A review of Eels at Brooklyn Steel, 6/9/18

Eels closed their first set at Brooklyn Steel with the final track from 1998’s autobiographical Electro-Shock Blues, “P.S. You Rock My World”. There’s a lyric from that song which, in my mind, could serve as a thesis for everything Eels’ leader, Mark Oliver Everett has ever done…”maybe it’s time to live”. It’s not as vapidly positive as “it’s time to live” or irritatingly motivational as “go out and live!”; it’s real and shows that there are options. “Yeah, things are shitty and you could end it all or…maybe it’s time to live.” There are no guarantees, but…maybe. That was the vibe throughout: hey, it could be better, but it could be worse…maybe it’s time to live.

As always, Eels served up equal parts well-crafted (if sometimes simplistic) rock and subtle reflection*. From Souljacker’s “Dog Faced Boy” to Shootenanny’s “Dirty Girl”, and Hombre Lobo’s “Prizefighter” to Electro-Shock Blues’ “Climbing Up to the Moon”. The chameleon songs returned in brand new wrapping, including what I keep thinking of as a Tool cover of “Novocain for the Soul". And speaking of covers, as usual the show had a handful. Most notably two Prince covers, “Raspberry Beret" which was fun, and the return of "When You Were Mine”, first played live on Eels’ 2005 tour. Originally, it featured a string quartet, but this time, it was stripped down and sorrowfully bluesy, absolutely beautiful. These days, it seems everyone is covering Prince, but as E has been covering him since the early 90’s, it somehow seems to mean more.

Although the arrangement was tight, the new album (The Deconstruction) wasn’t meant to be recreated with two guitars, a bass and a drum kit, and most of the more intricate tracks from that album were left off the evening’s set list in favor of the more rock-like songs such as “Today Is The Day”, “Bone Dry” and “You Are The Shining Light”. Standouts included “I Like Birds", the arena rock version of “Mr. E’s Beautiful Blues", “From Which I Came/A Magic World”, "Fresh Blood", “Daises of the Galaxy", “Flyswatter", "Bone Dry", "P.S. You Rock My World", and the mini-medley show closer of Brian Wilson’s "Love and Mercy", "Blinking Lights (For Me)”, and “Wonderful, Glorious”. 

Eels have just wrapped up their North American leg and are now off to Europe and the UK. If you’re hoping for a string quartet, horn section, or even a piano, you’re out of luck, but you should still see them, you should always see them, because they are Eels.

*Also an original song introducing the world to their latest drummer Little Joe entitled ”Little Joe!”.

Water, Laughing & The Screaming Death Of My Sound Receptors: My Review Of TMBG and EELS

8.1.11

7:35 pm

 

Those three things made up my extended (Friday taken off because I was sick with Thepeopleiworkwithareidiotsandspendingtimearoundthemiskillingmyspermitis) weekend.

The first two were mostly experienced at the Williamsburg Waterfront, where Christina, Micole (and eventually Barrett), Sylvia (sort of), Gia (and her portly/porky friend, Alex...her words, not mine, I thought she was a lovely girl), Linza and Josh got wetter than an Atlantis made of vaginas at a Tom Jones concert*.

Eugene Mirman started things off by explaining that God is a 12-year old boy with Asperger's, then he introduced Jim Gaffigan (a complete surprise to me) who started to do his thing (talking very quietly about how overweight/pale/hungry he is) but was soon interrupted by the skies opening and trying their damnedest to obliterate each and every human being there. It got so bad that Gaffigan actually commented on it and tried to do some improv...about rain.

Didn't work too well though and he then tried to get back into his routine, but he'd been derailed by the rain.

It began to clear up (not that it mattered to the audience, we were, literally, soaking wet, all of us) as Mirman introduced Kristen Schaal, who doesn't take the way-too-overdone-and-obvious route for female comics ("I said 'cunt', isn't that funny because I'm cute?!") and who was genuinely touched that we were all still here, despite the shit weather.

Her set was great, but again, things got a bit distracting towards the end when the Poison Skies took their second, less-obliterating-but-still-pretty-obliterating dump on us. There must have been some time crunch because she cut herself off and launched into a her one-woman performance of Flashdance, complete with Eugene Mirman dumping buckets of water on her when she required it.

I'd love to see her again when I'm not drowning.

I find her adorable and hilarious and a wonderful stand-out in the world of comics.

The, Mirman came out and brought up Todd Barry...who I have never heard of before.

I can remember, literally, nothing of his set, except for him pointing out that this guy was trying his best to protect his iPad and that he was an idiot for bringing it with him to the show.

Funny or not, I was inclined to agree.

Then, Patton Oswalt.

At more than one point in his fifteen minute set, I was unable to breathe because I was laughing so hard.

This guy is my favorite comedian out there and, if you don't know his stuff, your life is missing something.

This isn't an opinion, a scientist told me.

And, speaking of scientists...when we were all seated before the show started, we were handed a strip of paper with fields for our name, age and "a science question".

We were puzzled.

After Patton got off the stage (actually, this guy was on before Patton Oswalt, but that segue is far too tasty to rewrite simply to be "accurate"), Mirman brought up Neil Tyson, the President of the Hayden Planetarium (or something).

Eugene proceeds to say that Tyson is there in honor of the 53rd anniversary of something Eisenhower did regarding the space program and then he starts answering the science questions that Mirman reads to him.

One question: "Is the earth trying to kill us ?", was answered in the affirmative, with examples and proofs.

After the science, laughing and rain stopped, Jonathan Coulton was brought up and did a tiny set (four songs).

He was actually kind of a dick about the fact that we were soaked and he wasn't. Anyway, after he made his dry ass way off the stage, They Might Be Giants hit it about ten minutes later.

A side note: everything ran with very little down time, it turns out it's because the huge stage is about 100 feet from a posh apartment building.

I can't tell if it's ironic that hipsters have to end all their parties here by ten or just funny.

Anyway, for those in the group that hadn't seen TMBG much/often/in a while, it was a great show, but for me, it felt a bit short and the Johns didn't have their usual back-and-forth going on. 

It was a truncated performance, but they did bring it (and, seriously, this was all free, so I have no right to bitch...but I will).

