the best vocal work I've ever heard, is a winner. Dissonance opens the song, with twists and turns by the band which shows that the instruments are free to play as they wish, and not everything in the band has to be connected to each other. And then, that driving rhythm comes back, just as the song seems to be going nowhere. One thing I will say about this record in regards to "Glass Tower" is there seems to be less singing on this than the other, maybe it's just more instrumental sections than I've noticed before, but there seems to be a very nice niche for the vocals to lay in a song, almost like a neighborhood in a patch of woods.
But, like all things, there are some slight flaws. The production is very dry, save for a piano track on "Phantom" which really opens things up, but this is almost like a tease. The guitars and drums are panned the same throughout the entire album, with vocals in the center. It's a reproduction of their live setup, and while I can see the Albini-esque production values, they already went for that on "Glass Tower". There's nothing wrong with adding some sonic depth to some tracks, and while I understand that sometimes things get complicated and you can't really DO anything with the recordings. The songs flow together almost immediately. There is really no room to breath on the album, except for where they make you breath with them, when they tell you to. It's a nice effect on the first listen, but after 5th or 6th track, the instinct to hit the pause button and catch your breath comes over. Luckily, the band is well versed in dynamics, where you never find yourself struggling to keep up with their pace.
"Blood & Curses" is in all-likely hood the major swan song for Sweetthieves, sadly. But, the album is nothing to cry over. All the songs are ones that people will kill to write. The driving rhythms and pounding dissonances giveway to breathtaking melodies and vocal delivery. But find yourself ask for a little bit more, in everything.
Rating: B+
Monday, January 5, 2009
New post.
On break, been playing around with Da Troop (www.atroopofechoes.com) for a little while, it goes alright.
Tried to do battle today with my car, of course I just need to replace the battery, but with me it's never that simple. One busted ratchet and 2 failed attempts to start the car with the new battery in (I really, really, really hope it was just because the connectors were loose), I have to stop because there's not more I can do without the proper tools. It just really really frustrates me because the sooner I can get this car in semi-drivable condition the better it means for me. I need to go to the bank and get a bow for my double bass.
Oh, yes, my double bass. It's fine. My intonation is still iffy, but I haven't had a REAL lesson on it yet. Other than that I like playing classical pieces on it surprisingly more than jazz, which I hope changes soon or else it's major (pun intended) change for me.
Oh yes, the Sweetthieves show was two nights ago, how very, very sad, but they played about an hour and a half, playing almost all the songs they've written, except for two or three. It was great, not a big crowd (not the biggest I've seen) but certainly a good one. I was in the front and center like an idiot getting into it, but I guess it paid off because there were three other people behind me getting into it as well. Afterwards Chris grabbed the setlist for me, and I shook everyone's hand and told them the band means a lot to me and I hate to see them go, but it was a great show. Bought the new record, it sounds great.
Saw Slumdog Millionaire, blew me away, almost didn't go see it because I saw it out of sheer boredom. In Narragansett it's either get out of town or do drugs in the wintertime. I can see why some people pick the latter. Great great movie, go see it, it's worth the money.
Argh, I have 500 messages on my phone and I can't remember the security code to delete them all.
On break, been playing around with Da Troop (www.atroopofechoes.com) for a little while, it goes alright.
Tried to do battle today with my car, of course I just need to replace the battery, but with me it's never that simple. One busted ratchet and 2 failed attempts to start the car with the new battery in (I really, really, really hope it was just because the connectors were loose), I have to stop because there's not more I can do without the proper tools. It just really really frustrates me because the sooner I can get this car in semi-drivable condition the better it means for me. I need to go to the bank and get a bow for my double bass.
Oh, yes, my double bass. It's fine. My intonation is still iffy, but I haven't had a REAL lesson on it yet. Other than that I like playing classical pieces on it surprisingly more than jazz, which I hope changes soon or else it's major (pun intended) change for me.
Oh yes, the Sweetthieves show was two nights ago, how very, very sad, but they played about an hour and a half, playing almost all the songs they've written, except for two or three. It was great, not a big crowd (not the biggest I've seen) but certainly a good one. I was in the front and center like an idiot getting into it, but I guess it paid off because there were three other people behind me getting into it as well. Afterwards Chris grabbed the setlist for me, and I shook everyone's hand and told them the band means a lot to me and I hate to see them go, but it was a great show. Bought the new record, it sounds great.
Saw Slumdog Millionaire, blew me away, almost didn't go see it because I saw it out of sheer boredom. In Narragansett it's either get out of town or do drugs in the wintertime. I can see why some people pick the latter. Great great movie, go see it, it's worth the money.
Argh, I have 500 messages on my phone and I can't remember the security code to delete them all.
Thursday, December 18, 2008
I sit here in the Hope Commons dining hall of URI writing this on my laptop. I brought my laptop to say I was going to read overviews of Russian History as pregaming to my actual study session. (and I still might do that) but I've been listening to my ipod and reading my friend Martin's blog. I've recently come to the attention that all my life I've pretty much tried to go through with the least amount of effort possible, and it's biting my ass right now. I could skate through high school no problem, but that's because everyone knows in the modern infrastructure, high school is pretty much worthless in some respects.
Lately I've been figuring out the program Reason and feel like I am getting better at it. It's pretty much a lot of stuff I've wanted in a program, it's just a pain in the dick to program patterns without a keyboard, but in my history of breaking 2 of them in the last 3 years, I'm holding off on buying another one until I can find one used or one that is absolutely a perfect fit for me.
