Friday, August 15, 2014

"ANOTHER EARTH"

This US micro-indie from 2011 helped launch the career of indie dreamgirl, screenwriter and producer Brit Marling. I keep seeing that she gets typecast in some pretty weird sci-roles roles as a cult leader or astro dreamer, and that's great; she's got decent acting chops and plays "oddball" quite well, in spite of her off-the-charts looks. Yet "Another Earth" trips up just as often as it succeeds. It's about a young woman on the verge of starting her first year at MIT (Marling's "Rhoda") who gets drunk and plows into a family of three while she's intently observing the newly-discoved phenomena of a "second Earth" – outside her car window, while driving. We then flash-forward four years later, as she's getting out of prison, and Earth 1 is still no closer to having made contact with "Earth 2", despite the latter (and its moon) now looming over our earth like Lars Von Trier's collision-course planets in "Melancholia".

There are some fantastic sci-fi elements to this one, and enough eerie close-ups and disjointed speechifying from off-camera scientists about the nature of Earth 2 (over droning synth music, no less) that really hints at how mind-blowing this could have been – and actually is, in parts. Yet there are so many cinematic cliches in this one that I found myself straining to finish the film. What happens when the going gets rough with her new boyfriend, who happens to be the surviving father in the family of three she hit four years ago? Of course, she dramatically pukes in the toilet, just like everyone does in movies for some reason. Oops – she's not supposed to be poking around his house, but there's his son's picture, right where she could guiltily come across it, and yep, he just happens to be standing nearby right when she finds it. Whew, that was a close one. That never happens in film! Oh, and sex is so wildly passionate and hot sometimes that you just want to get down to it on a coffee table with your shirt on, while the dude keeps all of his clothes on while wildly humping you in a hot frenzy, after a big 15 seconds of delicious foreplay. Man, I can't even count the times.

Perhaps you'll distract yourself something batty trying to remember where you've seen the male lead, William Mapother before. He was Ethan from "Lost"! Remember that guy? I guess I do – but his face, if not his acting ability, is instantly memorable. Of course in his grieving, slovenly, late 40s, alcoholic state he'd have no problem seducing the most beautiful 21-year-old on the planet. So yeah - "Another Earth" has some holes as big as the craters on Jupiter's moon, and yet has enough redeeming qualities to not be a total washout. I just regret not seeing the film this might have otherwise been without the ham-handed swipes from the last forty years of mainstream flicks.

Monday, August 11, 2014

BOOK REVIEW: "MY STRUGGLE, BOOK ONE" by Karl Ove Knausgaard

An absolutely exhilarating ride through one man’s memoirs that breaks as many conventions as it makes up on the spot. Karl Ove Knausgaard, you may have heard, is Norway’s literary cause célèbre – though, having myself lived in Norway for 15 weeks this most recent summer, the reports of him being omnipresent and discussed ad nauseum there are fully overblown. Most people don’t read good  books, remember? That said, his “Min Kamp” - yes, that means “My Struggle,”, and yes, he’s well aware how the title helped drive much of the book’s initial hoopla - series of six volumes of personal memoirs had sold extremely well there. As of this writing, the first three volumes are available in English and are getting raves everywhere, including from me. This book is straight-up my favorite thing I’ve read in two years, easily.

Let’s marvel at it all a bit before digging in. Knausgaard wasn’t, before these book, famous in any way; his experiences in “My Struggle, Book One” aren’t particularly unique nor exceptional; and the guy’s even younger than I am by a couple of years, having been born in the very late sixties. Yet his prose is absolutely pulse-quickening no matter how prosaic the subject matter. Knausgaard brings details of his childhood and current life as a parent of three children into being by hypnotically weaving in everything from his life’s most minute details to grand theories of death, art and existence. Death, in fact, is the key theme of the book – mainly our hypocrisies in how we describe it, sanctify it and shrink from it. The second half of the book is almost entirely about his own father’s death by alcoholism, and how Knausgaard and his brother Yngve worked to bring some closure and order to the house in which he violently died. Detours are taken throughout, without warning, sometimes returning to a theme being explored, sometimes not. One goes deep into an unrequited teenage love affair, another into early life as a cultural aesthete, trying to be cool and yet a stolid “writer” in the Norwegian city of Bergen, and still another into his utter terror of his father’s judgment and reproach while growing up.

His somewhat masochistic relationship with his brother, whom he adores, is especially poignant, and arguably the best part of a nearly perfect book. Visiting Yngve at his university in Bergen while Karl Ove was still in high school is utterly life-changing, and the distance between his idealized self there vs. the reality of his humdrum life back in Kristiansand is mammoth – which helps set him, clumsily, onto the literary path he ultimately followed. Taking place in the 80s as much of this does, Knausgaard is even a bit of new waver, and self-consciously styles himself after Ian McCullough from Echo and the Bunnyman. Once in Bergen, he writes for various music and literary magazines, and interviews bands like Wall of Voodoo and Tuxedomoon. One story of interviewing Norwegian poet Olav Hauge is hilariously tense; a tale of three college kids trying to wrest information from a cantankerous literary lion that somehow comes out all right in the end.