 

The set list:

Birdhouse in Your Soul (odd that they opened with this, but it certainly gets you into the mood)

Clap Your Hands (all the clapping/stomping/jumping probably saved us from getting arthritis caused by sitting around in wet clothes for two and a half hours)

Can't Keep Johnny Down (you know, I still don't love this song. It's a shame they have to play it at EVERY SHOW ON THIS TOUR)

Damn Good Times (why this song is still being performed live, I really have no idea. At least it's not "Drink!")

Don't Let's Start (this made up for "Damn Good Times", xmax. It's an amazing song, even better live)

Judy Is Your Viet Nam (a song from the new album that has totally grown on me, it's pretty rocking live...even when Flans messes up the lyrics...)

The Mesopotamians (I have a funny feeling we'll never hear anything from 'The Else' again. Too bad as it's a really solid album. This is still a great song though).

Never Knew Love (Same deal with "Can't Keep Johnny Down". Also, neither of the Johns can really make this sound like it should...less screamy. With so many great tracks on the new album, I'm not sure why this seems to be settling into their rotation...)

When Will You Die (Yes. Yes yes yes yes yes. I heard them do this at sound check and was waiting for it the whole time. Just as awesome as I knew it would be, even without horns. I love this song)

Spoiler Alert (If they had just done this, it would have been a bit off, but they performed it as The Avatars of They- hand puppets on a Jumbotron- and it worked perfectly)

Ana Ng (Always wonderful to hear this one.It also seems to be a fixture on this tour so, Jade, whenever they get there, I think you'll be happy)

You Probably Get That a Lot (another favorite off the album and they nailed it. CEPHALOPHORES!!!!)

Cloisonné(Still needs some work, or, more likely, some horns, but Linnell did what he could his with bass clarinet)

Graveyard (aka Band Intros/Audience Thank Yous, during which Flansburgh thanked me and decided that I was 12 feet tall, a fact he repeated several times before the "song" ended. Score.)

Istanbul (Not Constantinople) (some weird guitar fart from Dan's acoustic cut his crazy intro a bit short, but they got the job done)

Encore:

Fingertips(before this happened, Flans reintroduced the band. When he got to Marty, the drummer, he informed us that Marty has come all the way from New York to hear us scream, then he wanted to hear all the ladies scream, and then Flans told us that Marty wanted "the eight foot guy to scream". I looked to make sure I wasn't standing near anyone who might be confused with me and then obliged. Nice. The song, as always, was excellent.)

 

Then, Chris and I went home to get dry and let my sister in, who had come up for Saturday's Eels show.

We were all half dead from drowning and half dead from rocking, so then we slept.

 

The next day was a leisurely one, Chris and I woke at about 2:30, had Brunch and then met back at our place with Kathy to head over to the Music Hall of Williamsburg, where Eels, a contortionist and a band called The Submarines would be playing at nine.

We got there only an hour before doors (to my horror) and ended up being the third, fourth and fifth people  into the place and about one inch from the stage.

I guess Eels fans aren't as obsessive as They Might Be Giants fans...

Then the contortionist brought Kathy up to make sure it was a real lollipop he was jamming into his nasal cavity before having her lick it while still in his nasal cavity.

Then he offered it to me.

I declined his kind offer.

The Submarines came on soon after and were actually pretty good. They consisted of a guy (non-descript, good at guitar and occasionally twiddling with a laptop for extra beats) and a girl (the sunniest sunbeam you ever have seen, she made Megan Boggia look like an evil asshole). They did six songs or so and we ended up buying two of their three albums after the show.

I don't think I've ever seen an opener at a venue this tiny with three fully produced and packaged albums.

I might tell you more about them, if their music warrants it.

Then Eels took the stage...and proceeded to explode my genitals with sound.

I saw them some time last year with my sister and they consisted of The Chet (multi-instrumentalist and guitar GOD who has been with E since the Blinking Lights tour), Peeboo (or maybe it's Pee Boo), Krazy Al (on bass) and E (on loud guitar, louder guitar and the guitar he uses for "Souljacker, Part 1" and no other song).

This was the same line up, but with two horn players (and Pee Boo occasionally picking up his trumpet).

The horns added a lot of nuance and allowed the band to stop murdering us with rock every once in a while.

It was amazing.

Aside from the addition of the horns, the fact that half the set list wasn't from their three latest (and not greatest) albums was also good.

There were hits, their were deep cuts plus a few surprises and even a Sly & The Family Stone cover or two.

 

The set list:

In Gratitude for This Magnificent Day (playing over the PA as the lights dimmed and they took the stage)

That's Not Really Funny (Surprise! 'Souljacker' is one of my favorite albums and this track is one of my favorite songs from it. It set the tone for the evening, that tone being LOUD AS FUCK)

Flyswatter (the horns took on the main melody and it worked wonderfully)

Somebody's Watching You (I don't know Sly & The Family Stone, but this is by them, and, if the audience is to be any judge, Eels does a great cover of it)

Grace Kelly Blues (good to hear, but not a favorite of mine)

Packing Blankets (sort of the same as GKB, but I like this one more)

Prizefighter(see above)

My Beloved Monster (E does a different arrangement of this song on every tour, this one, while fun and rocking, doesn't really stand out)

Fresh Feeling (from 'Souljacker', another favorite. The horns took the string section and it worked well. Beautiful song.)

I'm Going to Stop Pretending That I Didn't Break Your Heart (a super-drawn-out-slow version. Kind of funny, but not that funny) 

Tremendous Dynamite (throbbing garage rock sex!!!)

Love of the Loveless (another surprise. From 'Shootenanny!', kind of their forgotten album in my mind)

Saturday Morning (a super-fast-speed-rock version, most likely to make up for "I'm Going To Stop etc.". So loud at times I sort of couldn't hear the words...or the individual notes...rawk)

This Is Where It Gets Good (one of the only tracks from their most recent album, 'Tomorrow Morning', and one of the few I really dig. Some killer bass and...killer flute...if that's a thing.)

Climbing to the Moon (yet another surprise. This is one of the most heartbreaking songs off of 'Electro-Shock Blues' and it was astounding how they jumped from a solid wall of noise to this quiet little gem. Tearjerkingly sweet.)

Hot Fun in the Summertime (two Sly & The Family Stone covers in one Eels show? Who are these guys?)