I would really like to add my programming to my current bands, but in one it would go against my minimalist views I hold for it, because the moment we start adding more stuff than we absolutely physically need for the song to work, it becomes overbearing an
d like THIS.
http://www.youtube.com/watch?v=QT0IEOArHj0
I don't ever want to play that type of music. Ever.
On the other hand, another band I'm in (I'm in it like Jim O'Rourke was in Sonic Youth) doesn't really seem the best band to introduce electronic programming, but what do I know? Maybe they'd really dig it.
So what does this mean? I think I've added another instrument to my belt, I'll see if I can get a show at AS220 winter break and see what the fuck pops up.
I also really, really want to play music with people again.
I also need to stop being negative, and for god sakes stop slouching!
Lately I've been figuring out the program Reason and feel like I am getting better at it. It's pretty much a lot of stuff I've wanted in a program, it's just a pain in the dick to program patterns without a keyboard, but in my history of breaking 2 of them in the last 3 years, I'm holding off on buying another one until I can find one used or one that is absolutely a perfect fit for me.
I would really like to add my programming to my current bands, but in one it would go against my minimalist views I hold for it, because the moment we start adding more stuff than we absolutely physically need for the song to work, it becomes overbearing an
d like THIS.
http://www.youtube.com/watch?v=QT0IEOArHj0
I don't ever want to play that type of music. Ever.
On the other hand, another band I'm in (I'm in it like Jim O'Rourke was in Sonic Youth) doesn't really seem the best band to introduce electronic programming, but what do I know? Maybe they'd really dig it.
So what does this mean? I think I've added another instrument to my belt, I'll see if I can get a show at AS220 winter break and see what the fuck pops up.
I also really, really want to play music with people again.
I also need to stop being negative, and for god sakes stop slouching!
Monday, December 15, 2008
Sunday, December 7, 2008
This weekend:
I have managed to see Boris in a club they will never play in again most likely, at a crowd size I will SURELY never see again. Their guitars rumbled so much the sound was palpable. It was amazing and was so glad I saw it. The question remains will I see them ever again, if it means ruining the "picture perfect" filter my mind has placed on the show?
Picked up two new blogs to follow. Chris Curley's are 180 gram and A Duck Pond, while Sarge's is Circle The First. Also is Justin's blog, as you will see of course. I suggest Chris's first as he has just disembarked for Barbados on an all-expenses paid review trip (fucker).
Attending Peter Gilli's composition performance made me realize that I come from a productive, supportive but faux-rivalry group of friends. Talking with Astrid, reading Chris's blog, listening to Pete's compositions all make me want to practice or do some things better. They're all very supportive of me, but I want to be better than them. It's nothing personal, and sometimes it sucks because I know I can't be as such a good writer as Chris, but I still like blogging, isn't that what it's about?
On the other hand, I know I can be as good a musician as Nick or Pete. Looking at old etudes on my upright that I haven't looked at since I learned them for my lesson, it's almost faux-sightreading. And I'm playing them fairly well for only playing my upright for a combined time of 10 hours, and not touching it for almost a week. I guess it's just how much I apply my self.
Which is why I am now going to practice and return to this blog later.
And later is now.
That draft was saved at 4:39 PM, it's not 5:23. Having spent 40 minutes practicing, I'm still not getting use to hard pieces of music. I was a big fish in a small pond, and no one really challanged me in high school with music. But having to actually read music again? Fuck, it's hard. There are so many, and rhythms and my fingers can't take it.
On the other side of blogging, being a metablog such as BoingBoing or Digg,
http://www.youtube.com/watch?v=1ArlE9oP1l0&feature=related
If you're anything like me, you'll find it funny, but wait for the last one, and it's the payoff.
I have managed to see Boris in a club they will never play in again most likely, at a crowd size I will SURELY never see again. Their guitars rumbled so much the sound was palpable. It was amazing and was so glad I saw it. The question remains will I see them ever again, if it means ruining the "picture perfect" filter my mind has placed on the show?
Picked up two new blogs to follow. Chris Curley's are 180 gram and A Duck Pond, while Sarge's is Circle The First. Also is Justin's blog, as you will see of course. I suggest Chris's first as he has just disembarked for Barbados on an all-expenses paid review trip (fucker).
Attending Peter Gilli's composition performance made me realize that I come from a productive, supportive but faux-rivalry group of friends. Talking with Astrid, reading Chris's blog, listening to Pete's compositions all make me want to practice or do some things better. They're all very supportive of me, but I want to be better than them. It's nothing personal, and sometimes it sucks because I know I can't be as such a good writer as Chris, but I still like blogging, isn't that what it's about?
On the other hand, I know I can be as good a musician as Nick or Pete. Looking at old etudes on my upright that I haven't looked at since I learned them for my lesson, it's almost faux-sightreading. And I'm playing them fairly well for only playing my upright for a combined time of 10 hours, and not touching it for almost a week. I guess it's just how much I apply my self.
Which is why I am now going to practice and return to this blog later.
And later is now.
That draft was saved at 4:39 PM, it's not 5:23. Having spent 40 minutes practicing, I'm still not getting use to hard pieces of music. I was a big fish in a small pond, and no one really challanged me in high school with music. But having to actually read music again? Fuck, it's hard. There are so many, and rhythms and my fingers can't take it.
On the other side of blogging, being a metablog such as BoingBoing or Digg,
http://www.youtube.com/watch?v=1ArlE9oP1l0&feature=related
If you're anything like me, you'll find it funny, but wait for the last one, and it's the payoff.
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