There are several things working for Knausgaard in Book One that make his stories so wildly compelling. First, their universality. He describes teenage years in ways so familiar, I frequently wished I’d been taking notes on all the things I’ve been slowly forgetting over the years, in hopes of trying to wrestle the same action-packed punch from the seemingly mundane. Second, his own character. This is a man who fails, tries to learn from it, fails again, and yet he does not suffer from false modesty on many fronts – nor is his book a litany of problems. Quite the opposite. He loves his children, but in a riveting section of this book enumerates his own shortcomings and the nerve-rattling impatience his own brood bestows upon him. He mostly does the right thing by his wife and his family, but lays out some of his frustrations for having done so out on the page. His father drank himself to death, and he’s horrified by its circumstances – but also hints of his own issues with alcohol, which one assumes will be a subject in later volumes. One gets the sense of an ethical, introverted, exceptionally smart everyman who happens to have immersed himself in culture and ideas without at all being a pompous prick nor a navel-gazing mess. The moment I finished “My Struggle, Book One” I put it down and headed to the laptop to order “Book Two”, which I plan to devour as soon as it arrives. I shall report on it in this very space, presently.

Tuesday, August 5, 2014

"THE KID WITH A BIKE"

I'd been reading about the Dardenne brothers' films for somewhere upward of 15 years and figured it was probably time I got around to seeing one. Outside of 10 minutes of 1999's "Rosetta" - stopped because the extreme shaky-cam was making my wife physically ill - I'd never seen any of these critically-worshipped Belgians' uber-realist pictures. "The Kid With A Bike" from 2011 was an excellent place to start, and it packs a wallop in its 87 minutes. It's a portrait of the choices a troubled, abandoned boy makes on the precipice of his adolescence; the ramifications of those choices; and a vivid illustration of the volatile lives of the world' foster children.

Cyril is the youth in question. Abandoned out of the blue and without any warning by his father (we never actually hear of a mother), he's placed into a group home. Cyril stews over what's happened, and after ultimately tracking down his deadbeat dad, comes to realize he's truly on his own. This is devastating to him, and he claws at his own face with his fingernails and performs all manner of antisocial, youth-in-revolt acts. Luckily he's somewhat magically taken in on weekends by a benevolent hairdresser named Samantha, who's recovered the bicycle his dad sold off to help pay his own bills. This is where the divergent paths are set up, telegraphed from a mile away: will Cyril embrace the good-hearted Samantha and the good life she offers, or lead a teenaged life of misery (drugs, prison, the whole lot)?

Naturally, he's a sullen preteen and has significant issues articulating the pain his father has wrought. Samantha struggles mightily with her communication as well, and when she's asked point-blank by Cyril why she took him in, the best she can come up with is, "I don't know". Sometimes more tension can be wrung out of people saying the wrong thing in what could be psychologically life-altering situations than all the marital spats, chase scenes and killers in closets combined. And yet the Dardennes don't do anything particularly surprising nor shocking in the film - it all unfolds more or less as you'd expect, with some fairly violent events moving the narrative along and wringing even more tension out of the proceedings.

It doesn't, therefore, hit many bum notes. I thought the "him or me" ultimatum from Gilles, Samantha's barely-formed boyfriend, was a little hard to believe, and a rare dramatic misstep in an otherwise well-timed drama. It's pretty minor in the face of the Dardennes' simple, measured, medium-pathos and moderately uplifting approach, which splits the difference between the two paths quite well and leaves one curious as to where this boy will ultimately end up.

Monday, August 4, 2014

DYNAMITE HEMORRHAGE RADIO #42

After a three-week absence, we're back with another hour of quality tuneage from noisemakers old and new. For once, let's start the brief recap with the old-timers. Pere Ubu (pictured), Bill Direen & The Bilders, The Dicks, Vacuum, The Creation, The Screamers and the Nig-Heist, anyone? There's a set of "soft sounds for gentle people" (sorta) in the middle, bookended by new stuff from The Proper Ornaments and Cold Beat. There is other new material from The Nots, Apache Dropout, The Coolies and Dark Matter. In short, there is much to like.

Download Dynamite Hemorrhage Radio #42 here.
Stream or download Dynamite Hemorrhage Radio #42 on Soundcloud here.
Subscribe to the show via iTunes here.