Talkin' 'Bout Knuckles (a song written, sung and played by the drummer, Knuckles. I need to get the lyrics some time...it sounds fun...but I'd still give anything to have seen Butch) 

Novocaine for the Soul (yes, WITH the album instrumentation and arrangement. Not a weird salsa version, not a backwards waltz, the most "album version" version of this song I've ever heard live, which was amazing and incredible, even more so because E seems to have a real love/hate relationship with this one and doesn't always enjoy playing it)

Souljacker, Part I (complete with that really long and awkward moment where E just sort of stands with his arms at his side for a full two minutes while his guitar makes an awful noise; this is the closest thing to Art Rock I will tolerate)

I Like Birds (EVEN LOUDER than "Saturday Morning". This is the sweetest, most delightful song from 'Daises of the Galaxy' and these guys rocked the living shit out of it. Well done, gentlemen, I say well done.)

Beginner's Luck (a surprise, simply because it seemed like a track that E would have just forgotten. But here it was.)

Losing Streak (the second of only two tracks from Eels' epic 'Blinking Lights and Other Revelations' album. Not the one I would have picked to play live, but it seemed to go great with "Beginner's Luck" and there was a wonderful, triumphant moment where E raised his guitar over his head and yelled "Did you hear me? I said my losing streak is done!")

Encore:

It's a Motherfucker (a nice, gentle, touching song. The horns took on the role of the strings and, as before, did a great job)

P.S. You Rock My World (one final, amazing surprise. This is the closer from 'Electro-Shock Blues' and the most uplifting track from the album. And it's awesome live)

Encore 2:

Fresh Blood ("KILL THEM ALL" is kind of the vibe I got from this performance. This song is so dark and sensual. Oh, also loud as fuck, this song was dark, sensual and loud as fuck. I'm hoping this song popping up on the True Blood soundtrack with get Eels some more air time)

Looking Up(E removes his mic from the stand for this gospel show closer, singing and screaming joyously in case people don't believe his upbeat lyrics. I couldn't tell if my ears were ringing with hope or hearing loss...but I'm leaning towards the latter)

 

So, every time I've seen Eels, they've totally switched their plates.

The first time, on their "Tour of Duty" in support of the 'Shootenanny!' record, it was two guitars and a bassist along with a drummer, all wearing cowboy hats and playing some simple, dirty rock.

The next time was with Phil at Town Hall for their "Eels With Strings" performance which featured E, two multi-instrumentalists (playing the organ, the piano, a suitcase, a garbage can, an upright bass, lap steel and more) plus a string quartet.

Next, just E and Chet with a piano, a drum set and some guitars.

Then the show last year with this current line up, minus the horns.

In essence, this show was last year's plus some of the arrangements from Eels' Daises of the Galaxy tour, which featured a mini-orchestra.

Although this isn't, technically, a totally different show, I missed that one and have always regretted it.

I can't say this is the best Eels show I've ever seen (the With Strings show takes that particular taco), but this goes up there.

Barring some horrible disfigurement, I'll never miss these guys in concert again.

 

After the show, we three headed back home and watched The Chronicles of Riddick from some stupid reason.

Mindless, sci-fi pap...with Judi Dench.

We were all pretty confused.

The rest of the weekend was sleeping and playing Mortal Kombat (with the three new downloadable characters, a psycho-chick made of blood whose fatalities are genuinely disturbing...and not even in a funny way, some blind dude with a magic sword and a purple ninja named Rain...yeah, like Purple Rain).

I realized last night that I haven't had a full five day work week in over a month, and I surmise that this week (this full, five day week) is going to suck dragon balls.

 

Speaking of dragon balls, I'm now going to finish the second book in the Song of Fire and Ice series.

Dragon balls.

 

 

 

 

 

 

 

 

*Fucking quote me.

Would You Like To See My Mask...

*OR* An Overly Detailed Recounting

9.27.10

3:50 pm

[Message redacted.] 

I had made a list of several things I was going to do so as to NOT waste the day sleeping or snoozing or napping or grinding my genitals into a fine, fishy paste.

While at home, I was going to try, one last time, as a final gambit in the most one-sided game of Phone Tag EVER, to contact my connection at Brillstein (home of such no-names as Brad Pitt, Paul Rudd, Natalie Portman etc.), get in touch with my cousin who has some high ranking position at Pearson Education (which is affiliated with Simon and Schuster Audio Books) and talk about sending my audio reel and demo and such, work on constructing the hallway soundscape for this years Halloween party and, finally, begin work on a special project suggested to me by one William "Rocket Man" Pomerantz.

Once these things were finished or at least begun, I was going to head over to my manager's office and pick up a check that had been waiting for me.

I placed the call to my Brillstein connection and left a message, considering the matter closed forever, spoke to my cousin's secretary, a lovely lady named Nancy who sent me the last three Dark Tower audio books for free and who informed me my cousins was eating a sandwich and would call me back and completed work on the hallway music.

I was about to embark upon the Secret/Safe Project when my phone rang.

It was a Brillstein number.

Long story short, I had a nice conversation with Stacy who said, now that's she's spoken to me and seen my reel/demo etc., that she was going to pass my name onto any agents she comes in contact with.

Maybe it means something, maybe it doesn't, but I felt good about it.

Anyway, after the conversation, I set out to pick up my money Lebowski.

I did so and was informed by Adrienne, my manager's excellent assistant, that she had just sent me an e-mail about a thing.

I had been recommended personally to a production company for a voice over project.

They wanted me to record some copy at home and send the file in to them.

Friday they wanted me in to record a "scratch" track at noon and, if they were needed, to do revision's on Monday at one.

I said: Good.

I went home, recorded the paragraph a few times, did some editing, mulled it over and then played what I had for my one and only who helped me cobble together what we thought was the best possible recording.

Then we cuddled and waited for my sister, who was coming up to New York for the third weekend running (this time for the ATDA conference and the Eels show).

She arrived with her brand new, 6 week old kitten, Dr. Spectre, in tow.

My sweet Christ, I have never seen anything this small and wonderful.

I quite lost my shit.

Eventually, we all fell asleep.

I woke early and even by normal people standards, around 9:45 am.

Hm.

Actually, never mind, that is still late for the Daylighters.

I called in again (I hadn't worked enough on the Secret Project) as my fake headache was now a full blown fake migraine, and I couldn't hardly speak, let alone work...

Anyway, I had been informed the day before that this recording was between me and one other person, so I wanted to make sure I was up and ready to go if I got the call.

At ten or so, I called my manager's office and was told by Adrienne that she was also waiting to hear back about the mp3 I had recorded and sent.

To kill time until the phone call did or did not come it, I began work on the aforementioned Secret Project.

Things were moving along nicely and then Adrienne called again.

The production house wanted me to come in to record the script today, in about forty five minutes.

I hopped on the train and headed down to Bond street to Greencard.

I arrived and recorded a thing for a new casino/resort opening in Atlantic City.

The two engineers were excellent, exactly the kind of guys you'd picture working in a production house on Bond street and we all had a fun time.

After that, I went home, at which point the kitten fall asleep on my shoulder.

Soon, Kathy and Christina came home, and we all watched Billy Madison.

That movie is still solid gold.

Then, we all slept again.

Saturday, I awoke late and showered in preparation for the concert.

Kathy arrived back from her second awful day at the awful, pointless conference and we set off for Terminal 5, about two hours before doors.

We were, literally, the only people there for a good twenty minutes.

Eventually, three or four more people showed up and Kathy and I passed the time playing hangman.

I must say, when I showed up 6 hours before doors for Nine Inch Nails at Terminal 5, I was about thirty people from the front.

Eels needs to step up their advertising.

Anyway.

At around six or so, we were all moved from outside the venue to the roof deck to wait there.

Not sure why, but we were still first so I really didn't mind.

Kathy was complaining about some chick in her personal space so we switched places and I farted on her.

No effect.

Which was kind of creepy.

Eventually, we were allowed onto the floor.

Kathy and I were dead center, on the barricade.

Once we'd staked our claim, we promptly sat down, backs to the barrier.

People began to trickle in, including the loudmouth from the last time I saw Eels.

What follows is background.

This guy is one of those people who has seen every show by every artist ever.

And he also knows all the bands,

All of them.

He is maybe...forty? And trying, desperately, to prove to people under forty that he is still hip and a part of the scene, any scene, every scene.

At the last Eels show I was at, I was maybe third or fourth in line and he was first or second, telling anyone with ears about how he knows Mark and he saw Eels when it was just him in L.A. in an empty pool etc.

Maybe he was, maybe he wasn't, but seriously, who fucking cares.

Unless you're going to give me money or backstage passes, shut the fuck up.

Anyway.

That show was at the Highline Ballroom and was very quiet.

So quiet you could hear individual audience comments.

There weren't many people making comments.

There was that understanding amongst the audience members, like when everyone knows not to clap along or to not scream stupid shit during the show, you know?

A vibe..

There was really only one person who didn't seem to get the vibe.

Yes.

Him.

Whenever E or The Chet (E's multi-instrumentalist) did something excellent on stage, in the resulting appreciative silence after said excellent thing, he would yell "BEAUTIFUL!!!".

Guy, we all know it was beautiful, but you saying that it was beautiful makes it less beautiful.

Cock.

Anyway, at one point, both E and the Chet were fiddling with stuff, getting ready for the next song.

There was maybe ten seconds of silence, not uncomfortable, just, silent.

This man would have none of that.

Apropos of nothing, he yells, "Thank you Mark! Thank you Chet! We love you very much, thank you!"

Forty year old guy.

At the concert alone.

E looks distractedly at the microphone and says, "Sir, please do not address the stage."

It was...well.."BEAUTIFUL!!!"

Back to Saturday.

This time, the man had brought his son.

Wait, back up.

So, he sees Kathy and I sitting there and says, "You guys just sitting there now, right? You're going to stand for the show, right?"

Before we can respond to such a retarded, question, he goes on.

"Because, you know, I drove five hours to get here with my sons, you know? So we could be up front."

Kathy, truly my sister, takes the words from my mouth and says, "Well you should have left earlier."

I just smiled, as I had JUST THEN recognized this wang as the guy from last year.

He then made a mental note to never speak to either of us again and went over to his son (who he called "honey". I have ALWAYS had a problem with men calling their male children, of any age, "honey" or "sweetheart" or anything like that. It's just fucking creepy.) and tried to find a good place to stand before engaging the poor fuckers three people to our right in "conversation" until the first opener came on.

Kathy and I nicknamed him "Honeyman".

Eventually, the first opener came on.

Clara Rose, a "rock n roll ventriloquist" from Brooklyn.

She had maybe twenty minutes or so, during which time she broke out a Keith Richards dummy and a bigoted 1920's dummy named something Sinclair.

She sang a bit and told some corny ass, off color jokes, pretty amazing overall.

The 1920's one would occasionally whisper that he was going to kill us all and at one point, he told us he was going to cut open our abdomens and fill them with salt water taffy...poison salt water taffy.

It was an excellent opener, completely adhering to the tradition of interesting, odd or just different Eels openers.

Then the second opener came on, a waifish Irish singer/songwriter type from California.

She sang five or six songs backed only by her acoustic guitar.

She reminded me a bit of both St. Vincent and Regina Spektor.

She did a great job, very haunting.

And, finally, around nine or so, the lights dimmed and an instrumental rendition of "When You Wish Upon A Star" began.

E came out alone, dressed all in white, sporting his usual sunglasses and a stars and stripes bandana.

He played "Daises of the Galaxy" solo and then called for the Chet.

After one or two songs, he called out the rest of the band: a bassist, yet another guitarist and a drummer.

Four guitars, one drum set.

Eels 2010.

Overall, not my favorite Eels show. I love his quieter, more nuanced stuff a lot and, without a keyboard up there, some songs lost something. The loud songs were done just right though, killing several members of the audience.

There was a massive amount of the three new albums played, and, as I don't really love all of them, that was kind of a bummer, but they brought out some jewels.

"Dog Faced Boy" and "Souljacker Pt. 1" rocked like fuck as well as "Jungle Telegraph".

They also played "Mr. E's Beautiful Blues" set to the tune of "Twist & Shout", which worked very well.

"Fresh Blood", "Baby Loves Me" and a hard rock version of "I Like Birds" were also highlights.

As usual, there were a few covers, "She Said Yeah" by the Rolling Stones, "Summer In The City" by Lovin' Spoonful and "Summertime" by George Gershwin.