Playlist:

VACUUM - Kicks
APACHE DROPOUT - Heavy Window
THE CREATION - Midway Down
WURLD SERIES - What Would You Do?
THE NOTS - Modern
THE NIG-HEIST - The Last Generation
PROPER ORNAMENTS - Magazine
THE GIRLS AT DAWN - Come Here To Die
FAT TULIPS - Nostalgia
WILDERNESS CHILDREN - Bad Taste In My Mouth
COLD BEAT - Out of Time
DARK MATTER - Dark Matter
THE COOLIES - Mothers in Mantis
PERE UBU - Cloud 149
THE SCREAMERS - Vertigo (Let's Go)
BILL DIREEN & THE BILDERS - Retail Trade
VIRGIN PRUNES - Twenty Tens (I've Been Smoking All Night)
THE LEWD - American Wino
THE DICKS - Lifetime Problems
45 GRAVE - Black Cross

Some past shows:
Dynamite Hemorrhage #41    (playlist)
Dynamite Hemorrhage #40    (playlist) 
Dynamite Hemorrhage #39    (playlist) 
Dynamite Hemorrhage #38    (playlist) 
Dynamite Hemorrhage #37    (playlist) 
Dynamite Hemorrhage #36    (playlist) 
Dynamite Hemorrhage #35    (playlist) 
Dynamite Hemorrhage #34    (playlist) 
Dynamite Hemorrhage #33    (playlist)
Dynamite Hemorrhage #32    (playlist)

Sunday, July 27, 2014

BOOK REVIEW: "THE KEPT GIRL" by Kim Cooper

I keep thinking that I’m going to tumble into the crime lit/noir lit void that has engulfed so much of my reading-minded friends and acquaintances’ time, but there always seems to be something else I wanna read. My pal Danny P’s been balancing acres of the hardboiled 30s-50s stuff w/ modern crime writers like Megan Abbot and the oft-celebrated Scandinavians quite well, and his diligence to the form kind of makes me jealous. These crime books can usually be torn through in three sittings, less if you’re childless, and the sense of accomplishment therewith is at least half the price of admission. The Los Angeles Review of Books crime novel editor, a longtime friend as well, recently asked me to try my hand at submitting reviews there, assuming me to be a member of the hardboiled tribe. I had to decline on account of barely knowing my Willefords from my Thompsons (pretty much the only two genre writers I’ve read), but directed her to her cousin-in-law instead, who just happens to be the aforementioned Danny P, and who’s now ably writing there in my stead.

What does this have to do with Kim Cooper’s excellent recent LA-based 1920s noir? Well, I finally read one, didn’t I? I know Kim as well – she was one of the first contributors to my early 90s fanzine Superdope; I contributed to her “Lost inthe Grooves” book of forgotten rocknroll LPs; and we shared a few good cultural laffs in the 80s and 90s. Though we’ve only sort of kept tabs on each other over the years – she’s in LA and I’m in San Francisco – I just knew she’d spin a good yarn for her first work of fiction, and she very much did.

“The Kept Girl” is like a code-era noir film screenplay turned adapted into fiction, with nary a vulgarity or any real violence to speak of. This is not to say it’s not unseemly at times; heinous crimes are committed, marriages are soiled, and foul-smelling death occurs. Having seen enough of the 30s talkies to know the drill – you can bet Cooper has as well – my mind visualized many of the book’s scenes playing out in glorious black and white. Cooper keeps away from cliché gumshoe/wiseguy noir patter in her dialogue, opting instead for simplicity and something midway between realism and movieland.

It centers around an apparently real 20s angel-worshipping cult called “The Great Eleven”, who bilk a mealy-mouthed oilman out of great sums of money in pursuit of the great, preposterous mission. The oilman’s even richer uncle sends his right-hand company man – an unhappy alcoholic roustabout named “Raymond Chandler” – to help figure out where the cash went. Chandler brings his secretary and a good-hearted teetotaling cop named Tom along for the ride, and together they uncover a bunch of creepy weirdness and disappeared humans, all in the name of religion. Each of the erstwhile detectives has alternating chapters as they piece together bits of the puzzle, often while at loggerheads with each other. It’s brisk, it’s funny and it’s as bright and clever a genre read as I’ve come across in my limited research. I’m glad to see Kim turning her pen in this direction, and sincerely hope she’s got plenty more in her like this.

Wednesday, July 16, 2014

DYNAMITE HEMORRHAGE RADIO #41

Dynamite Hemorrhage Radio #41, broadcasting from a cramped bedroom in Oslo, Norway, is now on the proverbial air - and is available for streaming or download in all the usual places. We attempt to explore all nooks and crannies of the sub-underground rocknroll music "scene", and to that end, we think we were fairly successful in this forty-first edition of the pod. 