Like I said, not my favorite Eels show, but, whatever, it was a blast nonetheless.

Afterwards, Kathy and I returned home and we all watched Tropic Thunder.

Then Adrienne (upstairs neighbor and friend/co-worker of Christina, not my manager's assistant) came down with her cat, Ziggy so we could watch what followed.

It was cute.

Then, more sleeping.

We all woke up and bade my sister and the kitten safe travel back to the land of living free or dying.

Then Christina spent the afternoon around St. Mark's like we used to.

We enjoyed some excellent (but sadly, soy based) deliciousness at a really excellent Thai place, then we split a gluten AND dairy free hot fudge brownie sundae in the 6BC Garden, one of the most magical places in New York I've been in a while.

Then...I had a strange feeling.

I called Video Game NYC, a small video game shop right around the corner from where we were, and asked if they had Dead Rising 2.

They said they did.

So I bought it.

Three days before it comes out.

I played a bit last night after working more on the Secret Project, watching the first movie in the Red Riding trilogy and eating an amazing meal of butternut squash, tofu and curry made from scratch by Christina.

As a tasty little coda to this scrumptious lie cake, I received a call this afternoon at 12:15 or so informing me that Greencard wanted back in for revisions at one, thus doubling my fee.

Folks, if things are always going to be this good, I just might get a brain tumor.

And I'll name him Abraham, because he will have emancipated me from the horrible slavery of my job.

Get it?

Why I'm calling my tumor Abraham?

Yeah.

You probably do.

Sorry, your princess is in another castle.

Tough shit.

Crunchings And Munchings

7.7.10

4:34 pm

Some bits.

Yes, some bits and pieces.

First, apologies for any incoherence you might experience, sleep has not been coming easily with this weather.

I yearn for Canada.

I yearn for icy death.

All right, let's go.

As expected, eels has put up a second track from their new album; soon a video will follow, and then, the opportunity to pre-order the album which will come with an mp3 download of said second track.

Plus, pink shirts reading "tomorrow morning" on them

Then the album and then a second video and maybe a third.

None of the songs will feel distinctly "single-y", but they will, nonetheless, be released as such.

Ah, the arbitrary nature of E.

The first track, "Looking Up", was a straight-up gospel track with cheesy lyrics and evangelical hooting provided by E and the aforementioned choir.

I was unimpressed.

The latest track, "Spectacular Girl", which appeared on the web site today, is EXACTLY what I've been waiting for.

It has all the elements of a perfect eels song: sampled drum beats, Rhodes piano (or maybe electric piano?), some string work and the celesta. Eels and the celesta go together like something or other.

Don't believe me?

Check out "Trouble With Dreams" on their my space page.

It's Celesta City up in that sock hop.

Anyway, while the lyrics aren't as earth-shatteringly good as his other stuff, they're solid.

Still looking forward to this album.

And speaking of albums...guess who finally took a few minutes from their busy schedule of berating their fans for destroying the earth to finish their fucking album, you know, the first album they've done in over six years?

That's right, Cake.

In this case, the cake is not a lie.

Unless they are lying.

They sent out a message about looking for a means of distribution since they are on their own label now.

Hey, Cake, you ever heard of Radiohead and how they handled releasing "In Rainbows"?

Do that.

You fucking eco-whiners.

I swear, for every song on this album that isn't great, an Instant Cake Classic, worth the wait, I'm burning down one of those tress you're always giving out (along with a heapin' helpin' of snark, guilt and apocalyptic doomspeak) at your shows.

You've been warned.

But, seriously, kudos for finishing the album, I'll sure it'll be good.

You fucking jaded hippy fucks.

I think this weather might just be making me a little irascible.

Since I'm already rambling about albums, TMBG has announced that their new (adult) one is dropping in 2011.

Kind of surprised at that. Again, hopes are high since Flans has said this is going to be a return to their "insane, home recording sound".

Whatever.

Just take a break from the kids stuff.

No more of that for a bit, please.

Unless it's "No!" good.

Not a pun.

I mean TMBG shouldn't do any more kids' stuff unless it's as good or better than "No!".

The party on Sunday was a massive success, even without fireworks.

Malibu does very little to me, even in large amounts.

A bit concerned about the big one later this month.

We're expecting almost 80 people.

That's about 20 people per room.

Including the bathroom.

Rock.

We gonna do the Stomp.

And kill the chicken.

And chop the hell out of fruit.

Maybe not the chicken thing.

Maybe.

Maybe not.

Hm.

There's someone in the hallway just yelling "Puerto Rico!".

I should do that more often.

"Connecticut!!!!"

Yeah, that's going well.

All this week I'm working straight through 3pm to 11pm, so I plan to read a lot of comics.

Just a heads up.

Also, I plan on seeing Inception, possible when Phil comes up with Lady Grace.

Chris Nolan...that man can do things.

To my miiind.

Freak things.

Speaking of Grace, I haven't quoted William Hickey from Christmas Vacation at her yet.

"The bleeeeee-sssssing!"

Time enough for that, my friend, time enough for that.

Remember when Benicio Del Toro was trying to get Christina Ricci to kiss him in Fear & Loathing?

That was hilarious and creepy as allll get on out.

BRANDED!!!

How come something rambling like this is sometimes considered Stream of Consciousness and sometimes a blog?

Phil?

You got some literary science you can drop on me?

I have to read your new short....

Maybe I'll do that tomorrow.

Okay.

Focus up!

...

Hm, I really have nothing to 'focus up' on.

Nuts.

All right.

Never mind then.

Callooh!! Callay!!

6.8.10
3:26 pm

Frabjulous motherfucking day.
Hand hwhy?
Couple reasons.

Taken from "All About 'Tomorrow Morning'", the synopsis of the new eels album that was posted yesterday on their official web site:

Unlike either the combustive garage-rock longing of HOMBRE LOBO or the stripped-down acoustic starkness of END TIMES, TOMORROW MORNING is a new musical landscape: electronic keyboards, drum machines, tape loops and found sounds. "It's a very electronic album -- sounds normally associated with a kind of 'colder' music," says Everett, "but I wanted to make a warm album that was a celebration using electronic instruments to reflect joy in the times I live in." Helping Everett bring the vibrant celebration to life are performances by longtime EELS bassist/keyboardist Koool G Murder and drummer/percussionist Knuckles, along with new EELS collaborators The Amy Davies Choir and Tomorrow Morning Orchestra. It's a bold, experimental and immediate new EELS sound. As Everett puts it, "There's a lot going on in these songs."