You'll thrill to new sounds from THE NOTS (pictured), CCTV, COLD BEAT, ROACHCLIP, USELESS EATERS, SEX TIDE, PIECE WAR and several more of your new favorite bands. You'll gasp at reissues from X__X, Monkey 101 and The Spies. You'll start stocking your Paypal accounts for rare records from The Petticoats, Fireworks and the Desperate Bicycles. And you'll weep when you hear just how good "fogey rock" like Alex Chilton, Green on Red and True West sounds when sandwiched between some of today's hottest young hitmakers.

I invite you to get this thing while it's fresh, new and maybe - just maybe - the best 70 minutes of music ever assembled in one place.

Download Dynamite Hemorrhage Radio #41 right here.
Stream or download the show on Soundcloud here.
Subscribe to the show on iTunes right here.

Track listing:

THE NOTS - Fix
COLD BEAT - UV
THE PETTICOATS - Paranoia
DESPERATE BICYCLES - Advice on Arrest
C.C.T.V. - Mind Control
PIECE WAR - We Are At War
MONKEY 101 - I Wait in the Ground
ROACHCLIP - Master's Den
TRUE WEST - Lucifer Sam
CARETAKERS OF DECEPTION - Cuttin' Grass
NICE STRONG ARM - Life of the Party
THE SPIES - The Star and Us
USELESS EATERS - Dungeon
HAPPY BIRTHDAY - Girls FM
BO-WEEVILS - That Girl
FIREWORKS - Silver Moon
X__X - Dolly Boy (live)
SEX TIDE - Never Get To You
SLOTH - Fetch The Wedge
ALEX CHILTON - Hook or Crook
GREEN ON RED - Death and Angels
MEN OH PAUSE - Tight Chest

Some past shows:
Dynamite Hemorrhage #40    (playlist)
Dynamite Hemorrhage #39    (playlist)
Dynamite Hemorrhage #38    (playlist)
Dynamite Hemorrhage #37    (playlist)
Dynamite Hemorrhage #36    (playlist)
Dynamite Hemorrhage #35    (playlist)
Dynamite Hemorrhage #34    (playlist)
Dynamite Hemorrhage #33    (playlist)
Dynamite Hemorrhage #32    (playlist)

Tuesday, July 8, 2014

BOOK REVIEW: "RUSSIANS - THE PEOPLE BEHIND THE POWER" by Gregory Feifer

Russians: they’re just like us, or probably desperately want to be us, don’t they? Gregory Feifer’s wide-ranging and deeply felt exegesis of all things Russian posits that a combination of history, repression, endemic corruption and even sheer land mass have molded an otherness that refutes this question as soon as it’s asked. Russians, in the aggregate, most certainly wish to be Russians more than anything else, warts and all. It’s these systemic and historical warts that “Russians: The People Behind The Power” wishes to illuminate. How does a country renown for centuries of contribution to literature and the arts, and a purported “world power” to boot, come to be a gauche, hideously corrupt cesspot of alcoholism, poverty, cronyism, inefficiency and bad taste? And why does it seem that the populace – again, in the aggregate - continue to bow down in meek subservience before its dictatorial leaders and say, “yes sir, we’d like more of that, please”?

A word of warning, though I don’t personally feel it to be a drawback in the least to this terrific book: some might deem this tome the “hatchet job” to end all hatchet jobs on Mother Russia. If you’re not a fan of Vladimir Putin, has Greg Feifer got a book for you. Lucky for Feifer, I think Putin and the Soviet culture he grew from and has brought back with a vengeance is odious and foul. It may not be ahistorical, however. Over twelve chapters, Feifer weaves a series of journalistic narratives on aspects of Russia and Russian culture that’s truly more sad than angry. He himself comes from Russian stock, and his well-told stories of his Russian-born and –bred mother and her family form part of the backbone of stories of Siberian exile, alcohol-soaked parties, secret police, KGB informers and tentative steps toward the west during Soviet times.

It’s that intense, all-encompassing 74-year Soviet experience, as well as previous heavy-handed repression under the tsar system, that Feifer (and virtually every other Russianologist) believes has stamped Russia’s culture for ill, and which he believes they’ll have a long, hard slog to crawl out from. It’s no accident that Putin is generally supported by the huddled masses of Russia, who aren’t yearning to be free so much as taken care of. The spasms of the early 1990s, when “capitalism” meant appropriating or stealing as much state property as humanly possible within a limited window, terrified much of the populace. Moscow, to say nothing of the rural regions wholly dependent on all-encompassing state support for decades, retreated into the comfort of the stage-managed modern tsar Putin, who has bullied and broken virtually every obstacle that has stood in his way since he entered the stage in the late 1990s, and who now enjoyed virtual dictatorial power over nearly every aspect of Russian politics and society, with the fortune of well-timed oil wealth giving him cover to plunder the country.

Feifer spares no vitriol in recounting the well-known incidents that have been reported in western media about Putin and his gang of oligarchs, as well as dozens that have barely registered outside of the country. He’s spent much of the last twenty years traveling to, living in and reporting from the country as a reporter for NPR and other publications. I like that he wears his venom on his sleeve, and it’s hard to find fault with his disgust with Russia’s squandered potential and the beaten-down people of the country. Naturally, he sympathizes with those who’ve attempted to shine democratic light into Russia’s dark corners, from Memorial, who are a brave voice attempting to document Stalinist abuses to a country that prefers to forget, to the more well-known political opposition figures such as Alexei Navalny, who tend to appear every couple of years before being imprisoned on trumped-up “bribery” or “forgery” charges before most of the West forgets about them.

Beyond the criminality and the horrific work ethic left over from Soviet sloth, it’s the country’s endemic alcoholism – a lament that also formed a large part of Oliver Bullough’s recent (quite complementary) nonfiction elegy for the country “The Last Man in Russia” – that is perhaps more troubling. I learned here that there’s a political-industrial-alcohol complex in Russia that feeds greater and greater tax revenue from vodka sales into state coffers, and drinking, already part of a much-revered macho culture in the country, is tacitly and often explicitly encouraged by the government. Alcoholism rates are the world’s worst (and are actually getting worse), and life expectancy is declining as a result. Feifer quotes the cynicism of many Russians he’s met and interviewed, who see alcohol as a much-needed escape from the tyranny of the state and the culture that surrounds it; there’s even an entire chapter about the country’s legendary cold, and how even that plays into the country’s many myths and sad realities, alcoholism included.

An uplifting tale about Russia’s imminent partnership with the west it’s not – and it was written and published before the 2014 Ukraine crisis. The book is edgy, funny in parts, and utterly bitter and sad. It completely ruined my long desire to visit St. Petersburg, while redoubling my support for the few flickers of civil society left in Russia. More than this, though, it’s helped me to understand and appreciate that Russia is not a part of Europe; never has been and never will be, and frankly – doesn’t want to be either. That’ll be something to chew on in every wonky Russia news article I read from this point forward.

Friday, July 4, 2014

DYNAMITE HEMORRHAGE RADIO #40

You can pretty much set your watch by the arrival of a new DYNAMITE HEMORRHAGE RADIO podcast, every two or three weeks or so, give or take a few days on either end. Our newest edition is our fortieth (four-zero; #40) and was recorded on the 4th of July in a place where said day is utterly meaningless and uncelebrated. I've been enjoying larding these shows up with new stuff rather than mp3s from my outrageously bountiful mp3 collection (you should see it!), primarily because every two weeks I keep hearing new stuff I think is totally rad. Case in point: THE COOLIES, PIECE WAR, THE YAKKS, DARK TIMES, MEN OH PAUSE, POW!, WOLF GIRL and COLD BEAT - all brand new. All great - or else we wouldn't play it, right?

There's also the new reissue of The Flesh Eaters' "A Minute To Pray, A Second To Die" to contend with, as well as important material that its essential you listen to from Tales of Terror, The Milky Ways, Naked Spots Dance and others. It's one hour and a few minutes, and it's available for download on iTunes and Soundcloud and in other spots as well - like right here.

Download Dynamite Hemorrhage Radio #40.
Stream or download Dynamite Hemorrhage Radio #40 on Soundcloud.
Subscribe to the show on iTunes.

Track listing:
YAKKS - Sonja is a Racist
PIECE WAR - Call on Me
COLD BEAT - Falling Skylines
POW! - One Eyed Scorpion
WOLF GIRL - Freudian Slips
USELESS EATERS - Desperate Living
MEN OH PAUSE - Concrete Woman
NAKED SPOTS DANCE - Crescendo/Circle Moon
MEAT PUPPETS - Unpleasant
WORKDOGS - Funny $
THE COOLIES - God Take Me
MILKY WAYS - Guillotine
THE JONESES - Pillbox
TALES OF TERROR - Romance
GANG GREEN - Kill a Commie
DARK TIMES - Be Cool
THE FLESH EATERS - Divine Horseman

Some past shows:
Dynamite Hemorrhage #39    (playlist)
Dynamite Hemorrhage #38    (playlist)
Dynamite Hemorrhage #37    (playlist)
Dynamite Hemorrhage #36    (playlist)
Dynamite Hemorrhage #35    (playlist)
Dynamite Hemorrhage #34    (playlist)
Dynamite Hemorrhage #33    (playlist)
Dynamite Hemorrhage #32    (playlist)

Tuesday, July 1, 2014

BOOK REVIEW: “Up, Up and Away: The Kid, the Hawk, Rock, Vladi, Pedro, le Grand Orange, Youppi!, the Crazy Business of Baseball, and the Ill-fated but Unforgettable Montreal Expos” by Jonah Keri