Fuck motherfucking yes.

Looks like I have been proven wrong and no one is more delighted than me.

Except for Mr. Jakubisin, that vulgarian fuck.

But, anyway, although the lyrics seems overly saccharine (like 'End Times' were overly gloomy), the music might just be enough to make them work.

You can read the whole thing here.

And if the release cycle is anything like that of the first two albums in this trilogy, we're going to get a song and a video pretty soon, probably a song by the end of June and the video by the end of July.

The new album, 'Tomorrow Morning', comes out August 24th.

W00t.

Other reasons for frabjulocity?

Don't want to say too much, but two massive, oaken doors to my future might have just been opened today.

And another might be opened later this week.

And maybe more in the coming weeks.

Fingers crossed.

Final reason for frabjrabulousness xmax?

I'm leaving for Maine with my nouf for a week or so in two days.

SUCK IT WORLD!

I'M GOING TO MAINE!!!

MMAAIIIIIINNNNEEEEEEE!!!!!!!

Whoagina!!!

5.27.10

3:55 pm

Quite a bit of music rambling today, so, if you're deaf...heh heh heh...the pillow talk was a bitch...Jesus...

Anyway, you might want to tune out.

First off, it turns out at least one of my predictions for the new eels album, "Tomorrow Morning", has come true as they posted the cover art and tracklisting last night.

The album will have 14 tracks.

And, something about the tracklisting makes me think my vision about all the songs being spares is also true.

Whereas the majority of the songs on "End Times" (the one about E's personal apocalypse with this girl) were all about how horrible life is without this girl and how there's no point in living anymore and how could this happen to me and no one should be happy and HOW COULD THIS HAPPEN TO ME?!, the titles (haven't heard a note of the new one, but that's why they're called predictions and not postdictions) of the new one are ridiculously optimistic and twee.

Titles like "Spectacular Girl", "I Like The Way This Is Going", "In Gratitude For This Magnificent Day", "Looking Up", "This Is Where It Gets Good" and "I'm A Hummingbird".

Now, I mentioned these song titles to Chris last night, and she suggested they were probably tongue-in-cheek, as E tends to be all the time, but, based on the simple, straightforward nature of the last two albums (of which this one is, again, the third and final installation), I fear they might be just as straightforward and just as deep as their titles.

And that blows.

See, it blows because, way back in 1998, eels put out "Electro-Shock Blues", which was all about E dealing with the personal apocalypse of pretty much his entire family dying and his being left all alone in the world and it was fucking amazing.

It was bittersweet, thickly layered with all types of great melodies, instruments, styles and, the best part, it wasn't a huge downer, it had hope laced throughout.

And it wasn't obvious.

It's truly a fantastic work.

And, at the end of it, pretty much everyone, including E thought he was going to kill himself.

Then, he released "Daises of the Galaxy"; sonically, it was (mostly) airy and simple, acoustic guitars and not much else at times, the lyrics, however, were as double sided as ever, this album was about hope and the future, but it addressed that there might be trouble on the horizon: you just never know.

The overall feeling was about how things are getting better and he's going to be okay.

ESB was him dealing with the tragedy and Daises was him moving on with his life, scarred, limping, but looking toward the future and what it might hold for him.

So, you see, he's done the "crushing apocalypse/things might get better" album set before, but better.

People were actually comparing "End Times" to "Electro-Shock Blues".

I'll agree, as long as we're talking about the fact that both are written in and regarding dark times in E's life, but that's it.

Listening to ESB is like living parts of his life, seeing into his soul and watching him relive these tragedies as they happen in his mind, again and again. Hearing his inner-most thoughts and then watching him put on a stone face and make snide comments about some aspect of this, trying to distract people from what he's really feeling.

Listening to "End Times" is like trying to have a conversation with someone while the drunk guy at the end of the bar is telling you how shitty his life is now that's he's divorced; some times he's mumbling, sometimes he's crying, sometimes he's yelling, but the whole time you wish he'd just shut up or change the script.

So, as I said before, I don't hold a lot of hope for "Tomorrow Morning", as I fear it's going to be a pale, wispy shadow of "Daises of the Galaxy" just as "End Times" was a pale, wispy shadow of "Electro-Shock Blues".

The only up side if I'm, sadly (I obviously don't want the album to suck...), right, at least this trilogy of errors will be over and E can move on, although I doubt we're going to see another period of productivity from him for a while.

Man, it's always a catch 22: you get a great album every five years or three sub-par ones in a year and a half.

I've just had a realization: As impatient as I am, I would rather have a great, instant classic album every four years or so than a meh-fest once a year.

I do not want all my favorite bands to become Prince.

Okay, next, I was alerted today on Beck's site that he guests on the new Tobacco album, "Maniac Meat".*

Tobacco is what I shall call "dirty dick dance music".

It's the music you put on when you've been in your house for about a week without a shower, your entire body is covered with a light sheen of grease and you've gone out of your mind.

You'd hear it at a strip club where the girls, while very attractive, are all missing toes or wearing prosthetic limbs.

And you can't turn it down because there's semen on the knob.

THAT is Tobacco.

I dug their most recent album, "Fucked Up Friends" very much because I'd never heard anything like it. It was so well done and compelling and filthy.

What they're doing to music should be illegal.

The new one isn't as great as FUF (although I'm not totally though it yet), but it's still hard not to want to slip my penis into the pockets of strangers while listening to it.

I highly recommend it for the next time you're having sex in a bathroom stall.

And finally, because we're all angry and tired here: turns out the thing that HTDA was teasing us with was its involvement in Wired's first iPad issue.

In the (non-electronic) paper version, there was an article about how the band constructed their song "The Believers". If you got the iPad edition, you could hear the song while reading the article.

Oh Trenty sure loves his technology!!!!!!

Minutes after this came out, someone had hacked the thing and put the mp3 up on a torrent site.

Unlike what I had expected, it does NOT sound very much like the other two tracks from the EP OR even all that Nine Inch Nails-y (except for the marimbas).

Some Beck-ish aspects about it at times, actually.

It sounds like electronic ceremonial Aztec music.

One could cobble a video together with selected scenes from "Apocalyptico" and scenes from episodes of "Big Love" that take place on the Compound, maybe some Waco footage thrown in for that "real" edge.

It has a hypnotic beat which works very well with the cultish, mantra-like lyrics.

The vocals are husked, barely audible over the clanging, by Mariqueen, and, even more barely audible, breathed by Reznor.

It's not my favorite track off the EP (of which they've put out half, in various formats, in the past month), but that doesn't worry.

This is a fun little project and (duh) I'm looking forward to hearing the full album from these folks.

All right, I think that's about it.

Now I'm going to sit quietly and try not to commit a hate crime on the most annoying person in this universe.

WISH ME LUCK!!!!!!

LOLLERSKATES!!!!!111!!1

KTHXBYE!!!!!

  

*Maybe one of the best album titles I've heard all year, and the album art goes right along with it.

Did You Rike It?

5.25.10

4:37 pm

At 12 o'clock this morning, the soundtrack to 'Tetsuo The Bullet Man' (third in the 'Tetsuo' series by Japanese director, Shinya Tsukamoto) was released in Japan.

At about 5:50 this morning, someone had ripped "Theme for Tetsuo The Bullet Man" by Nine Inch Nails and put a link to the mp3 in a message board.

At about noon, I downloaded that track.

This...is its story.

A few people had heard the track when it showed up over the credits of the film at the Tribecca Film Festival a couple of weeks ago and they had described it as a combination of two earlier works by Nine Inch Nails; the first was 'Fixed', an almost unlistenable remix album released in tandem with their super-aggro EP, 'Broken', and, what might be the best track off the massive instrumental album, 'Ghosts I-IV', 'IV Ghosts 34'.

After taking the whole thing in a few times (it's only five and a half minutes long), I can say it is MUCH more the former than the latter.

This track is very Nine Inch Nails.

It starts with what sounds like a fatal error message from a computer the size of a planet; just a ton of fucking huge, loud electronic death set to a rudimentary drum machine beat, then, suddenly, a ghostly, ethereal piano, which is shattered almost immediately by even more aggressive electronic screaming and some industrial (like industrial factory equipment) banging that somehow fits into the chaos.

Around then is when the actual theme begins.

A clear melody swallows the grinding, unpleasant noise like a tidal wave, being played on what sounds like an organ made of an ancient city.

The melody itself is epic and invocative; timeless, triumphant and sad.

And then it's gone and we're ejaculated back into the factory.

Then the cacophony disappears, replaced by an almost inaudible ambient whisper in the distance which is soon joined by the piano from before, but clear, rich and immediate this time.

The piano melody plays through once, twice and then the city-organ exhales the theme again, then silence.

It's over.

All in all, this is not for everyone.

In fact, I'd say the majority of it is so violent and abrasive it isn't for anyone.

But there's going to be a handful of people who will get and, going a step or two further, enjoy it.

And you will not be one of them.

Also, in slightly less unlistenable NIN related news, the release date for the How To Destroy Angels self-titled EP has been set.

Tuesday, July 6th.

I'll see you there*.

Not sure if I shared, but it turns out that HTDA isn't just a quick, one off hobby for Reznor before he jumps back into Nine Inch Nails, but something he's actually putting some effort into.

The EP is just a precursor to a full length album coming out in early 2011.

He said the first track released ('A Drowning') sounded more NIN-ish than he would have liked and that the rest doesn't sound as much like "his other band", but, after hearing the second release from the EP ('The Space In Between'), I've come to decide that it does, indeed, sound like NIN.

Then again, how could it not?

If "Trent Reznor is Nine Inch Nails", then how is anything he does not going to sound NIN, at least when he's in charge of writing/arranging/playing etc. the music?

He's talked about some upcoming NIN music he's working on that "doesn't sound like NIN".

I'll have to rack my brain as to what he's released that sounds nothing like anything he's released.

At the moment, the song 'All The Love In The World' is the only thing leaping to my mind.

Everything he does has the same...feel to it, the feel to the arrangement of instruments or chords or what have you.

Then again, so does everything Cake does.

Or eels or Beck.

Even Beck, who is stupidly multi-faceted, more so than Nine Inch Nails ever could be, he just makes whatever his does sound like Beck.

From 'One Foot In The Grave' to 'Midnite Vultures' to 'Sea Change'.

It isn't real folk, it's Beck doing real folk.

And so on.

Prove me wrong, Trent.

Prove me wrong.

And, quickly speaking of eels, turns out that little curmudgeony rabbit E has written a third album, completing what he started with 'Hombre Lobo' and 'End Times'.

I've learned my lesson with those first two and expect the new one to be:

•  14 -16 tracks
•  Between 45 to 50 minutes
• Very light on production, instrumentation and lyrics (in general and those that rhyme)
• Not great

Sorry, but all three albums are part of the same emotional period for E and, based on the sound and content of the first two, this is what I'm gearing up for.

Prove me wrong, E.

Prove me wrong.

The album is titled 'Tomorrow Morning' (hopeful, innit?) and is coming out August 24th.

Eels are also embarking on a world tour, the first since releasing these three albums, and eels is playing at Terminal 5 on Saturday, September 25th.

Hopefully with a fuller band than just him and the Chet, not that the show at Highline wasn't amazing, but a lot of eels music needs more than two guys, no matter how talented.

Tickets go on sale June 11th...anyone interested?

The fact that Cake and eels are playing a little more than a week apart is...mmm...good.

The kind of good that is better than that time Nine Inch Nails played a week before They Might Be Giants.

September is going to be good.

YOU HEAR ME YOU FUCKING ASSHOLES?!

SEPTEMBER IS GOING TO BE FUCKING GOOD!!!!

*"There" being whichever digital distribution house I purchase this non-physical release from.**

**Although it is coming out on CD.

SACK UP!!!

12.16.09
3:35pm

I'm going to try saying that a lot more often.
It's just so great to yell that in someone's face for little or no reason.
"Sack up!!"
Lovely.

Christmas is a' comin'!!!!!! WHOOP WHOOP!!!!!