If you’re like me you tend to reward yourself for tackling & completing a more challenging book with the succor of the “easy read”: a novella, a book about music, or perhaps even a nyuk nyuk inside-baseball (literally) history of the Montreal Expos. Not exactly sure what I was thinking with this one. I frequently read and enjoy Jonah Keri's baseball writing on the Grantland website, so out of a sense of loyalty and curiosity, and because I’d come through the cathartic crucible of just having completed Flannery O’Connor’s “The Violent Bear it Away”, I decided to check out his new book on the Expos, a team I always found fairly comic, as baseball teams go. It also probably had something to do with a “wacky 1970s sports book” culture that’s developed over the years; I suppose I hoped this one might join the ranks of Terry Pluto’s “Loose Balls” (oral history of the ABA), Dan Epstein’s “Big Hair and Plastic Grass” and Murray Greig’s “Big Bucks and Blue Pucks” (World Hockey Association history).

That was the hope anyway, but Keri’s book is really more of a love letter to his favorite boyhood club, with way too much clipped prose and forced hilarity – the sort of things that are really funny when you’re 15 years old (mascots, nicknames, terrible ballclubs). I mean, the Expos probably never really had a chance in Montreal; the fact that they stayed for 30-something years despite awful parks, poor weather and a rotten financial structure that included tightfisted owners and a rapidly weakening Canadian dollar was a minor miracle in itself, and a clear demonstration of the oligarchical nature of organized professional sports. The team made the playoffs only once, though Keri hyperbolically makes much hash of the strike-shortened 1994 season that ended with the Expos in first, with much conjecture about how that was the year they probably might have any maybe could have “won it all”.

I mean, I know the feeling. As a San Francisco Giants fan since 1976, it was only the exorcism of ghosts and phantoms that came from the 2010 World Series victory that truly allowed me to see my team as more than cursed losers, so I know there’s both pain and pride in suffering. I just wish Keri could have wrapped it all up in a more interesting and less vanilla bow. “Up, Up and Away” is the sort of book that’s forgotten mere days after it’s been read; I’m actually struggling a bit with a review and I just finished the thing about ten days ago. Outside of some of the financial chicanery that allowed Montreal to get, and then retain, a baseball franchise in the first place, there’s really nothing particularly out of the ordinary here. Good players come and go, prospects don’t pan out, the team draw lots of fans, and then they don’t. You know Keri had a blast putting this together, and his enthusiasm in recounting some of his personal tales from Jarry Park and Olympic Stadium with his baseball-crazed pals are all cuddly and stuff. Yet if you’re looking for something that captures the zeitgeist of 70s & 80s pro sports, this one’s definitely something of a footnote.

Tuesday, June 17, 2014

DYNAMITE HEMORRHAGE RADIO #39

Live from our safe European home, it's Dynamite Hemorrhage Radio, the 39th edition. This episode is brought to you by 11pm sundowns, World Cup watchathons that end at 2am in the morning and 4 cups of strong coffee per day. It travels multiple pathways of jangle, ear-shred and creepy-crawl folk/noise. Today's modern heroes include MOLE HOUSE, ROACHCLIP, WOLF GIRL, HLEP, GOOD THROB, TRICK MAMMOTH, ADULTS, BATTY, and the utterly incomprehensible RÄJÄYTTÄJÄT.

Yesterday's heroes include Look Blue Go Purple, Surgery, The Rats, Rhino 39, The Huns, Radio Pete and even the goddamn Donnas. We even play 2009 Dynamite Hemorrhage song obsession "Desert Fun" by The Mayfair Set (pictured) yet again. Download it, rate it, tell a friend about it and help stamp out disco.

Download Dynamite Hemorrhage Radio #39 here.
Stream or download Dynamite Hemorrhage Radio #39 from Soundcloud.
Subscribe to the show in iTunes.

Track listing:

THE RATS - Panic on 39th
WOLF GIRL - Good For Nothing
THE DONNAS - Friday Fun
HLEP - Punk Dog
THE EYES - Topological Lies
RADIO PETE - Just a Patsy
ROACHCLIP - Cast of Clowns
BATTY - Someday
THE MAYFAIR SET - Desert Fun
SLUMBER - Night
LOOK BLUE GO PURPLE - As Does The Sun
TRICK MAMMOTH - Pinker Sea
RAJAYTTAJAT - Tulee Taas
GOOD THROB - Crab Walk
INTERNATIONAL STRIKE FORCE - (Jamie) Jamie Pollack
HUSKER DU - Afraid of Being Wrong
RHINO 39 - Marry It
THE HUNS - Destination Lonely
MOLE HOUSE - Fast Moving Cars
SURGERY - Dance
SHOES THIS HIGH - Foot's Dream
ADULTS - Can't Remember

Some past shows:
Dynamite Hemorrhage #38    (playlist)
Dynamite Hemorrhage #37    (playlist)
Dynamite Hemorrhage #36    (playlist)
Dynamite Hemorrhage #35    (playlist)
Dynamite Hemorrhage #34    (playlist)
Dynamite Hemorrhage #33    (playlist)
Dynamite Hemorrhage #32    (playlist)

Tuesday, May 27, 2014

DYNAMITE HEMORRHAGE RADIO #38

New show with a stunning array of berserk musical acts from about 1973 to the present - it's Dynamite Hemorrhage Radio #38, and I hope you choose to listen to it. The first track, a newer-than-new, skittering one-minute spastic artpunk jam from Northwest Indiana's CCTV, will have you hooked for another hour - on this you shall mark my words. 