I have an audition tomorrow morning that requires me to be a pirate.
Not a Pirate of the Caribbean or a Butt Pirate or a Pirate of the Hershey Highway, just a regular pirate.
But that is fucking awesome.
On screen, baby.
This is going to be a shit load of fun.
They require "an excellent pirate accent".
Done and done.
Arrrrr.....

Last week, The Onion put out their "Best Music of 2009" issue with their top 20 albums of 2009...get it?
As I enjoy much of the Onion, I downloaded four selections: Andrew Bird's "Noble Beast" (haven't gotten too far into it, but I do enjoy his stuff), Neko Case's "Middle Cyclone" (although I like the album, I'm really only into her mucho when she's with The New Pornographers; yet, strangely, I really can't get into A.C. Newman's solo stuff), The Antlers' "Hospice" (a dark, thick concept album which would be better if I had the lyrics in front of me) and "Actor" by St. Vincent (which is excellent and has been on my headphones since I got it).
This woman, Annie Clark, was with Polyphonic Spree and some other band of that ilk and then put out her own album in 2007 called "Marry Me".
In 2009, she did "Actor".
I've been listening to her first one and it's all right, but not as solid as "Actor".
You should check her out.
She's kind of ethereal yet classic with really great instrumentation and programming.
The Onion mentioned Kate Bush in the write-up, but I don't like Kate Bush, so I suppose they were just commenting on the eccentric feel of St. Vincent.
I think I might stop checking out the older stuff from bands I get into.
Walkmen, Charlotte Gainsbourg and St. Vincent are just three of the host of bands whose earlier stuff is not as great as their latest or later work.
Or so think I.
And this album that everyone seems to be squirting over for best of the year, "Wolfgang Amadeus Phoenix" by Phoenix?
Man, I tried and I might try again, but I just don't get it.
Their voices are so whiny...

Also, somehow, the new Eels, "End Times", leaked a month early.
You know you're getting popular when your album leaks a fucking month before the release date.
I've only gone through it all at once one time, but I was mistaken about E pulling a fast one like he did with "Hombre Lobo".
See, before "Hombre Lobo" came out, he released "Fresh Blood" as a single.
It was the only song on the album that sounded ANYTHING like it, all programmed drums, synths, etc., the rest was very stripped down with seldom more than three other instruments, usually guitar, bass and drums and I thought that maybe E was going to do the same switcheroo thing by releasing "Little Bird", a SUPER stripped down song, as the first single from "End Times" and then surprise fans with a thick, rich, layered album to follow.
That is not the case.
It's not as stripped down as "Hombre Lobo", but it's no "Souljacker".
In the pre-release write-ups, some people have been saying that this is the new Electro-Shock Blues and some have been saying this is the "after" to Lobo's "before".
As far as the subject matter, it is absolutely the latter.
Musically, it's a lot more like "Daises of the Galaxy" then anything else E's ever done.
Sadly, there's not a whole lot of innovation in either the music or the depth of his lyrics, but it isn't horrible.
Daises wasn't my favorite when it came out, but now I enjoy just as much as his other stuff, so we'll see.
Even Lobo, which I didn't really dig, sounds better with time.
It'll be interesting to see of the general public suddenly like Eels now because of this album.
Guess we'll see in January....

And finally, I just got my first $100 haircut at a place on Ludlow called Pumps & Pinups.
Apparently, I need to add some sort of gelid muck to my hair to recreate the effect.
That's probably not going to happen.
I just may be the laziest actor I know.

I Am Electric Booooy

12.11.09

4:37 pm

Not really.

I'm not really Electro Booooy.

The skinny guy from The Mighty Boosh is.

I was pleasantly astounded earlier today to learn that eels' "Little Bird" (a track from their upcoming 2010 release "End Times") has been voted as one of the best songs of 2009 (www.spinner.com/2009/11/25/top-2009-songs/).

I mean, as far as I know, 94.467% of the world doesn't know anything by eels except for "that Novocain song where they're floating", "that 'goddamn right' song from Road Trip" and "the creepy growly voiced songs in the 'Shrek' movies".

Way to go, world.

And, of course, I know that these lists don't really mean anything except for the fact that one of my favorite bands is getting some attention. I used to be torn about whether it's good or bad for one's favorite bands that not a lot of people know about to get better known (man what a clunky start to a sentence...AND I'M NOT THROUGH YET!!!!!!!!!!); on one hand, if they're too little known, they disappear from lack of attention and money, but if they get too well known, you get the posers and Johnny-Come-Latelys (fuck, I love that term...I have just decided that the loser in a game of Ooky Cookie is called Johnny-Come-Lately...spread the word.) and their ticket prices and such go up and, god forbid, they sell out and start making shit.

But, I think the great thing about the five bands I really truly dig is that they don't make shit.

At least in my opinion.

That's actually something I was thinking about the other day; Nine Inch Nails' "The Fragile" set a record for dropping the furthest the quickest on the Billboard charts.

It debuts at #1 and the next week it's in...maybe the 30's? Not sure, but it was a big deal at the time.

Thing is: I have NO idea why. I get that it wasn't "The Downward Spiral 2" and that it lost a lot of fans, but, it was a new, 23-track Nine Inch Nails album after NOTHING substantial for five fucking years! It had more depth, dimension, textures, themes and everything than Spiral did and, although I know the headbangers who jerked off violently to "March of the Pigs" were pissed and took their ball and went home, I would have thought that NIN had a smarter, more open-minded, more dedicated audience.

AND it was very well reviewed except for the occasionally use of "bloated" or "overlong".

Why was this considered such a bomb?

Even Reznor said he didn't like it, albeit years and albums later.

Meh.

Who knows.

I'm way too close to offer an opinion.

Going back to the odd success of "Little Bird" (a simple, two minute, four-track recording), I'm happy, very, but confused, also very.

The second "single","In My Younger Days" is also, IMHOLOLROFLPUKE, great, but, just like "Little Bird", it feels typically eels, like what they've been doing since they were just E in a basement in L.A.

Shit, he's still just E in a fucking basement in L.A.

Why is this song suddenly the sixth best song of the year?!

I'm going to stop fretting about it.

Let go and let God, that's what I always say.

Let the fuck go and let the fuck God.

Let the fuck get ourselves some mozzarella sticks, na'mean?