Other new bands in the mix this time include BATTY, HLEP, EASTLINK, GOOD THROB, PARQUET COURTS and DARK TIMES; I've also got some new reissues/unearthings from The Spies, X__X, Jack Ruby and Dadamah, plus a bunch of library material from the likes of The Minutemen, Clinic, Solger, Half Japanese (pictured), Union Carbide Productions and more. And if for some reason you enjoy this show, you'll find comfort in the fact that there are 37 additional hours of Dynamite Hemorrhage programming that you're free to download as well.

Download Dynamite Hemorrhage Radio #38.
Stream or download Dynamite Hemorrhage Radio #38 on Soundcloud.
Subscribe to the show on iTunes.

Track listing:

CCTV - Mind Control
HLEP - Drunk Cop
OPPOSITE SEX - La Rat
THE MINUTEMEN - Afternoons
CLINIC - IPC Subeditors Dictate Our Youth
THE SPIES - Egyptian Bird Song
PARQUET COURTS - Sunbathing Animal
THE SPITS - Get Our Kicks
THE BEGUILED - Fire Rock (That Nagging Voice)
GOOD THROB - Acid House
X__X - No No
DADAMAH - Violet Stains Red
BATTY - Summoning Call
UNION CARBIDE PRODUCTIONS - Financial Declaration
JACK RUBY - Bored Stiff
1/2 JAPANESE - Hey Laurie
WHITE FENCE - Growing Faith
DARK TIMES - Girl Hate
CRISIS - PC 1984
SOLGER - A Man
HECTOR - Wired Up
EASTLINK - What A Silly Day (Australia Day)

Some past shows:
Dynamite Hemorrhage #37    (playlist)
Dynamite Hemorrhage #36    (playlist)
Dynamite Hemorrhage #35    (playlist)
Dynamite Hemorrhage #34    (playlist)
Dynamite Hemorrhage #33    (playlist)
Dynamite Hemorrhage #32    (playlist)

Saturday, May 17, 2014

BOOK REVIEW: "THE HARD WAY ON PURPOSE" by David Giffels

Perhaps because I’ve spent all of my adult life in a city, San Francisco, that people are forever coming to, I’ve had a perverse fascination with those places in America that people leave, and even with godforsaken places that only scattered handfuls of people try to make a go of in the first place (Dayton Duncan’s “Miles From Nowhere” being a great example). David Giffels illuminates his lifelong city of Akron, Ohio – a place I’ve personally never set foot in – in a superb set of essay-length reflections and explanations that gets to the root of both his city’s and his own psyche. The city’s, and that of the Rust Belt in general, is one of bootstrapped hard work, loss, and a collective sense of “almost”. We almost got the Browns to Super Bowl. We almost had the best punk/new wave scene in the country in the late 70s (Akron – home of Devo, Tin Huey, the Rubber City Rebels and many others). We almost kept LeBron James from leaving his hometown of Akron and the state of Ohio – and so on.

Through nearly two dozen pieces, Giffels uses various expository devices to try and definitively crack the Akron nut, always with humor and plenty of humility. Childhood memories, ambivalent meditations on “ruin porn”, historical treatises on the company buildings that made Akron “the rubber city”, and a highly skeptical look at Akron’s claim to have invented the hamburger are among the pleasures to be had. Giffels puts his personal stamp on virtually every piece; for instance, the hamburger piece also includes him eating nothing but hamburgers for a week straight. Giffels also threads in much discussion of Akron’s underground music scene in the 80s, which he himself participated in via an unnamed punk band (perhaps someone you or I have even heard of, though I’m too lazy to Google it right now), with an especially funny piece about his friend’s art gallery complex being invaded by “anarchy girls” and industrial-music freaks from Philadelphia for one night only.

His own psyche and relation to the city that nurtured it is displayed in his endless fascination with Akron’s industrial past and his near-messianic desire to preserve and build upon that past – not in the historical documentation sense, though “The Hard Way On Purpose” does include a bit of that. His preservation instincts are actually quite literal – repurposing found bricks from demolished factories to build a pathway, for instance, or in buying the most ruined ornate old Tudor house in the neighborhood, for a song, just to fix it up to its former six-fireplace + servant’s quarters glory. Perhaps it’s a way of attempting to reverse the “decline” narrative that plagues this part of the country - quite deservedly, of course – one brick and one house at a time. Beyond this, of course, is the fact that Giffels is one of the few “born and raised and never left” Akron residents who knows only the Rust Belt era of the town. He stayed where most others didn’t, and it’s quite touching as he lists off the friends made and friends quickly lost in one poignant passage. It connects to the deeper whole of “loss” and of “almost” that pervades this terrific and well-written book about place, and our place within that place.

Monday, May 12, 2014

DYNAMITE HEMORRHAGE RADIO #37

It's another edition of our hour-long series of podcasts/mixtapes/fake radio shows called DYNAMITE HEMORRHAGE RADIO, coming to you for the 37th time since we kicked off this relatively rewarding endeavor late in 2012. I focused this one pretty laser-like on new stuff, both new bands and new reissues. In the former category, we've got stuff from Numb Bats, Good Throb, Advlts, Pang, Trick Mammoth, Constant Mongrel, Thee Oh Sees, Ausmuteants and Fleabite. Whoa. In the latter, I'm playing you things from Jack Ruby, X__X and Dadamah (pictured). Not one half bad.

See if you're buying one hour and 4 minutes of what we're selling - and please try some of the older shows while you're at it as well.

Download Dynamite Hemorrhage Radio #37.
Stream or download Dynamite Hemorrhage Radio #37 via Soundcloud.
Subscribe to the show and get 'em all via iTunes.

Track Listing:

DADAMAH - Absent and Erotic Lives
GOOD THROB - No Taste
ADVLTS - Raw Nerves
FLEABITE - Last Call
AUSMUTEANTS - 15 Frames Per Second
CONSTANT MONGREL - New Shapes
NUMB BATS - Cry Baby
JOHNNY BOY - You Are The Generation That Bought More Shoes and You Get What You Deserve
TRICK MAMMOTH - Doll
HOUSEHOLD - Never After
PANG - Relax
THE KIWI ANIMAL - Making Tracks
JACK RUBY - Hit and Run
MARS - Helen Forsdale
RED TRANSISTOR - Not Bite
THE GIZMOS - Mean Screen
X__X - A
BLACK BUG - Unicorn
THEE OH SEES - Encrypted Bounce 

Past Shows:
Dynamite Hemorrhage #36    (playlist)
Dynamite Hemorrhage #35    (playlist)
Dynamite Hemorrhage #34    (playlist)
Dynamite Hemorrhage #33    (playlist)
Dynamite Hemorrhage #32    (playlist)
Dynamite Hemorrhage #31    (playlist) 
Dynamite Hemorrhage #30    (playlist) 

Thursday, May 1, 2014

BOOK REVIEW: "ONCE YOU BREAK A KNUCKLE - STORIES" by D.W. Wilson

I found my way through about three quarters of the stories in D.W. Wilson's new collection "ONCE YOU BREAK A KNUCKLE" before concluding that I pretty much had the rough, blue-collar feel of working-class Western Canada nailed, and called it a rueful day. I'd been on a pretty good hot streak reading and enjoying unfamiliar authors who tackled similar terrain of the lost, the confused and the foregone, all living in misbegotten places far from our urban centers. Daniel Woodrell's "The Outlaw Album" was a good one mining this field for psychological pathos; even better was Jodi Angel's amazing "You Only Get Letters From Jail". Wilson's characters, all male and generally of good heart if not sound mind, work the construction sites and police forces of the Kootenay Valley in British Columbia, rubbing up often against the darker side of humanity: meth addicts, hockey-crazed dolts and troublesome and feisty women in many flavors. It had a lot to speak for it, including the NY Times review that made me buy it in the first place.

That said, I found it to be overwritten, with too many flourished crammed into paragraphs, and a certain grating conversational rhythm that didn't strike me as particularly "real" - a cardinal sin when trying to convey the desperate humanity lurking below the surface in our fellow citizens. At times Wilson descends into "hick" dialect and story-telling mannerisms, which is all well and good, considering his subject matter, but it sometimes seems so ham-handed it makes me want to fly up to Invermere and see if the "puck sluts" and working stiffs of the town could truly actually converse in this manner.

No question that Wilson's got some fine chops - I certainly didn't make it as far as I did in the book just to prove a point. He unwraps these seemingly tough men quite well at times, without having to take them through a crucible of pain or through major life events in order for us to get to some deeper sense of their missed opportunities and regrets. There are also some well-scripted portraits of dead-end towns, where everything fun more or less ends on high school graduation day, and adulthood comes crashing into full force as inelegantly as you can imagine, with quick divorces, unloved children and abandoned jobs in its wake. I see a few things to recommend in bits and spurts - just not in book length, I'm afraid.